The Development of an Asian Archive in the Dance Collection of the Performing Arts Research Center, New York Public Library, Lincoln Center

1977 ◽  
Vol 9 (2) ◽  
pp. 33-35
Author(s):  
Genevieve Oswald
Keyword(s):  
New York ◽  
Performing Arts ◽  
Public Library ◽  
Research Center ◽  
York Public Library ◽  
New York Public Library ◽  
Lincoln Center

Dieter Hacker's Mask for Timon of Athens

1995 ◽  
Vol 36 (2) ◽  
pp. 89-90
Author(s):  
GJW
Keyword(s):  
New York ◽  
Performing Arts ◽  
Public Library ◽  
Cultural Center ◽  
Stage Design ◽  
York Public Library ◽  
New York Public Library ◽  
Lincoln Center ◽  
The One ◽  
Timon Of Athens

For the well-received 1990 Bochum Schauspielhaus production of Shakespeare's Timon of Athens, Dieter Hacker, one of Germany's leading artists and stage designers, created fifty-four masks, including the one on the opposite page for Timon himself (Figure I). This mask, Hacker's designs, and photographs of the production were seen in the recent exhibition “Contemporary Stage Design from German and Austria” at the New York Public Library for the Performing Arts, Lincoln Center, presented in collaboration with the Goethe House and German Cultural Center in New York.

Impressions After an Exhibition

Tempo ◽  
1972 ◽  
pp. 2-9
Author(s):  
Claudio Spies
Keyword(s):  
New York ◽  
Performing Arts ◽  
Public Library ◽  
Research Library ◽  
York Public Library ◽  
New York Public Library ◽  
Public Property ◽  
Positive Sense ◽  
90Th Anniversary ◽  
Lincoln Center

During these summer months the New York Public Library has been holding an exhibition at the Research Library of the Performing Arts, Lincoln Center, of manuscripts, drafts, annotations, letters, photographs, posters, objets, objets d'art, and other memorabilia selected from Stravinsky's legacy, and lent by his widow. The exhibition is unprecedented with respect to the collection of objects on display—since, for one thing, it is presumably only after so public a figure's demise that an assortment of this kind becomes open to the possibility of being thus exhibited—although a number of items had been familiar in published form. It is also, I conjecture, the first in a potential succession of exhibitions (depending, primarily, upon the eventual location of, and time at which, the entire legacy of these materials may become, as is to be hoped, in the most positive sense, public property), and it was mounted in conjunction with a Stravinsky Festival celebrating the 90th anniversary of the composer's birth.

Somaticist in the dance archives: Exploring Jerome Robbins’ diaries through somatics

2020 ◽  
Vol 12 (2) ◽  
pp. 229-238
Author(s):  
Hiie Saumaa
Keyword(s):  
New York ◽  
Performing Arts ◽  
Public Library ◽  
Scholarly Work ◽  
York Public Library ◽  
New York Public Library ◽  
Short Piece ◽  
Lincoln Center

In this short piece, I highlight the question of how to bring somatics skills acquired in a somatics class to bear upon other life contexts. I use the example of scholarly work: I show how I use somatic methods as I conduct research in the archives of the choreographer Jerome Robbins (1918–98), housed at the Jerome Robbins Dance Division of the New York Public Library for the Performing Arts at Lincoln Center. I suggest that we need to pay more attention to the question of how students and practitioners could bring physical awareness into their various life scenarios and tasks. I propose that if we learn how to transfer our somatic knowledge into different life contexts, our lives can become more embodied and we can tap into the knowledge that emanates from the physical self.

Dialogues: Genesis and Concept of Human Writes

2010 ◽  
Vol 42 (2) ◽  
pp. 3-10 ◽  
Author(s):  
Kendall Thomas ◽  
Thomas Keenan ◽  
Mark Franko
Keyword(s):  
New York ◽  
Human Rights ◽  
Performing Arts ◽  
Public Library ◽  
York Public Library ◽  
New York Public Library ◽  
Moving Images ◽  
Dance Company ◽  
Video Documentation ◽  
Lincoln Center

The following is a transcription of the presentation by Kendall Thomas, co-creator with William Forsythe of the performance installation Human Writes, followed by a discussion with Thomas Keenan and Mark Franko. Kendall Thomas's talk was given simultaneously with a screening of a silent video documentation of the work. (The reader can find moving images of Human Writes at <http://www.art-tv.ch/human_writes.html>). The panel “Rights to Move: Choreographing the Human Rights Struggle,” of which this discussion was a part, also included the participation of Leah Cox, dancer of the Bill T. Jones/Arnie Zane Dance Company. The event was curated and moderated by Mark Franko and produced by Alan Pally, and it took place at the Bruno Walter Auditorium of the New York Public Library for the Performing Arts, Lincoln Center, on October 12, 2009.

Paul Robeson, Will Vodery's “Jubilee Singers,” and the Earliest Script of the Kern-Hammerstein Show Boat

2000 ◽  
Vol 41 (2) ◽  
pp. 51-70 ◽  
Author(s):  
Scott McMillin
Keyword(s):  
New York ◽  
Performing Arts ◽  
Early Stage ◽  
Public Library ◽  
York Public Library ◽  
New York Public Library ◽  
Show Boat ◽  
Principal Parts ◽  
Aunt Jemima

An early stage in the writing of the Kern-Hammerstein musical Show Boat is captured in a typescript marked “from the Ziegfeld Collection” in the Theatre Collection at the New York Public Library for the Performing Arts. The script, #7430 in the Library numbering, is undated, but Paul Robeson, Elizabeth Hines, and Guy Robertson are penciled in for the roles of Joe, Magnolia, and Gaylord, with “Aunt Jemima” (Tess Gardella, in her famous blackface role) set for Queenie, Norma Terriss for Ellie, and Andy Tombes for Frank. These are principal parts. Magnolia is the ingenue who will fall in love with the dashing, undependable Gaylord, a gambler, in Act 1 and then will grow up to become a singing star after her marriage fails in Act 2; Ellie and Frank are performers on the show boat; Queenie is the boat's cook, and Joe—the part intended for Robeson—is her husband. As yet uncast are Julie, the leading actress who is forced off the show boat when it is discovered that she is mulatto, and Magnolia's parents, Cap'n Andy Hawkes and his shrewish wife Parthy.

scholarly journals Too hot for the library: access to films with sensitive content

2021 ◽  
Author(s):  
Olivia Fay Wong
Keyword(s):  
New York ◽  
Performing Arts ◽  
Public Library ◽  
Distribution Center ◽  
Negative Stereotypes ◽  
York Public Library ◽  
Film Distribution ◽  
New York Public Library ◽  
Sexually Explicit ◽  
Film And Video

This thesis explores decisions on access to collections with sensitive content through a case study analysis of the library principles and archival practices applied to the films from the Youth Film Distribution Center (YFDC). These films are overseen by the Reserve Film and Video Collection at The New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center. The Reserve Film and Video Collection has been the principal circulating audiovisual department for The New York Public Library since the 1950s. The objective of this thesis is to explore processing decisions for films with sensitive content (e.g. films promoting negative stereotypes of their subjects or featuring violent or sexually explicit content). The thesis offers an historical overview of the Youth Film Distribution Center and outlines the processing decisions surrounding levels of access for the YFDC title Seeing (1972).

scholarly journals Ultreya

2021 ◽  
Vol 3 (1) ◽  
pp. 39-62
Author(s):  
Raúl Sánchez-Reseco Mateos-Aparicio ◽  
María Jesús Mateos Mateos
Keyword(s):  
New York ◽  
Performing Arts ◽  
Public Library ◽  
York Public Library ◽  
New York Public Library

En la New York Public Library for the Performing Arts, dentro de la Music Division, encontramos el fondo denominado Guide to the Neighborhood Playhuse Scores, 1919-1931 and undated [signatura 04-4019]. En él, se conservan unos papeles manuscritos por el músico alemán Kurt Schindler que contienen una transcripción del famoso himno al apóstol Santiago «Dum Pater Familias», perteneciente al Codex Calixtinus. Ante estos materiales, este artículo persigue tres objetivos claros. Primero, presentar estas fuentes inéditas que complementan los estudios sobre la relación de Schindler con España. Segundo, especular sobre el propósito de las mismas y su relación con la Neighborhood Playhouse de las hermanas Lewisohn. Tercero, comparar el himno de Schindler con otras transcripciones disponibles en la época, en busca del posible modelo utilizado por el músico alemán.

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