9780671723705 - Prodigal Son: Dancing for Balanchine in a World of Pain and Magic von Villella, Edward; Kaplan, Larry (18 Ergebnisse)

Zustand: Good. Item in good condition and has highlighting/writing on text. Used texts may not contain supplemental items such as CDs, info-trac etc.

Hardcover. Zustand: Fair. With dust jacket. The item might be beaten up but readable. May contain markings or highlighting, as well as stains, bent corners, or any other major defect, but the text is not obscured in any way.

Hardcover. Zustand: Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

Hardcover. Zustand: Good. No Jacket. Former library book; Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

Hardcover. Zustand: Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

Hardcover. Zustand: Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

Zustand: Good. Good condition. Good dust jacket. A copy that has been read but remains intact. May contain markings such as bookplates, stamps, limited notes and highlighting, or a few light stains.

Hardcover. Zustand: Like New. First Edition. First Edition, First Printing. Not price-clipped. Published by Simon & Schuster, 1992. Octavo. Hardcover. Book is like new. Dust jacket is like new with sticker residue on front cover.100% positive feedback. 30 day money back guarantee. NEXT DAY SHIPPING! Excellent customer service. Please email with any questions. All books packed carefully and ship with free delivery confirmation/tracking. All books come with free bookmarks. Ships from Sag Harbor, New York.

hardcover. Zustand: Like New. First edition by full number line. As New.

Zustand: Very Good. Presumed 1st as edition is not stated. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Zustand: Fine. Presumed 1st as edition is not stated. Used book that is in almost brand-new condition. May contain a remainder mark. Better World Books: Buy Books. Do Good.

Zustand: Good. Presumed 1st as edition is not stated. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Zustand: Good. Most items will be dispatched the same or the next working day. A copy that has been read but remains in clean condition. All of the pages are intact and the cover is intact and the spine may show signs of wear. The book may have minor markings which are not specifically mentioned. Ex library copy with usual stamps & stickers.

Hardcover. Zustand: Very Good. First Edition. First Edition, First Printing. Not price-clipped. Published by Simon & Schuster, 1992. Octavo. Hardcover. Book is very good with author's signature on front flyleaf. Dust jacket is very good with light shelf wear.100% positive feedback. 30 day money back guarantee. NEXT DAY SHIPPING! Excellent customer service. Please email with any questions. All books packed carefully and ship with free delivery confirmation/tracking. All books come with free bookmarks. Ships from Sag Harbor, New York.

Hardcover. Zustand: Very Good. First Edition. First edition. Very good plus hardcover. First edition. Pages and cover are clean. Name inside front cover. Illustrated.

Hardcover. Zustand: Fine. Zustand des Schutzumschlags: Fine. First Edition. First edition. Fine in fine dust jacket.

Zustand: Good. Schutzumschlag leichte Gebrauchsspuren.

Hardcover. Zustand: Very good. Zustand des Schutzumschlags: Very good. Martha Swope (Author photograph) (illustrator). First Printing [Stated]. 317, [3] pages, Illustrations. Inscribed by Villella on the fep. The inscription reads: "To Betty & Al Greenberg-With fondest best wishes, Edward Villella 4/16/92". In an inside look at the world of ballet by one of America's greatest ballet dancers, Edward Villella reflects on his tempestuous dancing career and his relationship with master choreographer George Balanchine. Edward Villella (born October 1, 1936) is an American ballet dancer and choreographer. He is frequently cited as America's most celebrated male dancer of ballet at the time. He has won numerous awards, including the Daytime Emmy Award for Outstanding Children's Special, the Kennedy Center Honors, and the National Medal of Arts. Villella became a member of the New York City Ballet in 1957, rising to soloist in 1958 and principal dancer in 1960, last dancing there in 1979. Among his most noteworthy performances were Oberon in George Balanchine's ballet A Midsummer Night's Dream (with music by Felix Mendelssohn), Tarantella, Rubies in the Balanchine ballet Jewels, and Prodigal Son. Villella was the first American male dancer to appear with the Royal Danish Ballet, and the only American ever asked to dance an encore at the Bolshoi Theatre in Moscow. He danced at the inaugural for President John F. Kennedy, and performed for Presidents Johnson, Nixon, and Ford. Larry Kaplan coauthored Dancing with Balanchine with Merrill Ashley. He is a frequent contributor to Ballet Review, has published articles on dance in Connoisseur and Vanity Fair, and has written fiction for The New Yorker. Derived from a Kirkus review: Villella was a star among stars, the athletic all-American boy of the New York City Ballet from the late 1950's through the 70's. His career spanned ``a golden age of ballet, an amazing era in which George Balanchine single-handedly transformed the art. I watched him do it. I was part of it all.'' Villella's account of those years is as straightforward and forthright as this dancer himself. Villella followed his sister into ballet classes at age nine- -risky business for a boy in Bayside, Queens. A year later, he was accepted into the School of American Ballet, NYCB's training ground. Villella went on to spend his entire performing career with NYCB and Balanchine. At his parents' insistence, he left dance for four years to complete a bachelor's degreea hiatus that had physical ramifications for the rest of his career. However, those years ``gave me another perspective on dancing and kept me from becoming too ascetic and pretentious.'' And certainly Villella held himself apart from most of the company; without rancor, he additionally attributes this to his short stature (5`8'') and consequent need to fight for new roles, his heterosexuality, and his eternally difficult relationship with Balanchine. The two never had an open, relaxed relationship: ``I was unusually tongue-tied around him.He made me uncomfortable because he was so sure of himself and his art.'' Villella's decision not to take Balanchine's famousand peculiarclasses because he found them physically destructive further distanced him: ``Until his dying day I don't think he forgave me for not praying at his altar.'' There are plenty of sidelights here as well: tales of tours, other dancers, company intrigues. And Villella gives a complete account of his devastating, career-ending injuries, as well as of how he found his way to be the phenomenally successful artistic director of the Miami City Ballet. Throughout, Villella appears as his immensely talented, intelligent, self-absorbed, and opinionated self: a cleareyed account of a most remarkable career in a remarkable time.