Self-portraits from ballet

Press, 27 November 1982, Page 16

Self-portraits from ballet

Striking a Balance: Dancers Talk about Dancing. By Barbara Newman. Elm Tree Books, 1982. 402 pp. Photographs. $45.25.

(Reviewed by

Tui Thomas)

While watching countless ballets as a critic for "Dance” magazine. Barbara Newman often wondered what individual dancers were trying to say about a role. There was only one way to find out. Ask them. So she approached 24 better-known performers for their views on how they interpreted the characters in which they specialised and what they felt while presenting them. She focused each interview on a.detailed discussion of a single role, hoping it might serve as a channel for the dancer's thoughts. She succeeds in giving a collection of virtual self-portraits. They are dancers who have their fans in England. Europe and North America, and most are virtually unheard of in New Zealand, except among balletomanes and teachers. Hence the book is not likely to have a wide readership in this country and it is too repetitive to stand on its own as a series of autobiographies. Nevertheless, any ballet buff would be fascinated to find out for whom great dancers perform. Most say they aim to entertain the audience; some dance for themselves as a kind of compulsion. Beryl Grey, who has done more for ballet in

Britain than most ballerinas, says she always danced for God. in appreciation of a God-given talent. It is disappointing not to find interviews with the likes of Nureyev. Baryshnikov and Fonteyn — personalities in their own rights. Without mentioning names the author says, however, that some of the top dancers she approached declined her invitation to speak, some did not respond while others showed interest, but could not find the time. She should have persevered, even if it meant delaying publication of the book if the three named above were on her list of nonstarters. “Striking a Balance" brings to light dancers’ problems in weighing up the demands of a career and personal life, and the claims of tradition over the development of individual interpretation. Attitudes vary considerably when dancers discuss these and other problems. Three opinions that emerge almost unanimously are: an overwhelming admiration of the art of the great Russian ballerina, Galina Ulanova: near adoration of George Balanchine, the choreographer and utter contempt for ill-informed, cruel newspaper critics. The book is well illustrated with photographs of the dancers performing and has an adequate index. It will be a useful addition to ballet libraries.