Martha Graham, page 76
Carman, Bliss, 31
Carnegie, Andrew, 10, 103, 171
Carnegie Hall, New York, 70, 110, 115, 122, 146, 150, 159, 230, 401; Graham’s classes at studio in, 104, 104–5; offices, apartments, and studios built in, 103–4
Carpenter, Edward, 55
Carson, Anne, 151
Cartier, Jacques, 207
Cassius Longinus, 72
Catullus, Poem 64, 372–3
Caufield, Lin, 400
Cave of the Heart, 360, 372
Celebration, 129, 280, 309
Ceremonials, 251–3, 254, 274
Chávez, Carlos, xii, 259, 263–4, 346, 357–8, 376; Prelude by (Graham’s dance also known as Salutation), 263, 264, 274, 275, 462n
Cheney, Sheldon, 109–10, 203
Chicago Daily News, 69
Chicago Daily Tribune, 69
Chicago Evening Post, 59
Chopin, Frédéric, 51, 74, 291
Choreutics (Laban), 193
Choric Dance for an Antique Greek Tragedy, 266, 269–70
“Chorus of the Unemployed,” 281
Chorus of Youth—Companions, 262–3
Christensen, Harold, 289
Christensen, Lew, 289, 290
Christian Science, 26, 36
Christian Science Monitor, 289
Chronicle, xiii, 224, 301–6, 303, 317
Church Service in Dance, 50
Civic Repertory Theatre, New York, 103, 142
Civil War, 6, 209
Civil War Songs, 209
Clytemnestra, 235, 403
Coburn, Alvin Langdon, 28, 125
Cohan, Robert, xvi, 377, 387, 388
Cole, Miriam, 342
Coleridge, Samuel Taylor, 350
Color Harmony, 116, 117
Columbiad, 331
Conductorless Symphony Orchestra, 146
Conkling, Harold, 99
Contrition, 105, 121, 149–50
Coolidge, Elizabeth Sprague, 208, 275, 333, 344, 357
Copland, Aaron, xii, 163, 165, 165–6, 204, 212, 255, 259, 281, 305, 366; Appalachian Spring and, 118, 229, 333, 341, 342, 343, 357; Daughter of Colchis scenario and, 357; Olympus Americanus (A Twentieth-Century Ballet) by, 210–11; Piano Variations by, 229, 247–50 (see also Dithyrambic); Serpent Heart and, 357
Coppicus, F. C., 236
Corbin Henderson, Alice, 197
Corn Dance, 239, 244, 259, 260, 260–2, 266, 286–7
Cornejo, Francisco, 47
Cornell, Ezra, 10
Cornell, Grace, 187
Cornell, Katharine, 126, 264–6, 265, 328, 376
“Corner in Spain, A,” 91, 99
Cornish, Nellie Centennial, 183–4, 184, 187, 190, 236
Cornish School, Seattle, 183–90, 184, 219, 325; Graham’s classes at, 184–6; Seven Against Thebes staged at, 186–90
Cowell, Henry, xii, xiii, 116–17, 137, 163, 190–2, 191, 211, 230, 236, 259, 333
Crane, Hart, 118, 152, 198, 255, 255–6, 281
Creston, Louise Gotto, 133, 177, 277
Crist, Bainbridge, 54
Cuadro Flamenco, 79
Cubists and Post-Impressionism (Eddy), 66
Cummings, E. E., xiv, 296, 328, 382
Cummings, Paul, 154
Cumnock School of Expression, Los Angeles, 22, 23–4, 37, 38, 40
Cunningham, Imogen, 211, 236–9, 238
Cunningham, Merce, 353, 404; in Appalachian Spring, 342; in Deaths and Entrances, 337, 337, 338, 339; in Every Soul Is a Circus, 326, 329; Graham’s company joined by, 325, 326
Cup of Fury, The, 45–6, 266
Currier, Marie, 74, 102
Curtis, Edward S., 236
Curtis, Mina, 297–8
Curtis Institute of Music, Philadelphia, 177, 307, 358
D
Dada, 87, 285
Dahlinger, Charles W., 3
Dalcroze, Émile Jaques-, 38, 86, 87, 108, 113, 123, 244
Dale, Ted, 390
Damrosch, Frank, 85
“Dance in America, The” (Graham), 254–5
Dance: Its Place in Art and Life, The (Kinney), 93
Dance Libretto, 315–16
Dance Lovers Magazine (later The Dance Magazine of the Stage and Screen), 57, 77–8
Dance Magazine, 60–1, 202, 305, 323, 374
Dance Observer, 45, 202–3, 255, 287, 306, 335, 353, 374
Dance of Life, The (Ellis), 32, 193
Dance of the Chosen (retitled The Shakers), 213–16, 215, 225
Dance of the City, 141, 142
Dance Perspectives, 402
Dance Repertory Theatre, 139, 141–53, 206, 209–26; de Mille and Leonard’s debut week at, 209–10; first season of, 142–53; Graham’s dances for, 144–52, 216–25 (see also Lamentation; Primitive Mysteries); Graham’s praise for, 201; Humphrey’s and Weidman’s performances at, 142–4, 143, 177, 211; Humphrey’s dances for, 212–16, 215; second season of, 209–25; suspension of activities of, 225–6, 227; Tamiris’s dances for, 141–2, 210–11; Weidman’s new dances for, 211–12
Dance/Revolt, 62, 110, 111, 112, 112, 130–1, 132
Dances for Women, 213
Dances of the Ages, The, 30
Dance Songs, 263, 276
danse artistique aux USA, La (de Rothschild), 391–2
“Danse du Feu, La”, 46
Danse Languide, 93, 94, 204
Danz, Louis, 399
Dark Meadow, 137, 200, 346–54, 347, 358, 385; description of, 346–8; Empedocles’s Fragments and, 346; Graham’s notebook for, 348–52, 354; Graham’s program note for, 346
Daughter of Colchis scenario, 357–8, 359
Davidson, Jo, 119
Davis, Bette, 64, 103
Davis, Stuart, xv, 159, 204, 248
Deaths and Entrances, 335–9, 337, 351, 354, 385; description of, 338–9; inspiration for, 335–6; provenance of title for, 336
Deaths Duell (Donne), 336
Debussy, Claude, xv, 42, 91, 93, 94, 105, 122, 137, 140
Deep Song, 192
Degas, Edgar, dancer statuette by, 207–8
de la Grange, Henry-Louis, 359
Dello Joio, Norman, 376, 378
Delsarte, François, 24–5, 31, 57, 71, 103, 150
de Mille, Agnes, xvii, 8, 149, 206–10, 208, 227–8, 235, 249; Ballet Intime tour and, 208, 209; Dance Repertory Theatre and, 206, 209–10, 225, 227; Graham praised by, 228; Horst’s work with, 209, 210; Leonard as partner for, 209–10; “The New Ballerina” essay by, 227–8; professional debut of, 207–8; Weidman as partner for, 209
de Mille, Margaret, 206–7
Denby, Edwin, xviii, 305, 311, 338
Denishawn Company, xvi, 36–56, 59, 77–9, 80, 91, 98, 112, 121, 137, 192, 236, 271, 391; Brooks’s stint with, 58–60; A Dance Pageant of Egypt, Greece and India performed by, 39–40; founding of, 33, 34; global tour of, 78, 115; Graham’s departure from, 73–4; Graham’s first performance with, 40; Horst hired by, 34, 36; Horst’s departure from, 78–9, 85; Humphrey’s audition for, 42; Humphrey’s departure from, 115–16; London performances of, 54–6, 389; Mayer tours and, 53–4, 60, 64–5, 68–9, 72–3, 77, 78; performing on vaudeville theatre circuits, 43, 44, 46, 49–56, 60; power struggles at, 43; quarters of, 40–1; Xochitl performed by, 47–50, 48, 51, 53, 54, 59, 65, 69, 70, 77, 174, 183
Denishawn Magazine, 78–9, 203
Denishawn School, Los Angeles, 78; classes taught by Graham at, 42–3, 45; Graham’s audition at, 37–8; New York branch of, 53, 58, 103; quarters of, 40–1
Dennis, Ruth Emma (“Emma”), 24, 25, 26
de Remer, Dini, 132, 134
Dewey, John, 42, 164, 200
Dewing, Hazel, 15, 21
Diaghilev, Sergei, 126, 170, 171–2, 200, 251, 295, 297, 298
Dichne, Arik, 393
Dickinson, Emily, 281; Graham’s homage to (Letter to the World), xi, 332, 335, 336, 354, 394, 405
Dido: The Phoenician Queen (Virgil), 20
Dithyrambic (to Copland’s Piano Variations), 229, 247–50, 254, 271, 276, 294
Diversion of Angels, 376–8, 377, 394
Dlugoszewski, Lucia, 401–2
Dollar, William, 289
Dolorosa, 224
Donne, John, xiii, 336
Dorame, Anthony, 239
Downes, Olin, 113, 166
Dramatic Mirror, 113
Duchamp, Marcel, 65, 157
Dudley, Jane, 249, 262, 301, 311, 313, 319, 336, 337, 375
Duffy, Homer N., 190
Dulac, Edmund, 92, 125
Duncan, Anna, 235
Duncan, Isadora, xiv, 57, 69–72, 70, 82, 93, 96, 108, 113, 123, 127, 138, 161, 199, 201, 209, 251, 321, 374, 391, 399; “I See America Dancing” by, 108; Tamiris’s studies with, 139–40
Duncan, Raymond, 396
Dyer, Carlos, 331
E
Eagle, Arnold, 337, 342
Eastman, George, 80, 82, 89, 99
Eastman Kodak Company, 98
Eastman School of Dance and Dramatic Action, Rochester, NY, 80–1, 82–4, 84, 89–91, 92, 93, 97, 98–100, 121, 133
Eddy, Arthur Jerome, 65, 66, 67
Eddy, Mary Baker, 26, 36
Edwards, Jonathan, 318
Egypta, 17, 27
Egyptian themes, 16–17, 17, 18, 25, 26, 27, 27, 32, 39–40, 46, 65
Eilber, Janet, xv, 71
Eisner, Lotte, 60
Ekstasis (retitled Ekstasie), 276, 276–7, 287
Elegiac, 275, 276
Elektra (Sophocles), 233–5, 278, 294
Eliot, T. S., xiv, 91, 296, 350, 383
Ellis, Henry Havelock, 31–2, 50, 54–5, 62, 193
Elwell, Herbert, 212
Emerson, Ralph Waldo, 24, 108, 171, 243, 319, 365, 366, 404
Emery, Irene, 177
Empedocles, Fragments by, 346
Engel, Lehman, 251–2, 253, 255, 263, 274, 276–7
Erdman, Jean, 315, 321–2, 323, 324, 329, 332, 349
Errand into the Maze, 373, 376, 388
Escape from Freedom (Fromm), 372
Euripides, 99, 147, 151, 153, 234; Medea story and, 355, 356
Evan, Blanche, 307–8
Evans, Walker, 152, 255, 298
Every Soul Is a Circus, 325–30, 329, 331, 332, 333, 351, 367, 368, 382, 385, 394, 396; critical and public responses to, 327–8; description of, 328–30; Lindsay’s poem appropriated for, 325–7
expressionist dance, 66–7, 87–8, 112, 225
Eye of Anguish—The Purgatorial History of King Lear, 339, 380–8, 384, 387, 394, 401; Broadway run of, 388; Graham’s conception of, 380–3; intended as gift for her husband, 380, 385, 388; Martin’s review of, 388; Persichetti chosen to compose score for, 382; Persichetti’s description of, 383–5; problems in Graham-Hawkins relationship surfacing during, 386–8; Shakespeare bypassed for his source, Geoffrey of Monmouth, for, 385–6; title chosen for, 385
F
Fairchild, Blair, 204
Falla, Manuel de, 97, 105, 120
Fenollosa, Ernest Francisco, 123, 124
Fergusson, Francis, 230, 316
Fiery Hunt, The, 369–71
Finkel, Constance, 98
Fisher, Nelle, 187, 328
Fitzgerald, F. Scott, xiv, 58, 64
Fitzgerald, Robert, 293, 369, 376
Flannery, Vaughn, 199
Flier, Frieda, 329
Florentine Madonna, A, 97
Flute of Krishna, The, 97, 98, 99
Fokine, Michel, 139, 231, 251, 286, 290, 298; Graham’s debate with, 230–3
Fonaroff, Nina, 311, 312, 314, 337, 337, 342, 342, 378
Footlight Parade, 174
Force, Juliana, 246
Foster, Ruth, 366
Four Casual Developments, 192
Four Insincerities, 131, 144
Four Quartets (Eliot), xiv, 383
Fowlie, Wallace, 350
Fragilité, 117, 131
Fragments: Tragedy and Comedy, 117
Frampton, Eleanor, 49
Franck, César, 93, 95
