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Seller's Description:
Very Good-in Very Good dust jacket. 0394516834. Name blacked out on first page. -Great overall condition. Minor cosmetic wear. No noteworthy blemishes. No writing.
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Seller's Description:
Very Good. Size: 8vo 8"-9" tall; Sterling condition hardcover copy, with unbruised tips, tight binding, and clean internals, showing only very slight shelf-and edge-wear; not ex-library, with neither underlining nor highlighting anywhere, though with previous owner's inscription at first free endpaper. Bright and shiny dust jacket, illustrated, showing only very minor wear, protected by a plastic coat, dust jacket not being price-clipped. [4], 5-371 pp. Member, I.O.B.A., C.B.A., and adherent to the highest ethical standards. Additional postage may be required for oversize or especially heavy volumes, and for sets.
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Seller's Description:
Near fine in very good jacket. Illustrated with black and white photography. 371 pages. 8vo, magenta cloth-backed boards, d.w. (price-clipped, toned). New York: Alfred A. Knopf, (1987). First Edition. Signed by the author at flyleaf. Ownership signature at front free endpaper. Near fine in very good dust wrapper.
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Seller's Description:
Very Good in Very Good jacket. 8vo-7¾"-9¾" Tall. Jacket has light edgewear. Boards have minor shelfwear. Pages are clean, text has no markings, binding is sound.
Edition:
First Edition [stated], presumed first printing
Publisher:
Alfred A. Knopf
Published:
1987
Language:
English
Alibris ID:
16435105381
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Seller's Description:
Good in Good jacket. [10], 371, [3] pages. DJ has some discoloration and creasing. Some discoloration inside the covers and some creasing inside the back cover. Inscribed by the author on the second free endpaper. Inscription reads: For Fran--With my best wishes--Paul Taylor. Includes chapters on Beginnings; Sunnyside; The Buttses; Lynchburg and Mexico; Syracuse and Bar Harbor; New London; Juilliard; Black Mountain, Hell's Kitchen, and Broadway; Babe; Martha and the Orient; 7 New Dances; Clytemnestra; Episodes; Spoleto; Italy; Phaedra; Paris; Aureole; Charlie; Mexico; The Midwest; The Studio; TY; Babe's Finger; Scudorama; Pony; Katy and the Gorilla; Letter to a Young Dander; Berlin; Kennedy's Death; Babe's Pets; Gray Rooms; The Red Room; Thanks to Charlie; Paris and London; From Sea to Shining Sea; South America; Orbs; Paris, Copenhagen, and Liverpool; Auditions; Brooklyn; Afterwards; and Index. Photographic inserts follow pages 86 and 214. Paul Belville Taylor Jr. (July 29, 1930-August 29, 2018) was an American dancer and choreographer. He was among the the third generation of America's modern dance artists. He founded the Paul Taylor Dance Company in 1954. He joined the Martha Graham Dance Company in 1955 for the first of seven seasons as soloist. In 1959 he was invited by George Balanchine to be a guest artist with New York City Ballet, performing his Episodes. Many of Taylor's pieces and movements are pointedly about something. Another well-known work of his is Private Domain. Taylor was intrigued by the idea of perspective and the relationship of reality and appearance. Taylor explores aspects of himself that have affected his work. He delves into the creation of Aureole and From Sea to Shining Sea, from their initial inception to the ways in which specific dancers influenced the choreography, including such notables as Pina Bausch, Laura Dean, David Parsons, Twyla Tharp, Dan Wagoner, Senta Driver-all of whom went on to form their own companies-and others-Bettie de Jong, Nicholas Gunn, and Carolyn Adams-who remained as much a part of the Taylor style as the choreography itself. Taylor writes with sincerity, wit, and charm of his associations with Martha Graham, Merce Cunningham, Jerome Robbins, Anthony Tudor, George Balanchine, and many others. Derived from a Kirkus review: Anyone familiar with his dances or his dancing won't be surprised that Taylor's writing is vigorous, idiomatic and prone to puns. Ever the modern, Taylor keeps to the present tense--a choice which can make his story fly along, or can create unwarranted confusion. Taylor has managed to write an autobiography with two protagonists, himself and Dr. Tacet (an alter ego). Their discussion, arguments and other dialogues sometimes run to several pages, with Taylor gallantly giving Tacet the best lines. These conversations are good. The book follows a chronological format, and concludes at about the same time as Taylor's dancing career. Taylor's tales of touring--especially in South America--are classic misadventures; and his profiles of famous people--such as Martha Graham and "Twyla Twerp"--can be equally funny. But unlike most performers, who tend to treat their autobiographies as a chapter in the history of their art, this man's subject is very much himself. No one will accuse him of padding with names, dates or footnotes. People and places are taken up only insofar as they affect the author. Blunt about sex, drugs and his own mistakes, Taylor prefers an indirect approach to relationships, inspirations and certain emotions. Where other authors would have long passages of explication or introspection, Taylor will instead allow you to eavesdrop on a conversation with Tacet, or leave you to read between the lines. By book's end, Taylor succeeds in making his readers feel like voyeurs at a particularly interesting peephole.
