Unidad documental compuesta 3 - Correspondence 1988-1993

Área de identidad

Código de referencia

RAD/2/MAC/7/6/3

Título

Correspondence 1988-1993

Fecha(s)

  • 1988-1993 (Creación)

Nivel de descripción

Unidad documental compuesta

Volumen y soporte

142 pages of typed faxes, 25 handwritten faxes, six typed letters, two draft agreements, two copies of a final agreement

Área de contexto

Nombre del productor

(1929-12-11 - 1992-10-29)

Historia biográfica

Kenneth MacMillan was born in Dunfermline, Scotland, and began ballet classes in Retford, England, in 1940. He joined the Sadler's Wells Ballet School in 1944 and later the Sadler's Wells Ballet but gave up dancing for choreography partly due to crippling stage fright. His first choreographic work was Somnambulism, created for the Sadler's Wells Ballet Choreographic Group in 1953 and he created works for both Royal Ballet companies throughout his career. He created significant works for The Stuttgart Ballet and his works are danced by ballet companies world-wide. He has also created work for television and cinema.
Kenneth MacMillan was Director of the Deutsche Oper Ballet in Berlin from 1966 to 1969, Artistic Director of The Royal Ballet from 1970 to 1977 and its Principal Chroreographer from 1977 until his death. He was also Associate Director of American Ballet Theatre from 1984 to 1989, and Artistic Associate of the Houston Ballet from 1989 to 1992.
Kenneth MacMillan was knighted in 1983, and he received honorary degrees from the University of Edinburgh (1976) and the Royal College of Art (1992). His awards include the Evening Standard Ballet Award (1979); Society of West End Theatre Ballet Award, 1980 and 1983; and, posthumously, the Laurence Olivier Award for Best New Dance Production in 1993 for The Judas Tree; the Society of London Theatre Special Award in 1993; and the Tony Award for Best Choreography in 1994 for Carousel

Nombre del productor

(1944-07-01 -)

Historia biográfica

Born in Queensland, Australia, Deborah Williams was educated in Sydney, won a scholarship to and studied painting and sculpture at the National School of Art. She moved to London in 1970, where she married Kenneth MacMillan. She has designed ballets for the stage and television and returned to painting full-time in 1984. She was a member of the Board of the Royal Opera House (1993-94) and was Chairman of The Friends of Covent Garden (1995-96). Between 1996 and 1998 she was a member of the Arts Council of England and Chair of the dance panel. She has been a member of Kenneth MacMillan and Partner LLP since 2011 and is custodian of her late husband's work.

Nombre del productor

Historia biográfica

Institución archivística

Historia archivística

Origen del ingreso o transferencia

Área de contenido y estructura

Alcance y contenido

The majority of material in this file consists of correspondence relating to Kenneth MacMillan granting the rights to The Australian Ballet to perform his ballet Manon, with many faxes between Kenneth and Deborah MacMillan, Simon Williams at Williams and Niblett Intellectual Property solicitors in Sydney, Australia, The Australian Ballet and Rubinstein Callingham, Polden and Gale, solicitors in London, UK. There are two letters from Maina Gielgud, Artistic Director of The Australian Ballet, initiating the discussion. Some of the faxes are annotated in hand by Kenneth and Deborah MacMillan and many of their replies consist of handwritten faxes. There is also a small amount of correspondence relating to the retirement of Noel Pelly as Administrator at The Australian Ballet, with handwritten tributes from Kenneth and Deborah MacMillan

Valorización, destrucción y programación

Acumulaciones

Sistema de arreglo

Área de condiciones de acceso y uso

Condiciones de acceso

Condiciones

Idioma del material

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      Notas sobre las lenguas y escrituras

      Características físicas y requisitos técnicos

      The type on some of the faxes is beginning to fade.

      Instrumentos de descripción

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          Fuentes

          Nota del archivista

          The original faxes have been scanned as A3 documents to preserve all the information on the faxes. The pages were too large to be photocopied onto acid-free A4 paper without losing some details of the date and time of transmission

          Nota del archivista

          Any faxes with handwritten annotations have been placed in archival sleeves

          Área de Ingreso