Season's Greetings from Sally B. Bliss

Kathleen Moore-Tovar. Photo credit: Valerie Ford

In Dark Elegies, there wasn't the lightness of mood in the room as during Leaves rehearsals, the dance has too strong a subject, but there was still the constant work on lack of ornament in the body, and always, always, the focus on the music.

Another aspect of working with Mr. Tudor was apparent during Elegies, the way he directed us as we toiled on the piece, created in the cast a great sense of community that allowed the work to be the powerful statement that he intended.  I am sure his process was intentional; a method used to create individuals deeply invested in the dance and each other so as to better attain the intent of his vision. This ballet remains my favorite work of his that I have danced...."

Words Spoken by Nora Kaye, as read at Tudor Memorial: 

Nora Kaye; Photo Courtesy ABT

  

He described exactly what he wanted from us:  the sort of customs we lived with; the wallpaper on the wall; the windows; the way we dress; the way we felt; our relationship to one another....  he talked so much and over such a long period of time that knew exactly what sort of characters we were, before we even started a step. 

He started at the very beginning, with the first gesture.   He showed it to all of us even though it was for me.   He told me I had a high collar that chaffed; I had a locket that was my mother's; and that I had a younger sister that I was terribly jealous of; and, an older sister that I was afraid I'd turn into -- an embittered spinster.

Pillar of Fire was choreographed over a long period of time..."