William Forsythe and the Lost Stuttgart Ballets

Abstract

Click to increase image sizeClick to decrease image size Notes 1. Rainer Woihsyk, conversation with author, Stuttgart, May 2003. 2. Ibid. 3. William Forsythe, quoted in Anne Marie Welsh, “Stuttgart's great hope—William Forsythe,” The Washington Star, June 5, 1979, C3. 4. Melinda Witham, conversation with author, Stuttgart, May 2003. 5. Ibid. 6. Anna Kisselgoff, “Dance: Season Finale for Stuttgart and City Ballets,” New York Times, July 4, 1977. 7. Forsythe, quoted in Welsh, “Stuttgart's great hope.” 8. Quotation from Forsythe's program note in Stuttgart, 1977. This and all other translations from German publications are by Dr. Yvonne Hardt, a German dancer, choreographer, and scholar whose research focus is on the political dimensions of dance. Her doctoral dissertation on Ausdruckstanz and the Weimar Republic was published in 2004 as Ausdruckstanz, Choreographien des Protests und die Arbeiterkulturbewegung (Berlin: Lit). 9. Kathryn Bennetts, telephone conversation with author, July 2004. 10. Ludmilla Bogart, conversation with author, Stuttgart, July 2004. 11. Ibid. 12. Inge Zürner, “The Stuttgart Classics,” Dance News, September 1978, p. 9. 13. Mary Whitney, “Prodigal Son,” Ballet News, Vol. 1, No 1, 1983, p. 26. 14. Reid Anderson, conversation with author, Stuttgart, May 2003. 15. Witham, conversation, May 2005. 16. Anderson, conversation, May 2003. 17. William Forsythe, quoted in Whitney, “Prodigal Son,” p. 29. 18. Kathryn Bennetts, telephone conversation with author, April 2004. 19. Forsythe, quoted in Welsh, “Stuttgart's great hope.” 20. William Forsythe, quoted in Jennifer Dunning, “Stuttgart Ballet to Dance Two Works by Forsythe,” New York Times, June 10, 1979. 21. Edward Bond, quoted in Clement Crisp, “Orpheus,” Stuttgart Ballet program for North America, 1979, p. 28. 22. Quotation from Bond's libretto, which was included in the 1979 Stuttgart Ballet program for Orpheus. 23. Reid Anderson, conversation with author, Stuttgart, June 2003. 24. Carole Kew discusses the link among Dionysus, Nietzsche, and Laban, and identifies significant connections with twentieth-century expressionism in Germany, in “The Rise and Fall of Rudolf Laban's Festkultur,” Dance Research, Vol. 17, no. 2, 1999, pp. 73–96. 25. Heinz-Ludwig Schneiders, “Wir brauchen keine Gotter mehr,” Feuilleton, March 19, 1979, p. 22. 26. Conversation with the author, Frankfurt, April 2004. 27. Melinda Witham, conversation with author, Stuttgart, July 2004. 28. Marcia Haydée, review of the 1978/79 season, Stuttgarter Ballett Annual, No. 2, p. 36. 29. CliveBarnes, quoted in Haydée, ibid. 30. Arlene Croce, “Americans from Abroad,” in Sight Lines (New York: Knopf, (1987), pp. 148–51 (originally in The New Yorker, December 5, 1983). 31. Witham, conversation, May 2003. 32. Ibid. 33. Bennetts, telephone conversation, April 2004. 34. William Forsythe, interview by Roslyn Sulcas, Ballettanz, das Jahrbuch, 35. Horst Koegler, “Alles andere als eine neue Forsythe-Saga,” Feuilleton, ca. 1981, np. 36. Ibid. 37. Hartmut Regitz, “Sinnenliebe in ihrer Gewalt und Grausamkeit,” Feuilleton, July 6, 1981, np. 38. Melinda Witham, conversation with author, Stuttgart, July 2003. 39. Eberhard Roters, Painters of the Bauhaus (1965), trans. Anna Rose Cooper (London: A. Zwemmer, 1969). This was inspired by Heinrich von Kleist's 1810 essay, Über das Marionettentheater (On the Marionette Theatre). 40. Susanne Ulrici, “Wenig Tanz, viel Gymnastik und Pantomime,” Mannheimer Morgen, May 13, 1981. 41. See discussion of Nietzsche and his dynamic celebration of creativity in Kew, “The Rise and Fall of Rudolf Laban's Festkultur.” 42. Norbert Lynton, “Futurism,” in Concepts of Modern Art, ed. Nikos Stangos (London: Thames & Hudson, 1992), pp. 97–105. 43. Ibid. 44. Michael Patterson, The Revolution in German Theatre 1900–1933 (Boston, London & Henley: Routledge & Kegan Paul, 1981). 45. Forsythe, quoted in Dunning, June 10, 1979. 46. RoseLee Goldberg, Performance Art: From Futurism to the Present (London: World of Art, 1990), p. 104. 47. Oskar Schlemmer, cited in Goldberg. 48. Michael Huxley and Noel Witts (eds). The Twentieth-Century Performance Reader. (London: Routledge, 1998). 49. Regitz, “Sinnenliebe.” 50. Horst Koegler, “Bilder von Trauer und Abschied,” Stuttgarter Zeitung, Nr. 87, April 14, 1981. 51. William Forsythe, conversation with author, Frankfurt, 2003. 52. Anderson, conversation, June 2003.