Lavishly illustrated with a wide range of extraordinary photographs, this collection of essays takes a provocative look at the history of the New York City Ballet, placing it within the context of the city's changing intellectual and cultural landscape and underscoring its role in the development of a distinctly American aesthetic.Lavishly illustrated with a wide range of extraordinary photographs, this collection of essays takes a provocative look at the history of the New York City Ballet, placing it within the context of the city's changing intellectual and cultural landscape and underscoring its role in the development of a distinctly American aesthetic.Read Less
I purchased the book because I already own the 25th anniversary volume and another 50th anniversary one, so together they make an impressive collection. The book came to me in rural England, via Alibris, from Eric Papenfuse in Harrisburg, Pennsylvania. I still find it thrilling to think that a book no one wants can travel half way across the world to be loved by me!
The book is in large format with thick, creamy paper and illustrated with black and white photos throughout. The front dust jacket features an unnattractive photo and the title lettering lacks impact. Specialist ballet knowledge is not required to enjoy the text, produced in conjunction with an exhibition at the New York Historical Society. It would appeal to anyone interested in the arts. Each chapter has been written by a different contributor on an aspect of the company. There was an interview with George Balanchine; a portfolio of photos of Jerome Robbins; the editor wrote a history of the company from its humble origins; Richard Sennett wisely expresses his belief that ballet is music made visible. I particularly enjoyed the review of ballet photos taken by George Platt Lynes, although when I finally made out the abstract on page 144, I almost fell off the settee with shock. It was, surely, innapropriate. I would have liked to have seen some colour photographs and again, I wonder why neither Peter Martins, nor any of the dancers were approached for their input.
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