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During her twelve years with Ballet Society and the New York City Ballet, Barbara Milberg worked under the direction of George Balanchine. She rose from corps de ballet to soloist, danced leading roles in Swan Lake and Illuminations, and performed in celebrated world premieres. In this observant and poignant memoir, she shares her recollections of Balanchine, his craft and his values, and lends insight into surprising aspects of his personality. Fisher gives readers a rare glimpse inside Balanchine’s artistry, including vivid accounts of the makings of such important ballets as Schoenberg’s Opus 34, AGON, and the world-famous Nutcracker. Told through the eyes of a young dancer in what seemed a truly magical place and time, In Balanchine’s Company is ideal for ballet fans young and old. Rich in anecdote, insight, and humor, it offers a unique perspective on one of the twentieth century’s cultural giants.
- Sales Rank: #1081274 in Books
- Brand: Brand: Wesleyan
- Published on: 2006-10-03
- Original language: English
- Number of items: 1
- Dimensions: 8.60" h x .81" w x 5.90" l, 1.01 pounds
- Binding: Hardcover
- 236 pages
- Used Book in Good Condition
From Publishers Weekly
Fisher danced for the great choreographer George Balanchine in the mid–20th century, when the New York City Ballet was still "exploding into being against all odds." Her era is that of Orpheus, the Nutcracker and Agon (she was one of its original dancers), when the company starred ballerinas Maria Tallchief and Tanaquil Le Clerq. Mr. B., as he was respectfully yet affectionately called by his dancers, was still young, still approachable, full of vigor and good humor. We see his "multi-dimensional alertness," and also his sense of whimsy and genuine affection for his dancers. Where else do we find a limerick written by Balanchine about his Vespa, his entreaties to Fisher to perform a questionable song written on tour at a big benefit and his defense of the author's right to read bad science fiction? Yet woven into these personal and telling recollections are wonderfully astute looks at Balanchine's artistic process and the place of his ballets in the canon of 20th-century art. Fisher eventually became a professor of English at the City College of New York, and her observations as both dancer and literary critic are unparalleled. This book is indispensable for lovers of ballet and theater. 48 b&w photos. (Oct.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From Booklist
It's rare for a performer to write an articulate and perceptive memoir, let alone one that explicates what was nothing less than a turning point in art. Fisher achieves this in her memoir's spiritual center as she blends scholarship with a dancer's point of view to chronicle the 1957 Balanchine-Stravinsky collaboration, Agon, in which the composer's juncture of neoclassical and serial idioms is brilliantly interpreted by the choreographer in "just nine heartbeats--to indicate the precise point at which time--honored old compositional methods corkscrewed into new machine-age techniques." During her 12 years with Balanchine and the New York City Ballet (1946-58), Fisher advanced from corps de ballet to featured soloist, toured internationally with such stars as the incomparable Maria Tallchief (one of Balanchine's wives), was featured in world premieres, and had backstage views of Balanchine's unique creativity. Graced with archival photos, Fisher's elegant memoir is a must for dance lovers. Whitney Scott
Copyright © American Library Association. All rights reserved
Review
“Woven into these personal and telling recollections are wonderfully astute looks at Balanchine's artistic process and the place of his ballets in the canon of 20th-century art. Fisher eventually became a professor of English at the City College of New York, and her observations as both dancer and literary critic are unparalleled. This book is indispensable for lovers of ballet and theater.”—Publishers Weekly
“Despite the charm of its prose, In Balanchine’s Company is no mere literary exercise. At times it is funny… (s)ometimes it’s downright exciting,…(a)nd often it’s affectionate.”—Doris Hering, Dance Magazine
“Fisher’s memoir is a three-fold delight; a generous tribute to Balanchine and his creations, collaborations, stagings, triumphs, and failures; a celebration of peers, colleagues, and talented artists in other ballet-related disciplines; and a cheerful, grateful record of her own distinguished career. …Fisher opens up the inner world of ballet, deftly capturing the personal characteristics of its creative giants.” —ForeWord Magazine
Most helpful customer reviews
18 of 18 people found the following review helpful.
A Story with Legs: In Balanchine's Company
By k mccann
With the grace of a ballerina transposed to the page, Barbara Milberg Fisher's memoir, In Balanchine's Company, captures the ephemeral art and rigorous discipline of dance in the New York City Ballet during its early and formative years. From her childhood on a tree-lined street in Brooklyn leaping over mud puddles, when her Russian emigre parents told her to practice the piano to keep her out of mischief, and gave her ballet lessons as an antidote to her hoydenish exploits, to the afternoon when George Balanchine discovered her playing Schubert's C Minor sonata in an empty studio, she describes the education of an artist en route from Flatbush to the world's most glittering stages. In recounting her own journey, Ms. Fisher sheds light on the creative process of George Balanchine and the many extraordinary dancers, musicians, costume and set designers who worked with his fledgling company.
"Sometimes," she wrote, "it seemed as if the company was flowing out of his veins." But while Mr. Balanchine was the presiding genius, it was the passion and dedication of his dancers, their unquestioning sense of mission, long hours, and sweat that brought his dreams to fruition. Ms. Fisher takes us into the studios with the tinkling pianos where for hours each day the young dancers did barre exercises and floor work under the watchful eyes of their beloved ballet masters, and, later, practiced and critiqued each other over and over until their lungs were bursting and the dancing looked effortless. She describes the patient way Mr. Balanchine worked with individual dancers, keenly aware of the natural ways they moved, creating ballets that used their special talents and gifts, recreating the role of Firebird to fit Maria Tallchief's style of movement, "a brilliant whirling creature," restoring the candy cane hoop dance to the Nutcracker to fit Robert Barnet's tireless vitality. She gives us insight into the making of avant garde masterpieces such as Opus 34, in which she appeared as a bandaged corpse, and Agon, which opened with Melissa Hayden's high speed footwork, and in which Balanchine experimented with silent arm gestures invented by the dancers themselves (which were cut from the final version). She shows us the theatres they performed in throughout Europe and across America, dark, drafty stages and blinding spotlights, how they rehearsed to the point of exhaustion, and, how, undeterred by blisters and sprains, they danced their hearts out on ancient splintered floors, thin wood planks laid on concrete, "raked" stages that tilted downward, in splendid costumes, or in worn toe shoes stuffed with paper, dazzling audiences wherever they went.
Ms. Fisher weaves her personal story with that of Balanchine's company as she rose from the corps de ballet to soloist in works such as Illuminations and Afternoon of a Faun, traveled, made lasting friends, read voraciously and indiscriminately, and from time to time questioned Mr. Balanchine, on one occasion asking why the father in Prodigal doesn't help the boy in the end. She recalls her whirlwind courtship, marriage, touring with Jerome Robbins' company as a principal dancer after leaving the New York City Ballet, and performing at the White House. She retired at age thirty-one following the birth of her second child, and went on to become a Professor of English at City College, where her deep appreciation for poetry was an inspiration to her students. Written with lively and precise detail that is a pleasure to read, her memoir is a story with legs.
15 of 15 people found the following review helpful.
insider's view of an important period in American ballet
By D. Burton
My ballet experience is limited to one class I took as a 5 year old and a handful of ballets that I have gone to see over the years. And yet I was captivated by the glimpse of the world of a professional ballerina, particularly since it seems that Barbara Milberg Fisher was a participant in an important era in the development of American ballet.
I have to admit that I do know Barbara personally as the mother of a college friend, but that had nothing to do with how much I enjoyed the book, except perhaps that it gave me new respect for her. Barbara's life as a young talented dancer seems so removed from the woman I knew as an English professor and the hard-working single mother of my friend. To be sure, her wit and quirky sense of humor are certainly recognizable in the book. And the "voice" is definitely hers. But it seemed incredible that the relatively modest woman I knew could have led such an exciting and impressive life as a young woman.
I very much like that the book is about her experiences and yet is not at all a self-centered book. I suppose I'm guilty of believing in stereotypes (or in press accounts of the actions of famous dancers), as I tend to think of ballerinas as being vain, demanding, and self-absorbed. And yet even when the story is about something that happened to her, Barbara's focus is often on the other people rather than on herself. And she is quite honest in divulging some of her own mistakes and embarrassing moments.
Her stories are humorous and even sometimes quite suspenseful (such as when she snuck into across the Berlin Wall). Her youthful exuberance, defiance, as well as dedication to ballet, are shown clearly in her vivid descriptions. I found that in reading the book, I learned about dance and dance history, world history, and even some lessons about dealing with people, all while being delightfully entertained.
12 of 14 people found the following review helpful.
Dancer's memoir is a joy to read
By Bernice W. Kliman
Barbara Fisher is obviously a remarkable person who has a lot to tell us about the rigors of a life in dance as well as delightful stories about her interactions with Balanchine and many other key figures in the dance world, including Stravinsky. The book is a perfect gift for anyone who cares about the art of dance.
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