- Title Pages
- Dedication
- Epigraph
- Prologue with Letter from Alicia Alonso
- Acknowledgments
-
1 Always Ask Why -
2 Pro-Arte Musical, Yavorsky, and New York -
3 Alicia, Fernando, and Laura -
4 Musicals, Mordkin, Balanchine, and the Birth of Ballet Theatre -
5 Repertoire, Camaraderie, and an Étoile -
6 Challenges and Pilgrimages -
7 Autumn in New York, and a Dawning in Havana -
8 Ballet Theatre, a University of Dance, and More … -
9 Ballet Alicia Alonso -
10 El Maestro de Maestros, the Father of Cuban Ballet -
11 Crafting a Curriculum, Sculpting a Style -
12 Legends and Lessons -
13 A Revolutionary Proposal -
14 Batista’s Blackmail Bid -
15 The Soviet Union Invites the Alonsos -
Appendix A Dance Magazine Interview -
Appendix B La danza eterna Interview -
Appendix C Address to the Assemblée Internationale, Toronto -
Appendix D Prizes Awarded to Cuban National Ballet Dancers, 1964–1974 -
Appendix E Selected BNC-Commissioned Repertoire Works, 1959–1974 -
Appendix F Elementary, Middle Ballet, and National Arts Schools -
Appendix G Proposal on Ballet -
Appendix H Revolutionary Government Statute to Guarantee National Ballet and Law 812 - Chronology
- Bibliography
- Index
- [UNTITLED]
Ballet Theatre, a University of Dance, and More …
Ballet Theatre, a University of Dance, and More …
- Chapter:
- (p.39) 8 Ballet Theatre, a University of Dance, and More …
- Source:
- Fernando Alonso
- Author(s):
Toba Singer
- Publisher:
- University Press of Florida
Fernando reviews Alicia and his final season with Ballet Theatre, after which it closed “until further notice.” They seized the opportunity to return to Cuba to, with Alberto, start the classical company they had for a decade dreamed of building on Cuban soil.
Keywords: Anton Dolin, Theme and Variations, Agnes de Mille, Three Virgins and a Devil, Fille Mal Gardée, Central Park, Rodeo, Fall River Legend, Filling Station, Max Goberman
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- Title Pages
- Dedication
- Epigraph
- Prologue with Letter from Alicia Alonso
- Acknowledgments
-
1 Always Ask Why -
2 Pro-Arte Musical, Yavorsky, and New York -
3 Alicia, Fernando, and Laura -
4 Musicals, Mordkin, Balanchine, and the Birth of Ballet Theatre -
5 Repertoire, Camaraderie, and an Étoile -
6 Challenges and Pilgrimages -
7 Autumn in New York, and a Dawning in Havana -
8 Ballet Theatre, a University of Dance, and More … -
9 Ballet Alicia Alonso -
10 El Maestro de Maestros, the Father of Cuban Ballet -
11 Crafting a Curriculum, Sculpting a Style -
12 Legends and Lessons -
13 A Revolutionary Proposal -
14 Batista’s Blackmail Bid -
15 The Soviet Union Invites the Alonsos -
Appendix A Dance Magazine Interview -
Appendix B La danza eterna Interview -
Appendix C Address to the Assemblée Internationale, Toronto -
Appendix D Prizes Awarded to Cuban National Ballet Dancers, 1964–1974 -
Appendix E Selected BNC-Commissioned Repertoire Works, 1959–1974 -
Appendix F Elementary, Middle Ballet, and National Arts Schools -
Appendix G Proposal on Ballet -
Appendix H Revolutionary Government Statute to Guarantee National Ballet and Law 812 - Chronology
- Bibliography
- Index
- [UNTITLED]
