A Dancer's World
Brief Synopsis
Dancer and choreographer Martha Graham offers insight into her theories about dance.
Cast & Crew
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Peter Glushanok
Director
Martha Graham
Herself
Lillian Biersteker
Herself
Robert Cohan
Himself
Peter Glushanok
Cinematographer
Martha Graham
Writer
Film Details
Genre
Dance
Documentary
Music
Release Date
1957
Synopsis
Dancer and choreographer Martha Graham offers insight into her theories about dance.
Director
Peter Glushanok
Director
Film Details
Genre
Dance
Documentary
Music
Release Date
1957
Articles
A Dancer's World -
Under the title A Dancer's World, and with Graham providing narration, Kroll and director Peter Glushanok introduce audiences to each member of Graham's dance company, who then demonstrate some of the basic dance movements used in the company's rehearsals and performances. Most viewers throughout the United States were accustomed to the flashy musicals produced by Hollywood. And while that is certainly one type of musical dance, there are so many other forms, including Graham's distinct style, which was highly influential on modern dance in the 20th century. This television program gave many American viewers their first glimpse into the high art of modern dance.
Martha Graham performed and taught dance for over 70 years. Her style, called "the Graham technique," is considered one of the preeminent dance styles of the 20th century and is still taught today. In the mid-1920s, Graham was an instructor at the Eastman School of Music in Rochester, New York. Rouben Mamoulian, who later became known for his unique directorial style (which included films such as Dr. Jekyll and Mr. Hyde (1931) and 1933's Queen Christina), was then the head of the drama department at Eastman School of Music. He and Graham collaborated on a short film, The Flute of Krishna (1926), which was shot on Eastman Kodak two-strip color film. That short featured students from the school, with Graham's choreography and Mamoulian's direction. In 1926, Graham founded her Center for Contemporary Dance, launching a career in performance, choreography and instruction that lasted for over 60 years.
In the 1970s, after she was no longer able to perform, Graham faced serious struggles with depression and alcohol abuse. After achieving sobriety, she shifted her focus into instruction and choreography, working up to her death in 1991 at the age of 96.
Director: Peter Glushanok
Producer: Nathan Kroll
Screenplay: Martha Graham and LeRoy Leatherman
Cinematography: Peter Glushanok
Editing: Eleanor Hamerow
Music: Cameron McCosh
Cast: As themselves: Lillian Biersteker, Robert Cohan, Miriam Cole, Martha Graham, Mary Hinkson, Gene McDonald, Helen McGehee, Bertram Ross, Ellen Siegel, Ethel Winter, David Wood and Yuriko.
BW-31m
Resources:
https://www.criterion.com/films/835-martha-graham-dance-on-film
https://www.bfi.org.uk/films-tv-people/4ce2b70816db9
By Jill Blake
A Dancer's World -
In 1957, television pioneer Nathan Kroll convinced legendary modern dancer and choreographer, "the Picasso of Dance," Martha Graham, to allow him to film a series of televised programs of her classes, giving audiences a glimpse into the world of dance and Graham's artistic process. Graham was adamant that the art of dance should only be viewed in person and during live performances, as she felt that the essence of the performance was lost when recorded and taken away from that moment. She rarely allowed any media taken of her classes and performances, including photographs. However, Kroll, who was a close personal friend of Graham's, assured Graham that the footage taken would be done in accordance to her wishes and without intruding on her process. Graham agreed and allowed Kroll and his crew access to her dance studios, located on East 63rd Street in New York City.
Under the title A Dancer's World, and with Graham providing narration, Kroll and director Peter Glushanok introduce audiences to each member of Graham's dance company, who then demonstrate some of the basic dance movements used in the company's rehearsals and performances. Most viewers throughout the United States were accustomed to the flashy musicals produced by Hollywood. And while that is certainly one type of musical dance, there are so many other forms, including Graham's distinct style, which was highly influential on modern dance in the 20th century. This television program gave many American viewers their first glimpse into the high art of modern dance.
Martha Graham performed and taught dance for over 70 years. Her style, called "the Graham technique," is considered one of the preeminent dance styles of the 20th century and is still taught today. In the mid-1920s, Graham was an instructor at the Eastman School of Music in Rochester, New York. Rouben Mamoulian, who later became known for his unique directorial style (which included films such as Dr. Jekyll and Mr. Hyde (1931) and 1933's Queen Christina), was then the head of the drama department at Eastman School of Music. He and Graham collaborated on a short film, The Flute of Krishna (1926), which was shot on Eastman Kodak two-strip color film. That short featured students from the school, with Graham's choreography and Mamoulian's direction. In 1926, Graham founded her Center for Contemporary Dance, launching a career in performance, choreography and instruction that lasted for over 60 years.
In the 1970s, after she was no longer able to perform, Graham faced serious struggles with depression and alcohol abuse. After achieving sobriety, she shifted her focus into instruction and choreography, working up to her death in 1991 at the age of 96.
Director: Peter Glushanok
Producer: Nathan Kroll
Screenplay: Martha Graham and LeRoy Leatherman
Cinematography: Peter Glushanok
Editing: Eleanor Hamerow
Music: Cameron McCosh
Cast: As themselves: Lillian Biersteker, Robert Cohan, Miriam Cole, Martha Graham, Mary Hinkson, Gene McDonald, Helen McGehee, Bertram Ross, Ellen Siegel, Ethel Winter, David Wood and Yuriko.
BW-31m
Resources:
https://www.criterion.com/films/835-martha-graham-dance-on-film
https://www.bfi.org.uk/films-tv-people/4ce2b70816db9
By Jill Blake