Word: kirstein
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Dates: during 1970-1979
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Traveling to Europe two years after World War II was an adventure itself. Food was scarce, few rooms were heated, and even electricity was rationed. But Curtiss, who comes from a rich Boston family-her brother is Lincoln Kirstein, a founder and patron of the New York City Ballet-had all the advantages of money and connections. Establishing herself in the Paris Ritz, she made it her job to befriend Proust's friends and to beg or borrow those precious letters...
...dancer came upon Lincoln Kirstein, co-founder with George Balanchine of the New York City Ballet, in apparent distress, weeping in an office. When he rushed to help, Kirstein, 71, waved him away. "These are tears of joy," he said. "Baryshnikov is joining our company." At the American Ballet Theater it was the dancers who wept when Mikhail Baryshnikov gathered them together after last Wednesday's performance to say goodbye: "It is now or never. I have to work with Mr. B." For A.B.T. Baryshnikov's leap to Balanchine is a profound loss; "Misha" was their inspiration...
...should learn a few things." That is an understatement. Baryshnikov is accustomed to the large, open movements of the older traditions and to repeated patterns of steps, however difficult. Balanchine's style is a continuum of endlessly varied movement. It requires high, sustained power and top speed. Kirstein, the best historian of his own company, has written about Agon: "Clock time has no reference to visual duration; there is more concentrated movement in Agon than in most 19th century full-length ballets." A similar claim could be made for many Balanchine works, and some created by his less active...
NIJINSKY DANCING. Text and commentary by Lincoln Kirstein. 177 pages. Knopf. $29.95. Nijinsky spent ten years growing, ten years learning, ten years dancing and 30 years deteriorating. He was an unchallenged performer. His choreographic reputation is less secure: Nijinsky had time to design only four ballets before incurable schizophrenia ended his career. This somewhat overproduced book traces that parabolic career from 1906 to 1917. Producer-Balletomane Lincoln Kirstein's weighty introductory essays are lightened by a hundred astonishing photographs that demonstrate why a dancer 50 years dead continues to leap in the imagination and styles of choreographers everywhere...
...Nadelman's biographer, Lincoln Kirstein, observed, he "refined all coarseness into a subtle fixity of ostentation." He could give the postures of invitation and entertainment a detached grace almost worthy of an archaic kouros. The Whitney show reminds us how good minor...