User:Robertgreer/sandbox/T

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Janie Taylor[edit]

Janie Taylor was born in Houston, Texas, where she began her ballet training at age four. At age 12, she moved to New Orleans and trained at the Giacobbe Academy of Dance. She entered the School of American Ballet (SAB), the official school of the New York City Ballet, full time in the fall of 1995. In June 1998, Ms. Taylor received the Mae L. Wien Award at the SAB Annual Workshop and was invited to become an apprentice with New York City Ballet. A month later, Ms. Taylor became a member of NYCB's corps de ballet. She was promoted to the rank of soloist in February 2001, and in January 2005, Ms. Taylor was promoted to principal dancer.

Featured Roles Since Joining NYCB

George Balanchine Brahms-Schoenberg Quartet Divertimento No. 15 Episodes George Balanchine's The Nutcracker™ (Sugarplum Fairy, Dewdrop, Marzipan) Ivesiana Liebeslieder Walzer A Midsummer Night's Dream (Divertissement, Helena, Butterfly) Orpheus Robert Schumann's "Davidsündlertänze" "Rubies" from Jewels Scotch Symphony Serenade La Sonnambula Square Dance Stravinsky Violin Concerto Symphony in C (First Movement, Third Movements) Symphony in Three Movements Tarantella Tschaikovsky Pas de Deux Tschaikovsky Suite No. 3 (Scherzo) Union Jack La Valse Vienna Waltzes Walpurgisnacht Ballet Western Symphony Who Cares?

Lew Christensen Four Norwegian Moods

Sean Lavery Romeo and Juliet

Miriam Mahdaviani Correlazione

Peter Martins Ash Eros Piano Ecstatic Orange (Purple) Hallelujah Junction Jeu de Cartes Reliquary Sinfonia The Sleeping Beauty (Lilac Fairy, Eloquence, Emerald) Swan Lake (Pas de Trois, Pas de Quatre, Neapolitan, Russian) Symphonic Dances Thou Swell

Benjamin Millepied Why am I not where you are

Alexei Ratmansky Concerto DSCH

Jerome Robbins 2 & 3 Part Inventions Afternoon of a Faun Brandenburg The Cage Dybbuk Fanfare (Clarinet) The Four Seasons (Winter) The Goldberg Variations Opus 19/The Dreamer

Susan Stroman "The Blue Necklace" from Double Feature (Mabel)

Richard Tanner Ancient Airs and Dances

Lynne Taylor-Corbett Chiaroscuro

Christopher Wheeldon Carnival of the Animals Polyphonia

Originated featured roles in Peter Martins: Bal de Couture, Burleske, Guide to Strange Places, Harmonielehre, The Infernal Machine, Morgen, Naive and Sentimental Music, Them Twos, Viva Verdi Benjamin Millepied: Plainspoken, Quasi Una Fantasia Justin Peck: Year of the Rabbit Richard Tanner: Soirée


Honors

Ms. Taylor was a recipient of the Mae L. Wien Award for Outstanding Promise in 1998.

Other Performances

In 2002, Ms. Taylor appeared in the nationally televised Live from Lincoln Center broadcast "New York City Ballet's Diamond Project: Ten Years of New Choreography" on PBS, dancing in Ancient Airs and Dances and Jeu de Cartes.

Film Credits

Ms. Taylor's film work includes Columbia Pictures' feature film Center Stage.

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see also[edit]

Finnish tango[edit]

http://www.nytimes.com/2013/07/16/world/europe/finnish-tango-the-passion-and-the-melancholy.html

Paul Taylor Dance Company repertoire[edit]

HOUSE OF JOY Opus Number: 136 Choreography: Paul Taylor Music: Donald York Set and Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: March 17, 2012 Gossamer Gallants Opus Number: 135 Choreography: Paul Taylor Music: Bedřich Smetana Set and Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: November 19, 2011


Audio: Hear Gossamer Gallants Excerpt

Title: Track 1 Length: 0:32 minutes (506.16 KB) Format: MP3 Stereo 44kHz 128Kbps (CBR)

The Uncommitted Opus Number: 134 Music: Arvo Pärt Set and Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: July 21, 2011


Photos by Rick McCullough

Audio: Hear The Uncommitted Excerpt

Length: 0:32 minutes (501.67 KB) Format: MP3 Stereo 44kHz 128Kbps (CBR)

Three Dubious Memories Opus Number: 133 Music: Peter Elyakim Taussig Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: October 30, 2010


Photos by Tom Caravaglia

Audio: Hear Three Dubious Memories Excerpt

Length: 0:32 minutes (501.25 KB) Format: MP3 Stereo 44kHz 128Kbps (CBR)

Phantasmagoria Opus Number: 132 Music: Anonymous Renaissance Composers Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: July 15, 2010


Photos by Scott Suchman

Brief Encounters Opus Number: 131 Music: Claude Debussy Costumes: Santo Loquasto Lighting: James F. Ingalls Date First Performed: November 6, 2009


Photos: Paul B. Goode

ALSO PLAYING Opus Number: 130 Music: Gaetano Donizetti Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: April 8, 2009


Photos: Paul B. Goode


Audio: Hear Also Playing Excerpt Length: 0:31 minutes (477.4 KB) Format: MP3 Stereo 48kHz 128Kbps (CBR)

BELOVED RENEGADE Opus Number: 129 Music: Francis Poulenc Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: November 21, 2008


Photos: Paul B. Goode

Audio: Hear Beloved Renegade Excerpt

Length: 0:32 minutes (502.07 KB) Format: MP3 Stereo 44kHz 128Kbps (CBR)

CHANGES Opus Number: 128 Music: Songs sung by The Mamas & The Papas Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: April 22, 2008


Photos: Paul B. Goode

Audio: Hear Changes Excerpt

Length: 0:30 minutes (471.45 KB) Format: MP3 Stereo 44kHz 128Kbps (CBR)

DE SUEÑOS QUE SE REPITEN (OF RECURRING DREAMS) Opus Number: 127 Music: Ariel Guzik, Silvestre Revueltas, Margarita Lecuona, Robert Gómez Bolaños, Severiano Briseño Set and Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: November 2, 2007


Photos: Paul B. Goode

Audio: Hear DE SUEÑOS que se Repiten Excerpt

Length: 0:31 minutes (484.92 KB) Format: MP3 Stereo 44kHz 128Kbps (CBR)

DE SUEÑOS (OF DREAMS) Opus Number: 126 Music: Agustín Lara, Juan García Esquivel, Osvaldo Golijov, B. García de Jesús, J. Elizondo, Ariel Guzik, Chalino Sánchez Set and Costumes: Santo Loquasto Lighting: Jennifer TIpton Date First Performed: July 12, 2007


Photos: Paul B. Goode (left); Tom Caravaglia (right)

Audio: Hear DE SUEÑOS Excerpt

Length: 0:30 minutes (475.14 KB) Format: MP3 Stereo 44kHz 128Kbps (CBR)

LINES OF LOSS Opus Number: 125 Music: Guillaume de Machaut, Christopher Tye, Jack Body, John Cage, Arvo Pärt and Alfred Schnittke Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: March 2, 2007

Photos: Tom Caravaglia

Audio: hear Lines of Loss excerpt

Title: Lines of Loss Length: 0:32 minutes (498.05 KB) Format: MP3 Stereo 44kHz 128Kbps (CBR)

TROILUS AND CRESSIDA (REDUCED) Opus Number: 124 Music: Amilcare Ponchielli Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: April 15, 2006


Photos: Tom Caravaglia

Audio: hear Troilus and Cressida (reduced) excerpt

Length: 0:32 minutes (497.19 KB) Format: MP3 Stereo 44kHz 128Kbps (CBR)

banquet of vultures Opus Number: 123 Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: October 29, 2005


Photos: Tom Caravaglia

SPRING ROUNDS Opus Number: 122 Music: Richard Strauss after François Couperin Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: July 5, 2005


Photos © Lois Greenfield

Audio: Hear Spring Rounds Excerpt

Length: 0:29 minutes (454.72 KB) Format: MP3 Stereo 44kHz 128Kbps (CBR)

KLEZMERBLUEGRASS Opus Number: 121 Music: Traditional Klezmer and Bluegrass music, arranged by Margot Leverett Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: October 24, 2004


Photos: Lois Greenfield (left); Todd Rosenberg (right)

dante variations Opus Number: 120 Music: György Ligeti Set and Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: March 24, 2004


Photos © Lois Greenfield

Audio: Hear Dante Variations Excerpt

Length: 0:30 minutes (478.41 KB) Format: MP3 Stereo 44kHz 128Kbps (CBR)

LE GRAND PUPPETIER Opus Number: 119 Music: Igor Stravinsky played on pianola Set and Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: March 2, 2004


Photos: Paul B. Goode

in the beginning Opus Number: 118 Music: Carl Orff, orchestrated by Freidrich K. Wanek Set and Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: April 9, 2003


Photos: Paul B. Goode

dream girls Opus Number: 117 Music: Barbershop quartet songs sung by The Buffalo Bills Set and Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: October 18, 2002


Photos: Paul B. Goode

PROMETHEAN FIRE Opus Number: 116 Music: J.S. Bach, transcribed by Leopold Stokowski Set and Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: June 6, 2002


Photos: Paul B. Goode

Audio: Hear Promethean Fire Excerpt

Title: Promethean Fire 01 Length: 0:31 minutes (480.56 KB) Format: MP3 Stereo 44kHz 128Kbps (CBR)

ANTIQUE VALENTINE Opus Number: 115 Music: J.S. Bach, Carl Maria von Weber, Joseph Haydn, Ludwig van Beethoven, Frederic Chopin and Felix Mendelssohn played on music boxes, player piano, and mechanical organ Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: October 26, 2001


Photos: Paul B. Goode

Audio: Hear Antique Valentine Excerpt

Length: 0:24 minutes (372.29 KB) Format: MP3 Stereo 44kHz 128Kbps (CBR)

black tuesday Opus Number: 114 Music: Songs from the Great Depression Set and Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: April 10, 2001


Photos: (left) © Lois Greenfield; (right) Paul B. Goode


DANDELION WINE Opus Number: 113 Music: Pietro Locatelli Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: November 16, 2000


Photos: Paul B. Goode


FIENDS ANGELICAL Opus Number: 112 Music: George Crumb Set and Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: July 25, 2000


Photos: Paul B. Goode

ARABESQUE Opus Number: 111 Music: Claude Debussy Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: October 15, 1999


Photos: © Lois Greenfield

Audio: Hear arabesque excerpt

Length: 0:32 minutes (497.17 KB) Format: MP3 Stereo 44kHz 128Kbps (CBR)

CASCADE Opus Number: 110 Music: Johann Sebastian Bach Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: July 22, 1999


Photos © Paul B. Goode



Audio: Hear Cascade excerpt

Length: 0:32 minutes (505.35 KB) Format: MP3 Stereo 44kHz 128Kbps (CBR)

oh, you kid! Opus Number: 109 Music: Ragtime music (performed by the Paragon Ragtime Orchestra) Set and Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: February 18, 1999


Photos: Lois Greenfield, Paul B. Goode

Audio: hear Oh, You Kid! Excerpt

Title: Oh You Kid! Length: 0:32 minutes (493.13 KB) Format: MP3 Stereo 44kHz 128Kbps (CBR)

FIDDLERS GREEN Opus Number: 108 Music: John Adams Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: May 23, 1998 THE WORD Opus Number: 107 Music: David Israel (commissioned score) Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: March 4, 1998


Photos, Paul B. Goode


PIAZZOLLA CALDERA Opus Number: 106 Music: Music by Astor Piazzolla and Jerzy Peterburshsky Set and Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: June 12, 1997


Photos: Paul B. Goode

Audio: hear piazzolla caldera excerpt

Length: 0:31 minutes (490.64 KB) Format: MP3 Stereo 22kHz 128Kbps (CBR)

EVENTIDE Opus Number: 105 Music: Ralph Vaughan Williams Set and Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: February 25, 1997


Photos: Paul B. Goode

PRIME NUMBERS Opus Number: 104 Music: David Israel Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: January 10, 1997

Photo: Howard Schatz

OFFENBACH OVERTURES Opus Number: 103 Music: Jacques Offenbach Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: October 12, 1995


Photos: Paul B. Goode

MOONBINE Opus Number: 102 Music: Claude Debussy Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: October 13, 1994 FUNNY PAPERS Opus Number: 101 Choreography: Sandra Stone, Mary Cochran, Hernando Cortez, David Grenke, Andrew Asnes and Patrick Corbin. Amended and combined by Paul Taylor Music: Novelty tunes Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: October 12, 1994

Photo: Paul B. Goode

A FIELD OF GRASS Opus Number: 100 Music: Songs sung by Harry Nilsson Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: October 27, 1993


Photos: Paul B. Goode


Audio: Hear A Field of Grass Excerpt

Title: A Field of Grass Length: 0:30 minutes (475.63 KB) Format: MP3 Stereo 44kHz 128Kbps (CBR)

Spindrift Opus Number: 99 Music: Arnold Schoenberg Set and Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: July 8, 1993


oz Opus Number: 98 Music: Wayne Horvitz and Robin Holcomb Set and Costumes: Santo Loquasto Lighting: Jennifer Tipton SPEAKING IN TONGUES for television Opus Number: 97 Date First Performed: September 26, 1991


Photos © Lois Greenfield, Paul B. Goode

Audio: Hear Speaking in Tongues Excerpt

Length: 0:33 minutes (516.35 KB) Format: MP3 Stereo 44kHz 128Kbps (CBR)

COMPANY B Opus Number: 96 Music: Songs sung by the Andrews Sisters Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: June 20, 1991


Photos: Paul B. Goode

Audio: hear Company B excerpt

Length: 0:32 minutes (500.04 KB) Format: MP3 Stereo 22kHz 128Kbps (CBR)

FACT & FANCY (3 EPITAPHS & ALL) Opus Number: 95 Music: Early New Orleans Jazz, and Reggae Costumes: Robert Rauschenberg (3 EPITAPHS) and George Tacet Lighting: Jennifer Tipton Date First Performed: June 6, 1991 of bright & blue birds & the gala sun Opus Number: 94 Music: Donald York Set and Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: April 25, 1990 THE SORCERER'S SOFA Opus Number: 93 Music: Paul Dukas Costumes: Santo Loquasto Set and Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: November 2, 1989

Photo: Paul B. Goode

minikin fair Opus Number: 92 Music: David Koblitz, Douglas Wieselman and Thaddeus Spae Set and Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: April 15, 1989 speaking in tongues Opus Number: 91 Music: Matthew Patton Set and Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: November 10, 1988


Photos: © Lois Greenfield

Audio: Hear 2nd Speaking in Tongues Excerpt

Length: 0:32 minutes (502.88 KB) Format: MP3 Stereo 44kHz 128Kbps (CBR)

DANBURY MIX Opus Number: 90 Music: Charles Ives Set: David Gropman Costumes: William Ivey Long Lighting: Jennifer Tipton Date First Performed: May 12, 1988


Photos: Paul B. Goode

Audio: Hear Danbury Mix Excerpt

Length: 0:31 minutes (484.11 KB) Format: MP3 Stereo 44kHz 128Kbps (CBR)

COUNTERSWARM Opus Number: 89 Music: György Ligeti Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: April 28, 1988


Photos © Lois Greenfield

Audio: Hear Counterswarm Excerpt

Length: 0:30 minutes (480.04 KB) Format: MP3 Stereo 44kHz 128Kbps (CBR)

BRANDENBURGS Opus Number: 88 Music: Johann Sebastian Bach Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: April 5, 1988


Photos: Paul B. Goode

Audio: hear brandenburgs excerpt

Length: 0:32 minutes (496.35 KB) Format: MP3 Stereo 44kHz 128Kbps (CBR)

SYZYGY Opus Number: 87 Music: Donald York (commissioned score) Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: April 21, 1987


Photos: Paul B. Goode

Audio: Hear Syzygy Excerpt

Length: 0:32 minutes (495.54 KB) Format: MP3 Stereo 44kHz 128Kbps (CBR)

KITH AND KIN Opus Number: 86 Music: Wolfgang Amadeus Mozart Costumes: William Ivey Long Lighting: Jennifer Tipton Date First Performed: April 28, 1987 musical offering Opus Number: 85 Music: Johann Sebastian Bach, orchestrated by Anton Webern and Frank Michael Beyer Set and Costumes: Gene Moore Lighting: Jennifer Tipton Date First Performed: April 8, 1986


Photos © Lois Greenfield (left); Jack Vartoogian (right)

ab ovo usque ad mala (from soup to nuts) Opus Number: 84 Music: P.D.Q. Bach (Peter Schickele) Set and Costumes: Alex Katz Lighting: Jennifer Tipton Date First Performed: April 1, 1986 LAST LOOK Opus Number: 83 Music: Donald York Set and Costumes: Alex Katz Lighting: Jennifer Tipton Date First Performed: April 16, 1985


Photos: Paul B. Goode

ROSES Opus Number: 82 Music: Richard Wagner and Heinrich Baermann Costumes: William Ivey Long Lighting: Jennifer Tipton Date First Performed: April 10, 1985

Photo: © Lois Greenfield

Audio: Hear Roses excerpt

Length: 0:32 minutes (506.98 KB) Format: MP3 Stereo 44kHz 128Kbps (CBR)

...BYZANTIUM Opus Number: 81 Music: Edgard Varèse Set: David Gropman Costumes: William Ivey Long Lighting: Jennifer Tipton Date First Performed: March 20, 1984


Photos: Paul B. Goode

Audio: Hear ...Byzantium Excerpt

Length: 0:29 minutes (460.86 KB) Format: MP3 Stereo 44kHz 128Kbps (CBR)

EQUINOX Opus Number: 80 Music: Johannes Brahms Costumes: William Ivey Long Lighting: Jennifer Tipton Date First Performed: December 1, 1983

Photo: Paul B. Goode

SNOW WHITE Opus Number: 79 Music: Donald York (commissioned score) Set: David Gropman Costumes: Cynthia O'Neal Lighting: Jennifer Tipton Date First Performed: April 13, 1983 SUNSET Opus Number: 78 Music: Edward Elgar (and recorded loon calls) Set and Costumes: Alex Katz Lighting: Jennifer Tipton Date First Performed: April 6, 1983


Photo: Paul B. Goode

MUSETTE Opus Number: 77 Music: George Frideric Handel Costumes: Gene Moore Lighting: Jennifer Tipton Date First Performed: April 5, 1983 MERCURIC TIDINGS Opus Number: 76 Music: Franz Schubert Costumes: Santo Loquasto Lighting: Jennifer Tipton Date First Performed: April 20, 1982


Photos: Paul B. Goode

Audio: hear mercuric tidings excerpt

Length: 0:32 minutes (503.29 KB) Format: MP3 Stereo 44kHz 128Kbps (CBR)

LOST, FOUND AND LOST Opus Number: 75 Music: "Elevator" music arranged by Donald York (commissioned score) Costumes: Alex Katz Lighting: Jennifer Tipton Date First Performed: April 14, 1982 HOUSE OF CARDS Opus Number: 74 Music: Darius Milhaud Set: Mimi Gross Costumes: Cynthia O'Neal Lighting: Jennifer Tipton Date First Performed: October 6, 1981

Photo: Tom Caravaglia

ARDEN COURT Opus Number: 73 Music: William Boyce Set and Costumes: Gene Moore Lighting: Jennifer Tipton Date First Performed: April 15, 1981


Photos: Paul B. Goode

LE SACRE DU PRINTEMPS (THE REHEARSAL) Opus Number: 72 Music: Igor Stravinsky (arrangement for piano) Set and Costumes: John Rawlings Lighting: Jennifer Tipton Date First Performed: January 15, 1980


Photos: Paul B. Goode

PROFILES Opus Number: 71 Music: Jan Radzynski (commissioned score) Costumes: Gene Moore Lighting: Mark Litvin Date First Performed: July 28, 1979

Photo © Lois Greenfield

NIGHTSHADE Opus Number: 70 Music: Alexander Scriabin Costumes: Gene Moore Lighting: Jennifer Tipton Date First Performed: April 19, 1979


diggity Opus Number: 69 Music: Donald York (commissioned score) Set and Costumes: Alex Katz Lighting: Mark Litvin Date First Performed: November 3, 1978

Photo: Johan Elbers

Audio: Hear Diggity Excerpt

Length: 0:31 minutes (484.13 KB) Format: MP3 Stereo 44kHz 128Kbps (CBR)

AIRS Opus Number: 68 Music: G.F. Handel Costumes: Gene Moore Lighting: Jennifer Tipton Date First Performed: May 30, 1978


Photos: Paul B. Goode

Audio: Hear AIRS Excerpt

Length: 0:33 minutes (525.76 KB) Format: MP3 Stereo 22kHz 128Kbps (CBR)

aphrodisiamania Opus Number: 67 Music: Renaissance music re-orchestrated by Donald York Set and Costumes: Gene Moore Date First Performed: November 29, 1977 dust Opus Number: 66 Music: Francis Poulenc Set and Costumes: Gene Moore Lighting: Jennifer Tipton Date First Performed: June 1, 1977


Photos: Tom Caravaglia, Paul B. Goode


IMAGES Opus Number: 65 Music: Claude Debussy Costumes: Gene Moore Lighting: Mark Litvin Date First Performed: January 19, 1977


Photos: Paul B. Goode

polaris Opus Number: 64 Music: Donald York (commissioned score) Set and Costumes: Alex Katz Lighting: Jennifer Tipton Date First Performed: August 26, 1976


Photos: Paul B. Goode


CLOVEN KINGDOM Opus Number: 63 Music: Arcangelo Corelli, Henry Cowell, and Malloy Miller Costumes: Women's Costumes by Scott Barrie, Headpieces by John Rawlings Lighting: Jennifer Tipton Date First Performed: June 9, 1976


Photos: Paul B. Goode

Audio: Hear Cloven Kingdom Excerpt

Title: Cloven Kingdom Length: 0:32 minutes (492.37 KB) Format: MP3 Stereo 44kHz 128Kbps (CBR)

RUNES Opus Number: 62 Music: Gerald Busby Costumes: George Tacet Lighting: Jennifer Tipton Date First Performed: August 13, 1975


Photos: Paul B. Goode

Audio: Hear Runes Excerpt

Length: 0:31 minutes (477.58 KB) Format: MP3 Stereo 22kHz 128Kbps (CBR)

ESPLANADE Opus Number: 61 Music: Johann Sebastian Bach Costumes: John Rawlings Lighting: Jennifer Tipton Date First Performed: March 1, 1975


Photos: Paul B. Goode

Audio: Hear Esplanade Excerpt

Length: 0:29 minutes (457.18 KB) Format: MP3 Stereo 44kHz 128Kbps (CBR)

SPORTS AND FOLLIES Opus Number: 60 Music: Erik Satie Costumes: George Tacet Lighting: Jennifer Tipton Date First Performed: August 7, 1974 UNTITLED QUARTET Opus Number: 59 Music: Igor Stravinsky Costumes: Rouben Ter-Arutunian Lighting: Jennifer Tipton Date First Performed: February 16, 1974 AMERICAN GENESIS Opus Number: 58 Music: J.S. Bach, Franz Josef Haydn, John Fahey, Bohuslav Martinů and Louis Moreau Gottschalk Costumes: George Tacet Lighting: Jennifer Tipton Date First Performed: October 13, 1973 WEST OF EDEN Opus Number: 57 Music: Bohuslav Martinů Costumes: George Tacet Lighting: Jennifer Tipton Date First Performed: October 13, 1973 noah's minstrels Opus Number: 56 Music: Louis Moreau Gottschalk Set and Costumes: George Tacet Lighting: Jennifer Tipton Date First Performed: February 17, 1973 SO LONG EDEN Opus Number: 55 Music: John Fahey Costumes: George Tacet Lighting: Jennifer Tipton Date First Performed: May 17, 1972 GUESTS OF MAY Opus Number: 54 Music: Claude Debussy Costumes: George Tacet Lighting: Jennifer Tipton Date First Performed: March 11, 1972 FETES Opus Number: 53 Music: Claude Debussy Costumes: George Tacet Lighting: Jennifer Tipton Date First Performed: October 16, 1971 BOOK OF BEASTS Opus Number: 52 Music: Schubert, Weber, Saint-Saëns, Mozart, Beethoven, Boccherini, de Falla and Tchaikovsky, transcribed for harpsichord Costumes: John Rawlings Lighting: Jennifer Tipton Date First Performed: July 2, 1971 Audio: Hear Book of Beasts Excerpt

Length: 0:31 minutes (485.33 KB) Format: MP3 Stereo 44kHz 128Kbps (CBR)

big bertha duet for television Opus Number: 51 big bertha Opus Number: 50 Music: Music from the St. Louis Melody Museum collection of band machines Set and Costumes: Alec Sutherland Lighting: Jennifer Tipton Date First Performed: November 6, 1970


Photos: Jack Mitchell

FOREIGN EXCHANGE Opus Number: 49 Music: Morton Subotnick Set: Alex Katz Costumes: Alec Sutherland Lighting: Jennifer Tipton Date First Performed: April 28, 1970 CHURCHYARD Opus Number: 48 Costumes: Alec Sutherland Lighting: Jennifer Tipton Date First Performed: December 10, 1969

Photo: Jack Mitchell

DUETS Opus Number: 47 Music: Anonymous Medival Composers Costumes: George Tacet Lighting: Judith Daykin Date First Performed: August 2, 1969 PRIVATE DOMAIN Opus Number: 46 Music: Iannis Xenakis Set and Costumes: Alex Katz Lighting: Jennifer Tipton Date First Performed: May 7, 1969


Photos: Paul B. Goode

PUBLIC DOMAIN Opus Number: 45 Music: Music Collage by John Herbert McDowell (commissioned score) Costumes: John Rawlings Lighting: Jennifer Tipton Date First Performed: October 8, 1968


Photos: Paul B. Goode

LENTO Opus Number: 44 Music: Franz Josef Haydn Costumes: George Tacet Lighting: Jennifer Tipton Date First Performed: August 12, 1967

AGATHE'S TALE Opus Number: 43 Music: Carlos Surinach (commissioned score) Costumes: Julian Tomchin Date First Performed: August 12, 1967

Photo: Jack Mitchell

orbs Opus Number: 42 Music: Ludwig van Beethoven Set and Costumes: Alex Katz Lighting: Jennifer Tipton Date First Performed: July 4, 1966


Photos: Jack Mitchell, Paul B.Goode


POST MERIDIAN Opus Number: 41 Music: Evelyn Lohoeffer de Boeck (commissioned score) Costumes: Alex Katz Lighting: Thomas Skelton Date First Performed: March 31, 1965 9 DANCES WITH MUSIC BY CORELLI Opus Number: 40 Music: Arcangelo Corelli Costumes: Rouben Ter-Arutunian Lighting: William Ritman Date First Performed: March 31, 1965 FROM SEA TO SHINING SEA Opus Number: 39 Music: Charles Ives (later, commissioned score by John Herbert McDowell) Costumes: John Rawlings Lighting: Tom Skelton Date First Performed: March 31, 1965


Photos: Jack Mitchell

DUET Opus Number: 38 Music: Franz Josef Haydn Costumes: George Tacet Lighting: Thomas Skelton Date First Performed: August 18, 1964 the red room Opus Number: 37 Music: Gunther Schuller Set and Costumes: Alex Katz Date First Performed: June 20, 1964 PARTY MIX Opus Number: 36 Music: Alexei Haieff Costumes: Nancy Azara Lighting: Thomas Skelton Date First Performed: December 20, 1963 POETRY IN MOTION Opus Number: 35 Choreography: Co-choreographed with Katherine Litz Music: Leopold Mozart Costumes: Katherine Litz and George Tacet Lighting: Thomas Skelton Date First Performed: August 26, 1963 SCUDORAMA Opus Number: 34 Music: Clarence Jackson Set and Costumes: Alex Katz Lighting: Thomas Skelton Date First Performed: August 10, 1963


Photos: Paul B. Goode

fibers Opus Number: 33 Date First Performed: May 20, 1963 la negra Opus Number: 32 Music: Mariachi music Costumes: George Tacet Lighting: George Tacet Date First Performed: January 24, 1963 PIECE PERIOD Opus Number: 31 Music: Vivaldi, Telemann, Haydn, Scarlatti, Beethoven and Bonporti Costumes: John Rawlings Date First Performed: November 8, 1962

Photo: Jack Mitchell

AUREOLE Opus Number: 30 Music: George Frideric Handel Costumes: George Tacet Lighting: Thomas Skelton Date First Performed: August 4, 1962


Photos: Paul B. Goode

Audio: Hear Aureole Excerpt

Title: Track 01 Length: 0:31 minutes (479.67 KB) Format: MP3 Stereo 44kHz 128Kbps (CBR)

tracer Opus Number: 29 Music: James Tenny (commissioned score) Set and Costumes: Robert Rauschenberg (set piece and costumes) Date First Performed: April 11, 1962 junction Opus Number: 28 Music: Johann Sebastian Bach Set and Costumes: Alex Katz Lighting: William Ritman Date First Performed: November 24, 1961

Photo: Jack Mitchell

Audio: Hear Junction Excerpt

Length: 0:32 minutes (500.43 KB) Format: MP3 Stereo 44kHz 128Kbps (CBR)

insects and heroes Opus Number: 27 Music: John Herbert McDowell (commissioned score) Set and Costumes: Rouben Ter-Arutunian Lighting: Louise Guthman Date First Performed: August 18, 1961 fibers Opus Number: 26 Music: Arnold Schoenberg Set and Costumes: Rouben Ter-Arutunian Date First Performed: January 14, 1961

Photos: Jack Mitchell

THE WHITE SALAMANDER Opus Number: 25 Music: Joop Stokkermans (commissioned score) Costumes: Henk de Vries Date First Performed: October 11, 1960 tablet Opus Number: 24 Music: David Hollister (commissioned score) Set and Costumes: Ellsworth Kelly Date First Performed: July 1, 1960

Photo: Helga Gilbert

MERIDIAN Opus Number: 23 Music: Morton Feldman Costumes: Alex Katz Date First Performed: June 10, 1960 (rechoreographed)

OPTION Opus Number: 22 Music: Richard Maxfield (commissioned score) Costumes: Louise Thompson Date First Performed: February 13, 1960 MERIDIAN Opus Number: 21 Music: Pierre Boulez Costumes: Louise Thompson Date First Performed: February 13, 1960 images and reflections Opus Number: 20 Date First Performed: February 13, 1960 images and reflections Opus Number: 19 Music: Morton Feldman Costumes: (and props) Robert Rauschenberg Lighting: Tharon Musser Date First Performed: December 20, 1958

rebus Opus Number: 18 Music: David Hollister (commissioned score) Costumes: Robert Rauschenberg Date First Performed: March 18, 1958 may apple Opus Number: 17 Music: Performed in silence Costumes: Robert Rauschenberg Date First Performed: March 18, 1958 seven new dances: opportunity Opus Number: 16 Music: "Noise" Costumes: Robert Rauschenberg Lighting: Tharon Musser Date First Performed: October 20, 1957 seven new dances: events II Opus Number: 15 Music: Rain sounds Costumes: Robert Rauschenberg Lighting: Tharon Musser Date First Performed: October 20, 1957 seven new dances: duet Opus Number: 14 Music: John Cage (commissioned score) Costumes: Robert Rauschenberg Lighting: Tharon Musser Date First Performed: October 20, 1957 SEVEN NEW DANCES: PANORAMA Opus Number: 13 Music: Heartbeat sounds Costumes: Robert Rauschenberg Lighting: Tharon Musser Date First Performed: October 20, 1957 SEVEN NEW DANCES: RESEMBLANCE Opus Number: 12 Music: John Cage (commissioned score) Costumes: Robert Rauschenberg Lighting: Tharon Musser Date First Performed: October 20, 1957 SEVEN NEW DANCES: Events I Opus Number: 11 Music: Wind sounds Costumes: Robert Rauschenberg Lighting: Tharon Musser Date First Performed: October 20, 1957 SEVEN NEW DANCES: EPIC Opus Number: 10 Music: Telephone time signal Costumes: Robert Rauschenberg Lighting: Tharon Musser Date First Performed: October 20, 1957 THE TOWER Opus Number: 9 Music: John Cooper (commissioned score) Set: Robert Rauschenberg Costumes: Jasper Johns OBERTURA REPUBLICANA Opus Number: 8 Music: Carlos Chávez Costumes: James Waring Date First Performed: December 4, 1956 TROPES Opus Number: 7 Music: Folk music Costumes: Robert Rauschenberg Date First Performed: December 4, 1956 UNTITLED DUET Opus Number: 6 Music: Done in silence Costumes: Robert Rauschenberg Date First Performed: May 6, 1956 THE LEAST FLYCATCHER Opus Number: 5 Music: Robert Rauschenberg (commissioned score) Costumes: Robert Rauschenberg Date First Performed: May 6, 1956 3 EPITAPHS Opus Number: 4 Music: Early New Orleans jazz Costumes: Robert Rauschenberg Lighting: George Tacet Date First Performed: March 27, 1956

Photo: Paul B. Goode

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LITTLE CIRCUS Opus Number: 3 Music: Igor Stravinsky Set and Costumes: Robert Rauschenberg Lighting: John Robertson Date First Performed: June 6, 1955 CIRCUS POLKA Opus Number: 2 Music: Igor Stravinsky Costumes: Robert Rauschenberg Lighting: Marc May and John Robertson Date First Performed: March 15, 1955

Photo: Stephan

JACK AND THE BEANSTALK Opus Number: 1 Music: Hy Gubernick (commissioned score) Set and Costumes: Robert Rauschenberg Lighting: Marc May Date First Performed: May 30, 1954

Photo: Stephan

Aureole[edit]

Aureole, the Dance that Launched a Golden Age, Turns 50

The history of modern dance was never summed up more succinctly than when Laura Shapiro wrote in Newsweek, “In the beginning there was Martha Graham, who changed the face of an art form and discovered a new world. Then there was Merce Cunningham, who stripped away the externals and showed us the heart of movement.

“And then there was Paul Taylor, who let the sun shine in.”


The sun began to shine 50 years ago when Mr. Taylor created Aureole. It would go on to become the first Taylor dance to be licensed by a ballet company – the Royal Danish – and it would be performed by two of the greatest ballet dancers of the 20th Century, Rudolf Nureyev and Mikhail Baryshnikov. It was also the very last dance Mr. Taylor performed in 1974 when he brought the curtain down on his own 20-year performing career.

The Paul Taylor Dance Company celebrates the Golden Anniversary of this landmark work during its inaugural Lincoln Center season, which opens on March 13. Its original cast – Elizabeth Walton, Dan Wagoner, Sharon Kinney, Renée Kimball and Paul Taylor – will be honored during a gala performance and dinner on March 15.

New York State Theater[edit]

Here is the schedule for the Paul Taylor Dance Company's premiere season at the David H. Koch Theater at Lincoln Center, March 13 - April 1, 2012 (subject to change). * signifies New York Premiere. To purchase tickets, please call 212.496.0600 or click here.

week one[edit]

Tues., 3/13, 7pm: Aureole | Troilus and Cressida (reduced) | Brandenburgs | Piazzolla Caldera SOLD OUT Weds., 3/14, 7pm: Cloven Kingdom | The Uncommitted* | Beloved Renegade Thurs., 3/15, 7pm GALA: Mercuric Tidings | The Uncommitted* | Aureole Fri., 3/16, 8pm: Brandenburgs | Gossamer Gallants* | Piazzolla Caldera Sat., 3/17, 3pm: Roses | Gossamer Gallants* | Promethean Fire Sat., 3/17, 8pm: Cloven Kingdom | Big Bertha | House of Joy* | Beloved Renegade Sun., 3/18, 3pm: Mercuric Tidings | Big Bertha | House of Joy* | Company B

week two[edit]

Tues., 3/20, 7pm: Oh, You Kid! | Beloved Renegade | Brandenburgs Weds., 3/21, 7pm: Junction | 3 Epitaphs | House of Cards | Mercuric Tidings Thurs., 3/22, 7pm: Syzygy | Three Dubious Memories | Piazzolla Caldera Fri., 3/23, 8pm: Arabesque | Big Bertha | House of Joy* | Syzygy Sat., 3/24, 3pm: Arabesque | Three Dubious Memories | Cloven Kingdom Sat., 3/24, 8pm: Roses | The Uncommitted* | Esplanade Sun., 3/25, 3pm: Aureole | Troilus and Cressida (reduced) | Gossamer Gallants* | Syzygy

week three[edit]

Tues., 3/27, 7pm: Company B | Gossamer Gallants* | Promethean Fire Weds., 3/28, 7pm: Syzygy | The Uncommitted* | Esplanade Thurs., 3/29, 7pm: Aureole | Troilus and Cressida (reduced) | Beloved Renegade | Promethean Fire Fri., 3/30, 8pm: Junction | 3 Epitaphs | The Uncommitted* | Promethean Fire Sat., 3/31, 3pm: Oh, You Kid! | Big Bertha | House of Joy* | Esplanade Sat., 3/31, 8pm: House of Cards | Gossamer Gallants* | Brandenburgs Sun., 4/1, 3pm: Cloven Kingdom | Big Bertha | House of Joy* | Piazzolla Caldera

Aureole Golden Anniversary dinner etc.[edit]

Aureole had its origins during the Company’s engagement in Paris in April 1962. With time on his hands and a large studio in which to work, all the dance maker needed was music. That was suggested by his friend, Mark Rudkin, who recommended Handel concertos. Having used music by Bach in Junction the previous year, Mr. Taylor thus began his second collaboration with a Baroque composer. It was an unusual choice, as he related in his autobiography, Private Domain, since most modern choreographers were staying away from lyricism and melodic music. “Unable to resist quirkiness, and always eager to ignore trends, I’ve accepted Handel,” he wrote, “hoping to rankle anyone who thinks modern dance has to limit itself to modern music or weighty meanings.”


Mr. Taylor set out to make a simple, upbeat dance. “No puzzlements for folks to ponder, no stiff-necked pretensions from classic ballet, or even any of it steps,” he wrote. “Just old-fashioned lyricism and white costumes.” Even the title he chose was sunny. “Aureole” is the halo surrounding someone’s head when seen in front of a brilliant light.

Elizabeth Walton believes the dance was a reflection of the time it was made. “Aureole was choreographed when America was mostly a happy place,” she said. “The Kennedys were in office and things were looking very hopeful. That was all soon to change, of course.”


The choreographer devised lots of entrances and exits for the five dancers in order to suggest a larger space. Of his duet with Ms. Walton he wrote, “Even in this ‘pure’ piece, feelings are foremost… The duet is built on my own feelings for Liz – part fantasy and part real… I intend the duet to be easy and warm, also formal and distant… a reflection of a real relationship, one that, as usual, is loaded with inexplicable duplicities.”


Aureole may have been started near the Paris Metro, but it was finished on the Long Island Railroad, where, with the rest of the dance completed, Mr. Taylor sketched out his solo in stick figures on his way to a teaching job at Adelphi University. The shapes he could duplicate with his body made it into the dance. What distinguished the solo, according to Mr. Taylor – besides its demands on the left leg – was that it was an early adagio for a man, whereas in classical ballet, adagios were usually for women and the occasional prince worried that he wouldn’t meet the gal or swan of his dreams.

The dance maker responded to the hymn-like quality of Handel’s music by making his own role that of an earth father. “I have myself a pretty big image – Father Nature, religion, and the cosmos,” he wrote. As a performer, he found the hardest part of the solo to be the moment that might seem the easiest to the laymen – the “unselfconscious, friendly” walk from the wings to center stage before the solo begins. With no music and no dance steps to hide behind, he said, the walk scared him to death. (To this day, Mr. Taylor begins auditions by asking dancers to simply walk diagonally across the studio. One’s walk, he says, is as unique as a fingerprint, and far more revealing.)


Ms. Kinney did not see that solo until rehearsals at the American Dance Festival, which at that time resided at Connecticut College, just prior to the premiere there. “Paul always choreographed his solos last; that was the last thing we saw before stage rehearsals,” she said. “The adagio seemed to flow from him, one line to the next. It fit the piece and made the rest of it come together. It was extremely difficult but Paul filled the stage with his lines, body and presence. He had calmness and serenity and strength.” Mr. Wagoner added, “Paul is a tall man, with a long reach in the arms and legs. He was a natural mover and his body and legs seemed to fold and unfold with no limitations. It was as if he sent energy from his pelvis to the ends of the universe and then drew it back again.”


“I loved to watch the solo from the wings,” added Ms. Walton. “It requires an enormous amount of strength, control and flexibility. Many professional male dancers possess the strength, but not the flexibility. I have taught this solo to other dancers and seen them struggle mightily with movements that Paul performed effortlessly.”


Michael Trusnovec, the senior member of the Taylor Company, will dance Mr. Taylor’s role this season. Having danced both of Aureole’s men’s roles, he found the one Mr. Wagoner originated is the harder of the two. “It’s more difficult, more cardiovascular,” he said. “The jumping is harder, and the squatting is not for me; I’d rather not go down there too much! Paul’s part seems much more suited to the way my body moves. In other ways, it’s more challenging – finding the stops and stillnesses so the movement doesn’t become one flat line.” Michael has watched all the films he could find of Mr. Taylor dancing the role. “He had a larger-than-life movement quality that was unique. I try to capture what that may have felt like for him and bring that to the way I move.”

The one member of the 1962 Taylor Company who was not in the dance is long-time Rehearsal Director Bettie de Jong, who this year celebrates her 50th Anniversary with the Company. She did perform the famous solo once when Mr. Taylor could not go on, and substituted for Mr. Wagoner when he injured a calf muscle. For 50 years, she has gotten nervous every time she hears Handel’s music begin. “Because it was such an important dance in those days, I still get worked up,” she said. “Even though I wasn’t a regular in it, I got nervous for everybody else!”


Mr. Taylor described Aureole’s very first performance this way: “The curtain lifts, we depart from this world, find a far more vivid place, and then the curtain closes.” Then, he said, a tidal wave of applause swept over the dancers from an appreciative audience. “We thought we would have to take the bows in a hurry, before they stopped clapping,” he recently told Vanity Fair. “But they didn’t stop.”


“None of the troupe has any idea that this has been the first performance of a piece that we’ll be dancing hundreds and hundreds of times,” he wrote in Private Domain. “On five continents, in world capitals and Podunk towns, in North African desert heat, at the edge of Alaskan glaciers, in the moonlit Pantheon’s shadow, under banyan trees. With happy hearts and grapefruit ankles we’re to dance it in Rotterdam, Rosario, Riga, Rio, and Istanbul – in more corners of the globe than you can shake a leotard at. Aureole is to be performed in big, fancy opera houses and on shaky postage-stamp platforms, on slick parquet and splintery planks, on wax and linoleum, and broken glass. It’s to be danced with amoebic dysentery, bleeding hearts, and yellow jaundice, with sprained backs, split soles, torn ligaments, popped patellas, and a hernia or two… We’re to get quite tired, yet Handel never falters. He’s our novocaine.”

On March 13, Michael Trusnovec, Amy Young, Michelle Fleet, Francisco Graciano and Heather McGinley will join previous generations of Taylor dancers who have given countless performances of Aureole since 1962. Rooting them on will be the original cast and 2500 other viewers in a sold-out house at Lincoln Center. It’s a fitting way indeed to begin the 2012 season.

“I’m super looking forward to it,” said Mr. Trusnovec. “It’s going to be really, really fun!”

external links[edit]

Richard Tanner[edit]

... received his ballet training in Arizona, Utah, and New York at the School of American Ballet. In 1970, he joined NYCB, where he danced a wide variety of roles over the course of the next 10 years. In 1971, Mr. Tanner began choreographing ballets for the Company, including Octuor, Sonatas and Interludes, and Ancient Airs and Dances, among others. He has also choreographed for other companies, including Ballet West, Pennsylvania Ballet, and Miami City Ballet. Mr. Tanner served as Régisseur Générale at American Ballet Theatre from 1981 to 1983, and Associate Artistic Director of Pennsylvania Ballet from 1985 to 1990. He has staged Balanchine ballets world-wide for the George Balanchine Trust since 1984. Mr. Tanner coordinates the New York Choreographic Institute’s artistic initiatives, including the selection of choreographers and the bi-annual choreographic sessions.

Paul Taylor Dance Company[edit]

  • Paul Taylor II January 6-7, 2012, NYC Pace University Schimmel Center for the Arts
  • Paul Taylor March 14-April 1, 2012, NYC David H. Koch Theater
    • week 1
      • Weds., 3/14, 7pm: Cloven Kingdom | The Uncommitted* | Beloved Renegade
      • Thurs., 3/15, 7pm GALA: Mercuric Tidings | The Uncommitted* | Aureole
      • Fri., 3/16, 8pm: Brandenburgs | Gossamer Gallants* | Piazzolla Caldera
      • Sat., 3/17, 3pm: Roses | Gossamer Gallants* | Promethean Fire
      • Sat., 3/17, 8pm: Cloven Kingdom | Untitled New Work* | Beloved Renegade
      • Sun., 3/18, 3pm: Mercuric Tidings | Untitled New Work* | Company B
    • week 2
      • Tues., 3/20, 7pm: Oh, You Kid! | Beloved Renegade | Brandenburgs
      • Weds., 3/21, 7pm: Junction | 3 Epitaphs | House of Cards | Piazzolla Caldera
      • Thurs., 3/22, 7pm: Syzygy | Three Dubious Memories | Mercuric Tidings
      • Fri., 3/23, 8pm: Arabesque | Untitled New Work* | Syzygy
      • Sat., 3/24, 3pm: Arabesque | Three Dubious Memories | Cloven Kingdom
      • Sat., 3/24, 8pm: Roses | The Uncommitted* | Esplanade
      • Sun., 3/25, 3pm: Aureole | Troilus and Cressida (reduced) | Gossamer Gallants* | Syzygy
    • week 3
      • Tues., 3/27, 7pm: Company B | Gossamer Gallants* | Promethean Fire
      • Weds., 3/28, 7pm: Syzygy | The Uncommitted* | Esplanade
      • Thurs., 3/29, 7pm: Aureole | Troilus and Cressida (reduced) | Beloved Renegade | Promethean Fire
      • Fri., 3/30, 8pm: Junction | 3 Epitaphs | The Uncommitted* | Promethean Fire
      • Sat., 3/31, 3pm: Oh, You Kid! | Untitled New Work* | Esplanade
      • Sat., 3/31, 8pm: House of Cards | Gossamer Gallants* | Brandenburgs
      • Sun., 4/1, 3pm: Cloven Kingdom | Untitled New Work* | Piazzolla Caldera
  • Whether revealing mankind’s savage nature, expressing the ineffable sadness of a dysfunctional family, or pushing the physical bounds of human achievement, Paul Taylor moves audiences as masterfully as he moves dancers. This season Mr. Taylor creates three dances, bringing his total collection to 136! We will also celebrate the 50th Anniversary of Aureole, the dance that launched a Golden Age. For tickets, click here.
  • Gossamer Gallants
    • Music by Bedřich Smetana
    • Using movement inspired by insects, Gossamer Gallants offers a comedic view of mating rituals, in which the female of the species is often the stronger, predatory partner. "Taylor's bugs are dead funny. What makes this preposterous jape so satisfying is the dance vocabulary Taylor has invented for it.... It's a keeper." -- Robert Gottlieb, New York Observer
  • The Uncommitted
    • Music by Arvo Pärt
    • In a comment on the impermanence of many relationships in the 21st century, the dance looks at individuals who fail to create meaningful, lasting connections with other people. “Taylor reveals the meat of the human condition, and he likes it raw. The dance suggests a world in which loneliness is not exactly the same as being alone. As in many of Mr. Taylor's works, the dividing line is smudged." – Gia Kourlas, New York Times


Photos by Rick McCullough

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  • Three Dubious Memories
    • Music by Peter Elyakim Taussig
    • In an exploration of the subjective nature of memory, the protagonists in a love triangle recall their relationships with each other differently, illustrating that people tend to remember facts the way they want them to be. “Memories are not neat. They are subjective. Taylor has become a master of displaying how untidy life and its inherent relationships can be, especially as filtered through memory.” Rachel Strauss, Musical America Worldwide


Photos by Tom Caravaglia

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  • Beloved Renegade
    • Music by Francis Poulenc
    • A depiction of the experiences of an artist – “poet of the body and the soul” – described in Walt Whitman’s “Leaves of Grass.” Scenes from his life include tending to the afflicted, just as the poet nursed dying soldiers during the Civil War. His mortality foretold, the poet is embraced by a benevolent feminine spirit with “the sure-enwinding arms of cool-enfolding death.” "The best new choreography in 2008. Deeply moving... a work of philosophic as well as dramatic power. Mr. Taylor ranks among the great war poets. One of the great achievements of his long career and one of the most eloquently textured feats of his singular imagination." -- Alastair Macaulay, New York Times


Photos by Paul B. Goode

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  • Troilus and Cressida (reduced)
    • Music by Amilcare Ponchielli
    • Although based on one of Shakespeare’s bitterest plays, this is a wickedly funny travesty in which three Cupids laboring to awaken the passions of a pair of clueless protagonists find themselves the unwilling objects of drunken invaders’ affections. “Taylor’s funniest work to date dazzles with bright-spirited, belly-laugh humor [turning] Shakespeare’s bitter play

of love and betrayal into a hoot. At the root of his humor lies his astute observation of human nature involving romantic matters in which mere humans appear as stumbling, clueless oafs.” – Susan Broili, Durham Herald-Sun


Photos by Tom Caravaglia

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  • Promethean Fire
    • Music by Johann Sebastian Bach, orchestrated by Stokowski
    • The kaleidoscope of emotional colors in the human condition is displayed in a work in which dancers weave in and out of intricate patterns that mirror the way varied emotions weave themselves through life. A cataclysmic event leads to recovery and the triumph of the human spirit. “It has grandeur, majesty and spiritual dimension. It is also quite simply one of the best dance works choreographed by Paul Taylor. Just the sheer architectonics of the complex and contrapuntal patterns overwhelm the eye. [The dancers] are building blocks in the human cathedral that Mr. Taylor constructs uncannily and perfectly with such powerful emotional resonance.“ – Anna Kisselgoff, The New York Times


Photos by Paul B. Goode

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  • Arabesque
    • Music by Claude Debussy
    • A haunting work that evokes a distant past. The powerful female protagonist – perhaps a high priestess – robs a suitor of his sight, but after recovering, he leaves her sightless. “Fascinating. A mysterious world of archaic creatures and fleeting encounters. Fierce, impossibly swift dancing that blends earthy ferocity with skimming airiness.” – Susan Reiter, Newsday


Photos by Lois Greenfield

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  • Oh, You Kid!
    • Ragtime medleys of Tin Pan Alley, operatic and patriotic tunes
    • The title is a term of admiration from the early 1900s that sets the tone for a Coney Island-style revue of vaudeville numbers and a melodrama featuring a damsel in distress. The Ku Klux Klan is parodied, and a not-so-young eccentric dancer performs a grotesque hootchy-kootch for perhaps the millionth time. “An exuberant romp… Sheer and wonderful entertainment. But Taylor reminds us that the era of the Keystone Kops was also the heyday of the KKK.” – Anna Kisselgoff, New York Times


Photos by Paul B. Goode, Lois Greenfield

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  • Piazzolla Caldera
    • Music by Astor Piazzolla and Jerzy Peterburshsky
    • The essence of tango – the predatory dance from the brothels of early 20th Century Buenos Aires – is captured in a work with hardly a single tango step. Working class men and women confront each other in sizzling duets and trios, while a woman who has failed to find a partner collapses as if mortally wounded by a night without passion. “Stunning. Taylor looks at the attitudes implicit in the tango – as sexual game, as social identity – and reshapes them. It seethes and flares with sexuality and develops a huge erotic charge. One of Taylor's most astonishing (even for him) creations.” – Clement Crisp, (London) Financial Times


Photos by Paul B. Goode

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  • Company B
    • Songs sung by The Andrews Sisters
    • The turbulent World War II era is recalled through hit songs that depict an America surging with high spirits, but the dance reminds us that legions of soldiers never returned from battle. One young woman pines for a sweetheart who, thousands of miles away, embraces a fellow serviceman. “Evokes the exuberant rhythms of the '40's as well as the grim and persistent shadow of war. But even more vividly, it honors Taylor's magnificent dancers. Some of the most glorious dancing to be seen anywhere.” – Laura Shapiro, Newsweek


Photos by Paul B. Goode

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  • Brandenburgs
    • Music by Johann Sebastian Bach
    • One of Taylor’s magnificent collection of works set to music by a master of the baroque. The dance’s exuberance matches the ferocious energy of Bach’s spirited concertos. “Beauty is the only word for Brandenburgs [which] celebrates the good things in life. Such a radiant, seamless flow of invention that the choreography seems an entirely natural way of moving to this music.” – Mary Clarke, Manchester [UK] Guardian


Photos by Paul B. Goode

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  • Syzygy
    • Music specially composed by Donald York
    • The title refers to the nearly straight line configuration of three or more celestial bodies in a gravitational system. Accompanied by an urgent score, dancers hurtle across the stage like so many bodies in space – orbiting, eclipsing and colliding into each other. “Syzygy comments on life… [It] emerges as a major piece of movement invention – a ferocious outpouring of energy, full of jiggly, gyrating body shapes new to Mr. Taylor's work.” – Anna Kisselgoff, New York Times


Photos by Paul B. Goode

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  • Roses
    • Music by Richard Wagner and Heinrich Baermann
    • Romantic duets illustrate youthful ardor and love’s first blush, while another duet suggests a more mature relationship characterized by support, security and the anticipation of one another’s needs. Whether these are all distinct relationships or different stages of the same one is for the viewer to decide. “Beautiful in its visual effects, poetic in its natural flow of movement. The piece is an ode to tenderness and blooms like a flower.” – Anna Kisselgoff, New York Times


Photo by Lois Greenfield

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  • Mercuric Tidings
    • Music by Franz Schubert
    • A whirlwind of movement invention, propelled by Franz Schubert’s youthful first and second symphonies. “Danced for the sheer joy of it, the controlled expenditure of animal energy, poetry expressed as a time and motion study, young people cavorting with the kinetic propensities of young godlets.” – Clive Barnes, New York Post


Photos by Paul B. Goode

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  • House of Cards
    • Music by Darius Milhaud
    • A look back at a matriarch and family, redolent of the 1930s. “One of the most stylish and warm-hearted dances in the Taylor repertory. The house of cards is possibly life as nostalgically remembered from a 1930’s childhood… and the jazzy influences Milhaud infused into this score contribute to the merriment onstage.” Anna Kisselgoff, New York Times


Photo by Tom Caravaglia

  • Cloven Kingdom
    • Music by Arcangelo Corelli, Henry Cowell and Malloy Miller
    • Just below the surface of humans’ civilized veneer lurks an animal nature that cannot be ignored. During a cotillion ball where members of high society are formally attired, an orderly, baroque score vies for dominance with urgent, percussive 20th-Century music, reflecting the struggle between our gentler and more savage natures. “A sharp comedy of manners [about] the conflicting natures within people and, more specifically, the darker side that surfaces under the veneer of gentility. There’s so much movement-invention that it is hard to take everything in.” – Anna Kisselgoff, The New York Times


Photos by Paul B. Goode

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Title: Cloven Kingdom Length: 0:32 minutes (492.37 KB) Format: MP3 Stereo 44kHz 128Kbps (CBR)

  • Esplanade
    • Music by Johann Sebastian Bach
    • Taylor’s most famous work is a celebration of natural movement that – typical of the choreographer’s trademark duality – also delves deeply into an array of human emotions. Its sections display youthful exuberance; dysfunctional family relations; and romantic love. “A classic of American dance. It confers a mythic dimension on ordinary aspects of our daily lives – it’s unfaked folk art. The dancers, crashing wave upon wave into those falls, have a happy insane spirit that recalls a unique moment in American life – the time we did the school play or we were ready to drown at a swimming meet. The last time most of us were happy in that way.” – Arlene Croce, The New Yorker


Photos by Paul B. Goode

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  • Aureole
    • Music by George Frideric Handel
    • This lyrical, light-hearted dance, with a title that refers to a brightness around a person’s head, contains romance and a brilliant male solo emphasizing the performer’s virile grace. Its premiere 50 years ago launched a Golden Age. “Aureole, perhaps Taylor’s first major success, was the first time he combined his loping antelope style of movement with baroque music, and its grace and individuality instantly spun into orbit throughout the world of dance. There is an interestingly variegated luminosity of spirit that recalls fluffy clouds on Shakespeare’s summer’s day.” – Clive Barnes, New York Post


Photos by Paul B. Goode

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  • Junction
    • Music by Johann Sebastian Bach
    • The first dance for which Taylor paired his avant garde movement with music composed two centuries earlier: Bach’s Unaccompanied Cello Suites. Dancers resembling exotic tropical birds in their in multi-hued unitards alternate between restrained movements and exuberant outbursts: pedestrians at the intersection of Tranquil Street and Turmoil Boulevard. “Taylor meets Bach on Bach’s terrain, capturing the music’s noble muscularity to perfection. What’s fascinating about Junction from a historical perspective is that it shows how quickly and completely Taylor found his voice. Junction is a manifesto.” – Nancy Goldner, Philadelphia Inquirer


Photo by Jack Mitchell

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  • 3 Epitaphs
    • Music: Early New Orleans Jazz
    • The home-grown American art forms of jazz and modern dance combine in the earliest Taylor dance still active in the repertoire. The timeless nature of physical humor is proven by the droll movements of primordial beings who are covered from head to toe, rendering them unidentifiable – which prompted Martha Graham to dub Taylor “the naughty boy of modern dance.” “A parade of faceless, gray-leotarded figures to early New Orleans jazz – funeral music – is one of the funniest dances anywhere. An essay on posture and gesture – and genius” – Janice Berman, Newsday


Photo by Paul B. Goode

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Why God Never Received Tenure[edit]

  1. He had only one major publication.
  2. It was in Hebrew.
  3. It had no references.
  4. It wasn't published in a refereed journal.
  5. Some even doubt he wrote it himself.
  6. It may be true that he created the world, but what has he done since then?
  7. His cooperative efforts have been quite limited.
  8. The scientific community has had a hard time replicating his results.
  9. He never applied to the Ethics Board for permission to use human subjects.
  10. When an experiment went awry, he tried to cover it up by drowning the subjects.
  11. When subjects didn't behave as predicted, he deleted them from the sample.
  12. He rarely came to class, just told students to read the book.
  13. Some say he had his son teach the class.
  14. He expelled his first two students for learning.
  15. Although there were only ten requirements, most students failed his tests.
  16. His office hours were infrequent and usually held on a mountaintop.

Artists of the Teatro Colón[edit]

Over the years the Teatro Colón has hosted:

composers[edit]

conductors[edit]

singers[edit]

theatres[edit]

Tivoli Theatre[edit]

Broadway[edit]

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