Martha Graham, page 54
“pruned her teaching”: Coleman, “Martha Graham Still Leaps Forward.” Hill and Schonberg danced with Graham from 1919 to 1931.
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“[S]he is one”: Bell, “Echoes of the New York Stage.”
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“Several months ago”: Editorial, “American Art and Foreign Fetishes,” Dance Magazine, June 1927; “St. Mark’s Church Gives Dance Ritual for Isadora Duncan,” New York Times, October 17, 1927.
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“young American composer”: Duncan, My Life, 339–43.
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“the theatre of”: Isaacs, “The Great World Theatre,” 565–70.
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“emphasis on dance”: Conner, Spreading the Gospel of Modern Dance, 88–90.
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“flaunting the word”: Gilder, Theatre Arts Anthology, xiii.
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“a forum”: R. Miller, “George Beiswanger and Dance Criticism,” 50.
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“effective and very”: “In Modern Art the Form’s the Thing,” unsigned review of A Primer of Modern Art by Sheldon Cheney, New York Times, May 4, 1924.
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“The rhythm of mere”: Cheney, A Primer of Modern Art, 56.
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“modern art is more”: LH refers to A Primer on Modern Art as one of the several “books that influenced Martha and me.” It remained in print until 1958. LH interview, 1952, cassettes 2 and 3, JRDD, *MGZTC 3-1239.
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After A Primer of Modern Art: Edith J. R. Isaacs Papers, Wisconsin Center for Film and Theater Research; Sidney M. Shalett, “Theatre Arts through the Years,” New York Times, January 19, 1941.
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“range of taste”: Gilder, Theatre Arts Anthology, xvi.
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“spiritual mother”: Lewis Myer Isaacs (son of Lewis Montefiore Isaacs and Edith Isaacs), interview by Agnes de Mille, 198-?, JRDD, *MGZTC 3-1624.
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“outraged…as if possessed”: GS, interview by Agnes de Mille, recorded May 25, 198-?, cassette 2, JRDD, *MGZTC 3-1637.
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“finding essences”: Schippers, Reflections of John Joseph Martin, 105.
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At the Little Theatre: Arthur Honegger, Sept Pièces pour Piano, Paris: Les Editions de la Sirène, 1921, series 2, item f. 91, LHCM, JPB 83-60.
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“to [the] mad music”: Dance Magazine, December 1927; program for “Martha Graham assisted by Louis Horst at the Piano, the Little Theatre, New York, Sunday evening, October 16th, 1927,” MGC.
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Born in Bridgeport: Introduction to Lucile Marsh Papers, JRDD, *MGZMD 210; Conner, Spreading the Gospel of Modern Dance, 97–98.
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“Martha Graham needs”: Lucile Marsh, New York World, October 16 and 17, 1927.
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At the Herald Tribune: Conner, Spreading the Gospel of Modern Dance, 100.
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“I had to judge”: Mary Watkins Cushing, interview by Walter Terry, August 10, 1974, JRDD, *MGZTL 4-816.
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What she “really thought”: MW review of MG concert at the Little Theatre, New York Herald Tribune, October 17, 1927.
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“ ‘got’ more and more”: Dunning, “Critic’s Notebook.”
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Martin was born: Schippers, Reflections of John Joseph Martin, 1–70; Conner, Spreading the Gospel of Modern Dance, 98–99; Morris, “Modernism’s Role in the Theory of John Martin and Edwin Denby,” 169–70.
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He studied classics: Charles Weidman, interview by Don McDonagh, June 28, 1971, disc 2, JRDD, *MGZTL 4-2534.
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“degraded by having”: Mott, A History of American Magazines, 1865–1885, 198.
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“Well, fifteen dollars”: Schippers, Reflections of John Joseph Martin, 60.
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He perceived her: Excerpts from JM articles in the New York Times, February 13, February 19, March 18, and April 23, 1928.
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“As new waves”: Beiswanger, Three Essays in Dance Aesthetics, 12.
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“[T]he passion of”: “The Dance: One Artist—Martha Graham’s Unique Gift and Steady Development,” March 10, 1929.
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9: NEIGHBORHOOD PLAYHOUSE
The Denishawn Company: Schlundt, Professional Appearances, 54–61.
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“The minute they”: Pease, “Louis Horst,” 21.
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“The Shawns”: Cohen, Doris Humphrey, 73.
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“soul-wrecking”: Charles Weidman, interview by Don McDonagh, June 29, 1971, JRDD, *MGZTL 4-2535.
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“a hot-house flower”: Cohen, Doris Humphrey, 73.
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“it’s just wonderful”: “Denishawn Dancer on Leave,” Variety, October 2, 1927.
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“tired of darling”: Cohen, Doris Humphrey, 73–75.
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“Martyr Martha”: King, Transformations, 51.
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“The modern artist”: V. Stewart, Modern Dance, 70.
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“Doris feeling her”: Shelton, Divine Dancer, 219–20.
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Humphrey’s dance program: “Dance Novelty Given by Doris Humphrey,” New York Times, April 16, 1928.
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“Through the wild”: Siegel, Days on Earth, 65–69.
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“The Banshee”: Videotaped performance at the Sylvia and Danny Kaye Playhouse, New York City, May 28, 1993, with Rebecca Gotterer as The Banshee, JRDD, *MGZDIF 2780.
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“rose from his stool”: Cizmic, “Embodied Experimentalism and Henry Cowell’s The Banshee,” 452, 458n10.
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“a shaft of light”: Stodelle, “Steel and Velvet.”
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“the result of”: LH, “Discussion of the Musical Selections of a Young Dancer.”
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“was the first original”: Stodelle, The First Frontier, 12.
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In other highlights: Redfield, review of La Musique, 136–37.
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“handling a chiffon drapery”: “Nickolas Muray Looks at the Dance: Martha Graham,” Dance Magazine, July 1928.
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“modernistic lyricism”: Ibid.
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Graham wearing a: MG sat for many clothed and unclothed portraits “professionally and just for the fun of it” by the Hungarian celebrity photographer Nickolas Muray, who admired her as an “inexhaustible creature…sweet, mobile, like an Indian goddess…” Nickolas Muray Papers, Archives of American Art, microfilm reels 4392–93.
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“new vigor and animation”: “Final Graham Recital: Dancer’s Program Last Night Proves Most Interesting of All,” New York Times, April 23, 1928; provenance for Immigrant, series 2, items f. 245 and f. 246, JPB 83-60, LHC.
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“Bavarian wood carvings”: “Nickolas Muray Looks at the Dance: Martha Graham,” Dance Magazine, July 1928.
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“one felt the surgings”: “Martha Graham Dance Program Wins Applause—New Numbers Are Warmly Received by Eager Crowd at the Little Theatre,” New York Herald Tribune, April 23, 1928.
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“she looked”: Charles Weidman, interview by Don McDonagh, June 29, 1971, JRDD, *MGZTL 4-2534. One thinks of precedents: Alfred Stieglitz’s 1907 photograph Steerage; and Sergei Eisenstein’s 1925 Strike, his self-described “first proletarian film…in revolutionary form.”
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Two excerpts: Leo Ornstein citations, biography, discography, and Poems of 1917 audio files on website by his son, Severo, and grandson, David, http://www.poonhill.com/.
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The score: Crane’s poem “The Dance” was first published in the Dial Magazine, New York City, 1927; Crane, Complete Poems & Selected Letters, 751.
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“repercussive ferocity”: “Modern Music Given” [recital by Leo Ornstein of Poems of 1917 at Steinway Hall], New York Times, March 17, 1930.
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“nunlike figure”: “Martha Graham Dance Program Wins Applause,” New York Herald Tribune, April 23, 1928.
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“[her] open mouth”: de Mille, Martha, 88.
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“I’ve had a year”: Cohen, Doris Humphrey, 83.
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“[The concert group]”: “A Letter from Doris to a Prospective Member of the Group,” October 31, 1929, https://web.archive.org/web/20160303165429/http://www.dorishumphrey.org/a-letter-from-doris/; see also King, Transformations, 48–49.
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“chanting passages”: “Symphonic Festival,” New York Times, April 1, 1928; “Plans of Musicians,” New York Times, April 15, 1928.
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The towering: Davidson, Between Sittings, 238: “I had never before designed any stage sets…I attended the first performance and it was thrilling to see the full-scale realization…”
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“Martha and Charles”: TS, Reminiscences, January 30, 1969, disc 12, JRDD, *MGZTL 4-69.
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The serious: Danza, “The Neighborhood Playhouse,” 13n14, cites the scholarship of Linda J. Tomko and Melanie Neldo Blood on the tradition of American modern dance at the Neighborhood Playhouse.
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The sisters followed: Crowley, The Neighborhood Playhouse, 4–5.
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In 1907: “Festival Theatre for the East Side—Neighborhood Playhouse Soon to Open to Carry on Settlement Dramatic Work,” New York Times, January 25, 1915.
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“respond[ing] in a natural”: Danza, “The Neighborhood Playhouse,” 5–9.
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Alice focused upon: “Organizational History” section, Neighborhood Playhouse scenarios, 1914–1934, JRDD, *MGZMD 104.
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In 1920, Alice: “Endowed Theatre Is to Close Soon,” New York Times, April 11, 1927.
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Over the next half dozen years: Alice Lewisohn Crowley gift, ca. 1916–1931, Billy Rose Theatre Division, NYPL, *T-VIM 2010-056; “The Story of the Neighborhood Playhouse,” New York Times, December 20, 1925.
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“theme of the brotherhood”: S. Young, “Forward and Backward,” 316.
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“its strange effect”: Paul Rosenfeld, Modern Music Magazine, November–December 1940, 30.
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By 1925, the Neighborhood: “The Story of the Neighborhood Playhouse,” New York Times, December 20, 1925; Danza, “The Neighborhood Playhouse,” 5, 6.
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“spent in fulfillment”: Variety, April 13, 1927; “Endowed Theatre Is to Close Soon,” New York Times, April 11, 1927; C. Gray, “The Drama Queen of the Lower East Side.”
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“We found our lives”: Lewisohn, “Essence of the Mohammedan East.”
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“wild dissonances”: Peter Laki, “Ernest Bloch, Israel Symphony,” written for the concert Forged from Fire performed May 30, 2014, at Carnegie Hall, https://americansymphony.org/concert-notes/ernest-bloch-israel-symphony/.
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“the modern stage”: JM, “The Dance as ‘Theatre.’ ”
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“these orchestral dramas”: Crowley, The Neighborhood Playhouse, 240.
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“gesture built on”: Irene Lewisohn, “Drama and the Unseen Currents,” Progressive Education Quarterly, n.p., New York, January 1931.
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“an extremely busy”: JM, “The Dance: A New Synthesis.”
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“third [annual] experiment”: Atkinson, “Dance and Music in Dramatic Form.”
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“all-but-forgotten”: Kisselgoff, “All-But-Forgotten Pioneer.”
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“oval-faced”: O. Holmes, ed., Motion Arrested, 258.
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In 1928, Ito: “The Dance: A Much-Heralded Artist,” New York Times, November 4, 1928.
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The eldest: Carruthers, “Translation of Fifteen Pages,” 32–33; Cowell, “History of Michio Ito,” 1; Prevots, Dancing in the Sun, 179.
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“did I see total art”: K. Porter, “As an Oriental Looks at Art”; Prevots, Dancing in the Sun, 179–80.
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“five miles out”: Carruthers, “Translation of Fifteen Pages,” 33: “I remember Margaret [sic] Wigman, who later became famous as the producer of Neuer Tanz, was also in my class…”
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“a nest of artists”: Carruthers, “Translation of Fifteen Pages,” 36.
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“at a time when”: Ashton, Noguchi: East and West, 24.
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“pining for hieroglyphs”: Fenollosa and Pound, The Chinese Written Character, 2–3, 11–14.
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“perfect and lonely”: Longenbach, “The Odd Couple—Pound and Yeats Together.”
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“power of Noh”: Fleischer, Embodied Texts, 180.
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“I am very fond”: Pound, Selected Letters, 63.
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“My play is made”: Yeats, Essays and Introductions, 224.
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“ ‘Please help me’ ”: Carruthers, “Translation of Fifteen Pages,” 39.
