Mostrando 1393 resultados

Kenneth MacMillan created this Gala Pas de Deux for a Gala in Honour of Anton Dolin held at the Royal Opera House on 24 Jun 1984. The handwritten letter from Nadia Nerina, organiser of the Gala, thanks Kenneth MacMillan for creating the pas de deux but wishing he could be there to direct it. With envelope, 1 Feb1984

Kenneth MacMillan created this one-act ballet for The Royal Ballet which premiered at the Royal Opera House on 13 Mar 1980. Kenneth MacMillan staged this ballet for Houston Ballet in 1983

Material in this folder relates to the 1980 premiere of Gloria and the 1985/86 revival by The Royal Ballet, and the staging for Houston Ballet in 1989. The material comprises:

1. Catalogue for The Slade School of Fine Art Postgraduate Sculpture Show in 1979, featuring the work of Andrew (Andy) Klunder
2. Handwritten letter from Peter S[now] to Kenneth MacMillan apologising that he found the Stage Design Show closed but praising Andy Klunder, 2 Aug 1979
3. Envelope addressed to Kenneth MacMillan in Stuttgart, with many drawings for headdresses and hairstyles, in blue biro, undated
4. One handwritten letter from Richard Ralph thanking Kenneth MacMillan for the interview 17 Oct 1979, and two handwritten compliments slips from Richard Ralph to Kenneth MacMillan, attaching the proof of Ralph's article and a photocopy of the article in Vogue, 17 Jan 1980 and 14 Feb 1980
5. Sheet of paper with random notes on
6. Typed sheet of optional casting for Gloria, February 1985/86, London. With covering sheet with Gloria and some numbers in pencil
7. Handwritten letter from Andy Klunder to Kenneth MacMillan, enclosing photos of the set and describing what he has done to the set in Houston, 23 Apr 1989. The letter is written on the back of one of three pages of photocopied notes for a recording of Socrate by Erik Satie that Klunder has sent to MacMillan and which he thinks he will like (the recording is not in the file)
8. Greetings card signed by members of [Houston Ballet] thanking Sir Kenneth for the opportunity to appear in his ballet (large)

Kenneth MacMillan created this one-act ballet for The Royal Ballet which received its premiere at the Royal Opera House on 13 Mar 1980. The ballet was performed in New York as part of The Royal Ballet's 50th anniversary season in 1981. The material comprises:

1. Post card from Wendy Ellis wishing Kenneth MacMillan good luck and thanking him for a marvellous part, 13 Mar 1980
2. Post card from Jill Bennett congratulating Kenneth MacMillan on Gloria, with envelope postmarked 18 Mar 1980
3. Nine telegrams wishing Kenneth MacMillan good luck, including from Frederick Ashton, John Tooley, Norman Morris, John and Anya Sainsbury, friends and colleagues at the Royal Opera House, 12 and 13 Mar 1980
4. 12 letters to Kenneth MacMillan expressing appreciation and admiration of Gloria after the first night at the Royal Opera House, including from Joan Lawson, Lois Hainsworth, Royal Academy of Dancing, Richard Ralph, Principal London School of Contemporary Dance, Robin Howard, Director General Contemporary Dance Trust, Norman Morrice, Artistic Director The Royal Ballet, Claus Moser, Chairman of the Royal Opera House, Covent Garden, Anya Sainsbury, John Tooley, General Director Royal Opera House, Mark Bonham Carter, Chairman of Ballet Subcommittee of the Royal Opera House, and Peter Snow, March 1980
5. Letter from Philip Semark, Executive Vice President Foundation for the Joffrey Ballet, following the performance at the Metropolitan Opera House, New York, with envelope. 9 Jul 1981

Kenneth MacMillan created this three-act ballet for The Royal Ballet as part of the celebrations to commemorate the 50th anniversary of the founding of the Company. Isadora premiered at the Royal Opera House on 30 Apr 1981. Gillian Freeman prepared the scenario and draft script, Mary Miller selected passages of Isadora Duncan's words from her own writings, with further excerpts taken from publications on Isadora Duncan.

Material relates to the life and career of Isadora Duncan and to content for the programme for the first performance of the ballet at the Royal Opera House. It comprises:

1. Typed letter from Genevieve Oswald, Curator of the Dance Collection at the New York Public Library confirming that there is no known recording of the voice of Isadora Duncan. Signed and dated 6 Nov 1980
2. Index card with handwritten note: William Bolitho In one of his books an excellent piece on Isadora Duncan. Unsigned and undated
3. Four page catalogue for an exhibition tracing the history of the Duncan Family, held at the Archives for the Performing Arts, San Francisco, and opening on 26 May 1977 to commemorate the centenary of the birth of Isadora Duncan. Typed on blue paper, two pages folded, with illustrations
4. Programme for A Centenary Tribute to Raymond and Isadora Duncan, an exhibition by and about the Duncans, collected by Ligoa Duncan, a Presentation of the Ukranian Institute of America. The programme includes details of the opening night performance. Booklet of eight pages, endpapers of blue onion paper and card covers, illustrated with black and white photographs. With handwritten notes on the covers, some by Kenneth MacMillan
5. Photocopy of a press-cutting speculating on whether Kenneth MacMillan is about to create a new full-length ballet for Lynn Seymour who is returning to The Royal Ballet, Evening Standard 21 Nov 1979
6. Black and white photograph of Isadora Duncan dancing in Greece. Photograph courtesy of The Bancroft Library, University of California, undated
7. Four typed pages of an article, Isadora by Gillian Freeman, describing working on the scenario for the ballet with Kenneth MacMillan
8. Photocopy of the cast list for the programme at the Royal Opera House, with some corrections and notes from Janet Judd, Press Officer for The Royal Ballet, to Kenneth MacMillan
9. Photocopy of five typed pages of a programme note, Isadora: A Brief Life by Gillian Freeman, giving a brief biography of Isadora Duncan
10. Photocopy of three typed pages of a programme note, Isadora: Spirit of the Age? by Edward Thorpe, considering Isadora's character and art in relation to the artistic and social movements of the period
11. Photocopy of two typed pages of a programme note, Music Notes for Isadora, Richard Rodney Bennett, by Barry Wordsworth, with a covering note from Janet Judd, Press Officer for The Royal Ballet
12. Photocopy of seven typed pages of a programme note, Kenneth MacMillan Principal Choreographer of The Royal Ballet, by Mary Clarke, giving a biography of Kenneth MacMillan with details of his most significant ballets, longer than the note printed in the programme
13. Photocopy of a page from The Daily Mail 21 Apr 1913, reporting the death by drowning of Isadora's two children, inscribed on the reverse 'For Kenneth - with love - Mary [Miller] x' (large)

Andrzej Panufnik was asked by Kenneth MacMillan to compose the score for Isadora. Panufnik felt unable to do this and this file contains correspondence between Kenneth MacMillan and Andrzej Panufnik, and between Camilla Panufnik and Deborah MacMillan which discusses this. At this time, the ballet was provisionally titled Off to Paradise. The material comprises

1. Letter from Andrzej Panufnik thanking Kenneth MacMillan for asking him to compose a new score for his new full-length ballet and explaining why he cannot do it. Panufnik instead suggests using and adapting some of his existing music and details how this could work. Typed on two sides of one sheet of letter headed paper and signed, 31 Jan 1979
2. Draft handwritten reply from Kenneth MacMillan to Andrzej Panufnik, declining Panufnik's suggestion of using existing music and asking if he can return Gillian Freeman's notes. With many crossings out. Undated
3. Draft handwritten reply, not in Kenneth MacMillan's hand, expanding on the draft above. Undated
4. Handwritten letter from Andrzej Panufnik to Kenneth MacMillan thanking him for his kind reply and expressing his gratitude for having been asked to write a score for his new ballet. 7 Feb1979
5. Typed letter from Camilla Panufnik to Deborah MacMillan explaining why Andrzej would have difficulty working with the scenario, and how he feels everything that would be needed for the ballet could be found in existing music. Two typed pages, signed. 12 Feb 1979
6. Off to Paradise, Notes and First Draft for a ballet by Kenneth MacMillan, scenario by Gillian Freeman. 16 typed pages including title page, time line of Isadora Duncan's life, Main Characters, two pages of general notes and 10 pages of plot and quotations for voice over. September 1978
7. Two typed pages of Off to Paradise, Revised Opening and Notes. Undated

Richard Rodney Bennett was commissioned to write the score for Isadora. This file contains letters and notes from Richard Rodney Bennett to Kenneth MacMillan about the music and scenario, plus one list on proposed additional music in an unidentified hand. The material comprises

1. A handwritten letter from Richard Rodney Bennett to Kenneth MacMillan enclosing the rewrites for Act I. One double sided page, undated
2. One handwritten page of Notes on proposed additional music with approximate timings and explanations about the music. In ink with some water damage, written as though from Richard Rodney Bennett but in an unidentified hand, undated
3. A handwritten letter from Richard Rodney Bennett to Kenneth MacMillan enclosing the music for Isadora's dance after the death of her children, one page, undated
4. Five pages of handwritten Notes for K.M. Isadora Act I. Richard Rodney Bennett goes through scenes 2 - 8 describing the music and how it fits with the scenario. Undated
5. Typed letter from Richard Rodney Bennett in New York to Kenneth MacMillan. Describes going to see Grey Gardens, the film about Edith Bouvier Beale aunt and niece, and what a good scenario for a ballet their story would make. He reports working on Isadora and discusses the Polonaise and his concerns about not using a trained singer. Also he suggests some cuts to Gillian Freeman's scenario. Three pages, signed and undated. Envelope postmarked 21 Aug 1980

Gordon McVay published a book on Isadora and Esenin in 1980 which included previously unseen photographs. The correspondence concerns this, the use of quotations from the book in Kenneth MacMillan's Isadora, and the offer of tickets for the first night performance at the Royal Opera House. The letters comprise

1. Handwritten letter from Gordon McVay to Kenneth MacMillan informing him of his forthcoming book Isadora and Esenin and offering Kenneth MacMillan an advance copy. One page, 18 Apr 1980
2. Three handwritten letters from Kenneth MacMillan to Gordon McVay, all versions thanking Gordon McVay for the offer of a copy of his book which he will be delighted to receive, but explaining that it will be too late to include any new information in the ballet.
3. Handwritten letter from Gordon McVay, delighted to send Kenneth MacMillan a copy of his book. He describes corresponding with some of Isadora's Moscow pupils and a graphic description of Isadora's movements and gestures in the Marche Slave which he offers to sent to Kenneth MacMillan. One page, 15 May 1980

Kenneth MacMillan worked closely with Gillian Freeman on the scenario for Isadora and with Mary Miller on the selection of words to be spoken as part of the ballet. The material in this file reflects the collaborative process of preparing the scenario and the spoken dialogue. It comprises

1. Postcard from Gillian Freeman to Kenneth MacMillan thanking him for his letter and breakdown. Handwritten, postmarked 26 Jul 1976
2. Three page typed Story Breakdown by Kenneth MacMillan with handwritten annotations by Kenneth MacMillan in pen and ink, felt-tip pen and pencil. With timings for each of the two acts
3. Typed letter from Gillian Freeman to Kenneth MacMillan discussing the first draft and with ideas for dancers for two roles, 4 Sep 1978.
4. Photocopy of 13 typed pages, 12 of scenario with words to be spoken by Isadora and stage directions, one with an edited version of one of the passages of words. Kenneth written in pencil by Mary Miller on the front page
5. Photocopy of 16 typed pages of scenario with words selected by Mary Miller to be spoken by Isadora, with details of the publications the excerpts are taken from. Act One is of seven pages with an additional paragraph inserted on a small piece of paper. With Kenneth App. 8 minutes written in pencil on the first page of Act One and further pencil notes in the text. Act Two is of eight pages with Kenneth (more pages to come) written in pencil on the first page of Act Two and further pencil notes in the text. Pencil annotations by Mary Miller
6. Photocopy of 12 typed pages of scenario as above with slight variations and with pencil annotations by Kenneth MacMillan
7. 14 typed pages of scenario with words, with titles for each scene but no stage directions. Annotated throughout by Kenneth MacMillan in felt-tip pen and pencil, and with a sketch of a stage setting on the reverse of the final page
8. Photocopy of item 7, 14 typed pages of scenario with words, with details of published sources and page references in the margins
9. Three typed pages and one photocopy of a typed page, one small page has the words in English translation of The Marseillaise, the other three pages describe the scene of the Marseillaise dance and speech with Hecklers
10. 15 typed pages of Notes and Revised Draft for a ballet by Kenneth MacMillan, Scenario by Gillian Freeman comprising title page, time line for Isadora Duncan's life, two pages of main characters and 11 pages of scenario. With annotations by Kenneth MacMillan in felt-tip pen and pencil. June 1979
11. 14 typed pages of Isadora Revised draft with dialogue comprising title page, one page of notes from Gillian Freeman to Kenneth MacMillan and 12 pages of scenario. July 1980
12. 18 typed pages of Isadora Revised draft with extended dialogue comprising title page and 17 pages of scenario. With annotations by Kenneth MacMillan in felt-tip pen and pencil. August 1980
13. 15 typed pages of Isadora dialogue with stage directions comprising title page with code for abbreviations for the Sources of Quotations which are used in the text. The sources and page references are given in the margins. With annotations by Kenneth MacMillan in felt-tip pen and pencil. April 1981
14. 14 typed pages of Isadora dialogue with stage directions. Similar to item 13 but without title page or the sources in the margins, and with some minor changes to the text. Script taken from My Life and other reported conversations by Mary Miller written in pencil by Mary Miller on the first page
15. 14 typed pages of Isadora dialogue with stage directions. Similar to item 14 but with some additional pieces of paper pasted in. With annotations by Kenneth MacMillan in felt-tip pen and pencil
16. 13 typed pages of Isadora with title page Isadora A ballet in two Acts by Kenneth MacMillan Dialogue - including excerpts from Isadora Duncan's memoirs and other sources by Mary Miller Copyright - Kenneth MacMillan 1981, revised October 1981, and 12 pages of dialogue with stage directions. Kenneth written in pencil on title page by Mary Miller
17. 14 pages of story breakdown with timings, handwritten or photocopied and annotated by Kenneth MacMillan. There are two pages for Act I and Act II scenes 1-13 written in black felt-tip pen, then three pages for Act I and Act II scenes 1-18 in blue felt-tip pen with pencil additions. The latter three pages have been photocopied onto A3 paper three times and each set of copies has different handwritten annotations by Kenneth MacMillan (large)