Push Comes to Shove: An Autobiography

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9780553073065: Push Comes to Shove: An Autobiography

The well-known choreographer chronicles her life and career, describing her childhood, her training in music and classical ballet, the influence of the avant-garde climate of New York in the 1960s on her choreography, and more. 30,000 first printing. $30,000 ad/promo.

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From Publishers Weekly:

The wit and drive of Tharp's dances also feed her life story, which she tells here with a cool ebullience. Born in rural Indiana, she and her family moved to Southern California, where, still a child, she began studying dance with a visionary fanaticism that also grips her narrative. The book is sometimes very funny--George Balanchine makes an appearance as the Loch Ness monster in one of Tharp's dreams--but it is also earnest as Tharp describes her efforts to make her mark on the seminal modern dance scene of New York City in the 1960s. Tharp tells of her difficult marriage to painter Bob Huot and, elliptically, of their son; documents the life of her dance company; candidly confronts the failure of her production of Singin' in the Rain ; and considers most, though not all, of her dances. A few false notes include fulsome thanks paid to patrons and supporters and an overdetermined finale ("Finally I can feel that my attempts to discover truth through objective distance have linked up with my gut"). Photos not seen by PW. Major ad/promo.
Copyright 1992 Reed Business Information, Inc.

From Library Journal:

Dance aficionados have the chance to hear directly from Tharp, a dynamo of inventive pop choreography, regarding her artistic development and personal life. Chapters devoted to the creation of her stunning dances, "Deuce Coupe" and "Push Comes to Shove" are exhilarating. She depicts a life born of a fascinating mix of Quaker roots and an ambitious mother. Along with her sheer talent, Tharp's tough, gutsy determination enabled astonishing breakthroughs in dance but also masked a touchy insecurity that made her difficult to know. She relates startling anecdotes of unfair demands she made on friends and dancers, whose names read like a Who's Who of the art world. But such harsh self-disclosures make it apparent that she has learned from living. The book ends with a chronology of her work from 1965 to 1992. Essential for performing arts and dance collections.
- Sheila Riley, Smithsonian Inst. Libs., Washington, D.C.
Copyright 1992 Reed Business Information, Inc.

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