MARCH,

1962

39 a \!'onderflrl experience. Too bad r.oLr I think that the onlv wav rve can don't stand a .han.e ro trv it. \'ou to .find some successfo. \.ouns lop. leat'n first of all discipline, Now' [or a dancersin the concert field is in coiconcert to beein iir.e' or ten rriinutes laboration of some kind. Either \.ou late is standard procedtrre. and if vou should collaboratewith each othei in al e not quite readv betrt'een dances. sma.ll grou.psor affiliate .vourselfwith t h e , v ' l l h o l d t h e c L r r r a i nf o r v o u . T h e r e an lnstltutron or a company which has rl'as nothins like this in vaudeville. some opportunities to offer. It hurts Yotr learned to be esact. ','ou had to me to seesome young dancerswho are be there. The curtain rvent rrp. and if so eager to perform that thev will ac_ vou rvere not there thev plal'ed the cept some of the sporadic things that music anvrvav. and nobodv cared exare offered. Maybe an individual cept the manaqer w'ho came tearing dancer decides to give a concert once back from the front and said tuherE a y,earand gets_agroup of people to\t'as so and so. There was no such ge.ther ivho probably have not workthinq as holdinq the curtain. ed with her before, who do not underThe opportunities \4'e had were p.land.herapproach, and the.vall work r r n i q u e , a n d t h e v a r e n o t d u p l i c a t e d Irke dogs and then they give it, and . now. Denishawn was a large companv. that's the end of it. This ls not what it had somethins like fifteen dancers I .p9u., by cbllaboration. I m"an a or so and the two stars and toured collaboration with a pfan of continuity. vear after vear. Thev also wenr ro Th.ere are opportunities for small enine Orient two years where I ,*,ent sembles,small groups, two to three, at with them. They were very generous; !hg. most four, in this country where they gave me and other people solo rndividual initiative would count for work. They composed dances for me, something. ft won't count for much if also they allowed me to compose you..go_off and bury yourself in a dances of mv own and present them studio. It's a big country, and there on their programs. I don't know of are lots of collegesand inititutions of an,v companv which will allow its various kinds where there are dates to members all these different thinss and be had for anywhere from $100 to keep them rvorking the vear round and $300 or 9400 each. Now this would also sive them teaching opportunities. gnly take care of a few people, but We have to adjust to new times, and these opportunities are there. this is an important question about You must plan realistically.The wav rvhich I have some opinions. tr.ot to. it, it seems to me, is to Some Practical Advice for the Young Dancer Everybody wants to dance, just as I did. I know you do. I know that all the young dancers in all the studios want to dance. How are you going to do this now? There are a few companies. but you'll have to wait till these people retire before you can get in. By that time you rvill be creaking in your bones. So there must be other *a.I:. -First of all. I think it is very unlikely_-that you can do anvthing alone. There are a few I know wh6 have made a name for themselves and are able to function alone; that is. thev have a studio and settle themselves in it, work all alone. This is the mosr difficult way to do it and the least Iikelv to make a success unless you are a genius, and genius is scarce. This is apt to strike the young dancer as being very desirable, beciuse the ego ls very strong, our sense of independence. You think, "I'll do something bv mvself ; I'r'e sot ideas." The surge of vouth and vitilitv and evervthing leads you to make this error sometimes, but I don't belier,'e it will work verv well.

l'ou're^going to find rhat people drift ?way from each other becauie there plat,. there is no f"l;;;- for ir, il "", norhing to there's build on. Also, in the. pursuit of a general career rvhich might include ,ori. p"r_ formances here i.s r.,.ellas elsewhere, it is very heipful to ally yourself with some center in the senseof a studio, institution, people-.Juilliard is a very Sg"d example of a valuable center where vou have sen ices - to put it r,'erycoldly - of various kinds. There is the Placement Bureau; there is a personal interest in your welfare and w,hat you are going to do, lvhat your plans are, and it is a center where opportunities come, and questions are asked about who is availible for jobs and performine. One of the "saddest things, I think, is to be a drifter in this tilfa. If vou go from studio to studio looking jfor something you have never quite fJund. and you never stay in any- place long enough to make a mark, then you havE n9 9ne really to help you, no one to advise you, or to be concerned about what becomesof you. You are alwavs a new.student, and you don't stay long enough to form any attachments. I am a. greal believer in alliances, in plannlng, in cooporation. My advise is: don't-try to do it alone, don't trv to do whole programs by yourself.. Get other people to collaborate. They will -do aim with a hamme_r.you are eoing to supply new ideas, more audiencei and strike New York City with whar you so forth. have. You ar.e .going to do a whole This is all about dancing on the program with vour choreography,and concert stage.But there are other ways you're golng-to put it on the y stase of functionlng. There is the teaching Ior one pertormance, and the result field. There is the show-business. there will be first of all that you will lose are the ballet companies and there is Toley because everybody always .qoes television. These are all of varying dein for too much rehearsing,too much grees of value. One of the mosi imcostuming,. -tm much musii, too many dancers. Also, you are likelv to win the disapproval of people and critics; becaus€ there are very few young dancers who can sustain a whole proglam with just their pieces and their EDITORS:Lois Balcom,Harry Bernslein, ideas. Young danceis don't have LouisHorst, Doris Rudko,Robert Sabin, enough resourcesto hold the attention. Walter Sorell, ErnesfineStodelle, Ralph Now there is, of cours€, a difference Taylor. between the audience in ltew york and in the rest of the country. This is ASSOCIATE EDITORS: Louise Gutha. -verv sophisticated audience, prob- man, Jennie Schulman,Lelia K. Telberg, 1!ty much -more so than in Europe. Arthur Todd. They see absolutely everything. What would not be acceptable here is ac- MANAGING EDITOR:Louis Horst. ceptable there very often. It can be simpler, less sophisticated.But if you Publishcd monthly from Scphmbor lo M.y, bi-rnonthly from . Junc to Scplcmbcr by Thc 31e going to go on with any such Dancc Ob:crvcr, Inc. 8or 473, Mrdiron Squarc ideas. this had better be with a plan. S t r t i o n , N c w Y o r l 1 0 , N . Y . R a t c : T w o d o l b r u This businessof iust one shot some- and fifiy ccntt pcr ycar; thirty ccntr pcr copy. rvhere isn't going- to work. You will Copyright 1962 by thc Dancr Obuvlr. be discouraged,j'or', will lose money.

DANCE

OBSERVER

dance observer

also they allowed me to compose dances of mv own and present them on their programs. I don't know of an,v companv which will allow its members all .... MANAGING EDITOR: Louis Horst. Publishcd monthly from Scphmbor lo M.y, bi-rnonthly from . Junc to Scplcmbcr by Thc. Dancc Ob:crvcr, Inc. 8or 473, Mrdiron Squarc.

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