WEBVTT 1 00:00:04.620 --> 00:00:06.020 You 2 00:00:58.580 --> 00:00:59.980 You 3 00:01:09.560 --> 00:01:10.080 You 4 00:01:10.080 --> 00:01:11.140 Hi, it's I 5 00:01:11.140 --> 00:01:16.400 Ken Nordine and tonight. I'd like to have you join with us as we 6 00:01:17.260 --> 00:01:19.000 Leave the world of the everyday 7 00:01:19.580 --> 00:01:24.580 To visit a world of fantasy a world of the imagination 8 00:01:25.340 --> 00:01:29.980 In fact, I'd like to have you come up very close right now and take a close look at my eyes 9 00:01:30.920 --> 00:01:37.520 and then with your vision I'd like to have you imagine a 10 00:01:37.520 --> 00:01:39.780 Dancing I 11 00:02:28.560 --> 00:02:29.960 I 12 00:02:58.580 --> 00:02:59.980 I 13 00:03:28.580 --> 00:03:29.980 I 14 00:03:34.820 --> 00:03:36.220 You 15 00:04:11.040 --> 00:04:12.440 You 16 00:04:38.180 --> 00:04:38.760 You 17 00:04:45.040 --> 00:04:52.900 So the curtains close on a surrealistic dance, that's what you call having a ball with ballet 18 00:04:54.040 --> 00:04:56.960 I like the part about the eye because I figure that 19 00:04:57.670 --> 00:05:02.350 The eye is in the navel which makes it a sort of placental eye looking back toward beginnings 20 00:05:02.350 --> 00:05:04.550 But basically as a dance, it's for fun 21 00:05:05.490 --> 00:05:10.910 which I speak as if I know something about ballet, which is a lie I 22 00:05:10.910 --> 00:05:18.150 Would like to find out about ballet though and tonight I think you and I will as we talk with 23 00:05:18.150 --> 00:05:20.310 Ruth page who danced that? 24 00:05:21.330 --> 00:05:22.450 surrealistic dance 25 00:05:22.450 --> 00:05:29.330 Ruth page is now changing her clothes to look like an everyday human being to forget her surrealism 26 00:05:31.130 --> 00:05:33.210 Ruth page I'd like to tell you has 27 00:05:34.030 --> 00:05:34.710 contributed 28 00:05:34.710 --> 00:05:39.690 Tremendously to not only American ballet, but international ballet 29 00:05:40.250 --> 00:05:45.490 she was discovered by Anna Pavlova and 30 00:05:45.490 --> 00:05:49.450 Pavlova took Ruth page on a tour to South America 31 00:05:50.010 --> 00:05:55.530 She studied with Adolf boom who introduced her to Chicago and London 32 00:05:55.530 --> 00:06:00.570 She was the leading dancer in Irving Berlin's music box review and 33 00:06:01.530 --> 00:06:05.210 For two years the premier dances of the Metropolitan Opera 34 00:06:05.210 --> 00:06:07.450 the first woman 35 00:06:07.450 --> 00:06:08.770 So to be honored 36 00:06:09.410 --> 00:06:13.970 She'll be out with us in just a few moments something else. I'd like to tell you 37 00:06:13.970 --> 00:06:19.110 Ruth page was a guest artist with the ballet ruse de Monte Carlo 38 00:06:19.450 --> 00:06:22.950 She performed in Tokyo for the enthronement of Hirohito 39 00:06:23.970 --> 00:06:25.690 Of course, this was some time ago 40 00:06:25.690 --> 00:06:30.890 She was a guest artist in Moscow at the invitation of the Russian government 41 00:06:30.890 --> 00:06:37.090 Of course, the Russian government has sponsored ballet for so many many years 42 00:06:38.070 --> 00:06:45.450 She has contributed tremendously to the American ballet on the level of experiment and this we will find out about 43 00:06:45.450 --> 00:06:51.770 She started her ballet experience very early at the age of six 44 00:06:51.770 --> 00:06:56.530 Now these are just a few facts that I picked up from miss page 45 00:06:56.530 --> 00:07:00.170 before we went on the air, but now she's here dressed up like 46 00:07:01.670 --> 00:07:07.010 She looks in everyday life Ruth. I was talking with the people at home about 47 00:07:07.690 --> 00:07:13.270 the eye and the navel and the idea that it looks back toward beginnings and I mentioned the fact that 48 00:07:13.270 --> 00:07:18.870 You started your interest in ballet at the age of six, which is rather unusual 49 00:07:19.530 --> 00:07:26.110 Mr. Nardin, you have a very golden tongue and you know, my profession is dancing and not talking 50 00:07:26.110 --> 00:07:32.370 You really make my life sound like a fairy tale. So maybe I should start by saying once upon a time 51 00:07:32.370 --> 00:07:36.950 Well, I think once upon a rhyme would be wonderful. We could go back to that time when you were six 52 00:07:36.950 --> 00:07:40.970 Tell me about that. You actually became interested in ballet at the age of six 53 00:07:40.970 --> 00:07:48.890 Well, I lived in Indianapolis, Indiana as a little girl and my mother took me to see Anna Pavlova and 54 00:07:48.890 --> 00:07:56.890 After I saw Anna Pavlova, I really have been walking on air ever since I thought it was the world that I wanted to be in 55 00:07:56.890 --> 00:08:01.950 And even when I went backstage and saw all the dancers 56 00:08:01.950 --> 00:08:05.850 Sweaty and dirty and working. I was fascinated 57 00:08:05.850 --> 00:08:12.690 I saw them doing all holding on to the piano and holding on to the ladders and doing all these strange things with their feet 58 00:08:12.690 --> 00:08:17.430 I'm still fascinated with it. But I must say you do have to be a little bit careful 59 00:08:17.430 --> 00:08:25.770 you know one time I had an experience and I was doing a concert someplace and I was doing some very pretty dances and 60 00:08:25.770 --> 00:08:27.410 Afterwards I was very tired 61 00:08:27.410 --> 00:08:33.210 My makeup was off running down my face and I put on an old sweater and an old pair of trousers 62 00:08:33.210 --> 00:08:40.150 I had to pack my own trunk and some little girl came backstage and she said I want to see miss page 63 00:08:40.150 --> 00:08:43.010 I said well, I'm miss page and she said oh 64 00:08:44.730 --> 00:08:49.150 So since then I tried to be a little bit more glamorous backstage 65 00:08:49.150 --> 00:08:53.590 but you weren't you weren't so discouraged and I was thinking how unusual it is for 66 00:08:53.590 --> 00:08:55.730 after all a child of six 67 00:08:55.730 --> 00:09:01.410 so often children that age and even though they're decided going to be nurses or 68 00:09:03.510 --> 00:09:06.550 Doctor's or their boys or firemen or policemen 69 00:09:06.550 --> 00:09:11.010 But at the age of six you decided that you were going to the ballet and you did it 70 00:09:11.010 --> 00:09:14.810 Yes, and I I still am doing it. I'm gonna do it forever. I hope 71 00:09:14.810 --> 00:09:18.290 Well, you were an Indianapolis then and where did you get your first? 72 00:09:19.270 --> 00:09:24.150 Real training well actually you see there were no good ballet teachers there at that time 73 00:09:24.150 --> 00:09:30.570 So I learned by cutting out pictures from dance magazines putting the pictures all up on the wall 74 00:09:30.570 --> 00:09:35.010 I'd lie in my bed and look at these pictures and then practice them in front of the mirror 75 00:09:35.010 --> 00:09:41.890 Or I'd make up things myself and I really started choreographing or making up dances long before I ever knew anything about 76 00:09:41.890 --> 00:09:45.230 Dances and of course you are known today as a choreographer 77 00:09:45.770 --> 00:09:46.230 Yes 78 00:09:46.230 --> 00:09:53.090 I really am more interested in much more interested in choreographing than I am in dancing by by way of say a parentheses here 79 00:09:53.090 --> 00:09:57.870 What is a choreographer for those who may not know? 80 00:09:57.870 --> 00:10:03.230 Well a choreographer is nothing but a composer of dances that means you make up all the steps and 81 00:10:05.210 --> 00:10:09.550 Well, he's much more than that actually he has to do everything 82 00:10:10.210 --> 00:10:17.330 But that's the main function is to make up all the steps and get the ideas for the ballets put the costumes together 83 00:10:17.330 --> 00:10:20.510 An artistic producer, you know, that's right. That's what it is 84 00:10:20.510 --> 00:10:26.590 Well now you you came in contact with Anna Pavlova at the age of six and then again later on 85 00:10:26.590 --> 00:10:31.990 I went to school then in New York and I took regular lessons then from Adolf Baum 86 00:10:31.990 --> 00:10:34.890 Then I went to South America as you've told 87 00:10:35.610 --> 00:10:38.110 Before I stayed with her there for a year 88 00:10:38.110 --> 00:10:42.010 My mother went with me and then I went back to school and I came back and finished 89 00:10:42.010 --> 00:10:47.710 Then I went to Europe and I was a long time in Europe really dancing in London with Baum 90 00:10:47.710 --> 00:10:50.170 And I joined the Ballet race to Monte Carlo 91 00:10:50.170 --> 00:10:56.570 But then my prince came along so I got married and I've been living happily in Chicago ever after 92 00:10:56.590 --> 00:10:57.870 With your prince 93 00:10:58.450 --> 00:11:00.750 Only I really haven't been here very much 94 00:11:01.330 --> 00:11:06.070 I've spent much more time away from Chicago than I do in Chicago. Of course you are known as 95 00:11:08.150 --> 00:11:13.590 Centralizing your activities here in Chicago and in the Midwest although you have traveled all over the world 96 00:11:13.590 --> 00:11:20.230 Well, I do all my experimenting here. I really do the first dance I ever did is this one 97 00:11:20.230 --> 00:11:25.770 I think this will make you laugh. It's the flapper and the quarterback. Take a look at it. Isn't it funny? 98 00:11:25.770 --> 00:11:28.070 Is this one of the dances that you choreographed? 99 00:11:28.310 --> 00:11:31.590 Yes, that's the very first one which shows that having been in Europe so much 100 00:11:31.590 --> 00:11:36.170 I think that it made me more self-consciously American than I might have been otherwise 101 00:11:36.730 --> 00:11:39.190 And this is you kicking your foot up so high 102 00:11:39.190 --> 00:11:45.890 Yes, the roaring 20s of the Charleston. Well, it was rather unusual then to do jazz in concerts 103 00:11:45.890 --> 00:11:48.870 Now I sort of started that and then I went on from there 104 00:11:48.870 --> 00:11:54.090 The first really big ballet I did was one that I did here called La Gea Bless 105 00:11:54.090 --> 00:11:59.650 It was based on a Martinique legend and I used 50 Negroes from the South Side 106 00:11:59.650 --> 00:12:03.350 I used to come down the South Side every day all summer here in Chicago 107 00:12:03.350 --> 00:12:04.110 Yes here in Chicago 108 00:12:04.110 --> 00:12:10.690 We worked very hard on it and we finally did it with the Chicago Symphony Orchestra and Katherine Dunham and I 109 00:12:10.690 --> 00:12:14.170 Stared together in it then we later did it at the opera 110 00:12:14.170 --> 00:12:19.270 So you see they were more adventuresome in those days than they are now. What does La Gea Bless mean? 111 00:12:19.270 --> 00:12:24.790 It means Diabless, it's the patois, the Martinique patois for Diabless which means she devil 112 00:12:24.790 --> 00:12:26.490 I was the she devil 113 00:12:26.990 --> 00:12:30.050 There's a little bit of a devil in all of us, but you women have your share 114 00:12:30.050 --> 00:12:33.350 What else did you do then? You went from this jazz influence? 115 00:12:33.550 --> 00:12:35.230 Oh, I went on I did a lot of jazz 116 00:12:35.230 --> 00:12:37.630 I did a ballet called Hear Ye, Hear Ye 117 00:12:37.630 --> 00:12:46.610 Which was the story of a murder trial as told by three witnesses and each of the three witnesses told it in an entirely different way 118 00:12:46.610 --> 00:12:53.410 The idea back at the ballet was how difficult it is to get justice in this world even in law courts 119 00:12:53.410 --> 00:12:56.610 There was a social content as I say or a social message in 120 00:12:56.610 --> 00:12:58.730 Oh, I was great on social content 121 00:12:58.730 --> 00:13:02.170 In those days I did another one called An American Pattern 122 00:13:02.710 --> 00:13:07.830 Which is all about the American housewife and all her problems and you know, there are a lot of them 123 00:13:07.830 --> 00:13:12.110 I know we have three children at home and my wife has her hands full 124 00:13:12.110 --> 00:13:15.750 Then actually I think that my best-known 125 00:13:16.330 --> 00:13:19.830 Ballet is one that I did with Bentley Stone for the WPA here 126 00:13:19.830 --> 00:13:25.270 It was based on the American folk song of Frankie and Johnny were lovers Oh Lord and how they could love 127 00:13:25.270 --> 00:13:31.850 And here's a picture where I am shooting. Mr. Stone out of the window. I'm Frankie and he's Johnny 128 00:13:31.850 --> 00:13:35.230 This is the section where they swore to be true to each other 129 00:13:35.230 --> 00:13:39.390 He'd already been unfaithful then and and he was served him right 130 00:13:39.390 --> 00:13:40.550 I think so too 131 00:13:40.550 --> 00:13:46.070 We have an interesting experience with this ballet when we did it in Paris we did it the 132 00:13:46.070 --> 00:13:52.190 Chantélysee theater not very long ago and the Paris audience was absolutely 133 00:13:52.190 --> 00:13:57.470 Scandalized when they saw a corpse and a coffin coming on the stage. Why should that be? 134 00:13:57.550 --> 00:14:02.630 Well, it's absolutely contrary to fruition custom to have a corpse for coffin on the stage 135 00:14:02.630 --> 00:14:09.470 And you see we had him carried with six American tap dancers and we thought it was rather amusing and everybody here did that 136 00:14:10.110 --> 00:14:11.650 Absolutely creative riot 137 00:14:17.450 --> 00:14:20.410 And here's the end of the ballet 138 00:14:20.410 --> 00:14:26.630 But they the audience booed and hissed and carried on they said they hadn't been such a riot in the Parisian theater 139 00:14:26.630 --> 00:14:30.190 Stravinsky played exactly du prompt on there when 140 00:14:31.030 --> 00:14:36.750 Actually, this seems rather strange that must be in the ballet particularly the theater there because they have the grand guillon which is 141 00:14:39.910 --> 00:14:45.050 Anyway, that's the way it was so they booed and hissed at least it was a reaction. Oh, it was fun 142 00:14:45.050 --> 00:14:48.110 It was very exciting. They had to call out the police 143 00:14:48.750 --> 00:14:53.630 Well, then we did another one this one maybe you'd be interested in 144 00:14:53.630 --> 00:14:57.850 This is the bells of Edgar Allan Poe the tint and abulation 145 00:14:58.690 --> 00:15:04.110 Abulation. Yes, you know how Edgar Allan Poe always starts with love and youth and 146 00:15:05.610 --> 00:15:10.270 Charm and then everything always disintegrates at the end very much as his own life 147 00:15:13.370 --> 00:15:14.250 Well, I 148 00:15:14.250 --> 00:15:16.210 Symbolized this not only in the dance 149 00:15:16.210 --> 00:15:23.470 But I had a church rising at the beginning and then at the end when everything stood in the disintegrate the church collapses 150 00:15:23.470 --> 00:15:29.470 Which is reminiscent of the fall of the house of us here. Yes sort of an eclectic ballet of the pole 151 00:15:30.090 --> 00:15:33.750 Yes, well his things are always in that way and people don't like them very much 152 00:15:33.750 --> 00:15:38.410 They don't like morbidity. You see I like sad endings. Don't you I rather enjoy poor 153 00:15:38.410 --> 00:15:43.750 I think he's one of our great American ladies. Well, they think so in Europe. Here's one 154 00:15:43.750 --> 00:15:50.510 I tell you the last jazz ballet I did was about Billy Sunday. He was making a sermon on 155 00:15:50.510 --> 00:15:55.470 Temptation sometime before Billy Graham. Yes. He was the original one I guess and 156 00:15:56.790 --> 00:15:57.590 the sermon 157 00:15:57.590 --> 00:16:01.290 Was about he had I picked four temptation 158 00:16:02.090 --> 00:16:08.110 Scenes and this is one of them actually I made the devil a baseball player 159 00:16:08.110 --> 00:16:15.730 The Billy was always having bouts with the devil, you know, and in the end, of course, he strikes him out. This one is of 160 00:16:16.870 --> 00:16:20.110 Bathsheba taking her bath with Billy over there at the side 161 00:16:21.170 --> 00:16:26.090 I see this to the right here. Is this Billy? Yes in the cloak. I see 162 00:16:26.910 --> 00:16:28.250 That's she was back there 163 00:16:28.250 --> 00:16:33.530 Then we had the wise and foolish virgins and 164 00:16:34.470 --> 00:16:36.410 Samson and Delilah 165 00:16:36.410 --> 00:16:40.370 One of the sections of the Bible. Yes, it was the Bible in slang 166 00:16:40.370 --> 00:16:44.170 They told him I did all the dancing and what was the reaction to this? 167 00:16:44.450 --> 00:16:46.670 No, it was very amusing people like that 168 00:16:46.670 --> 00:16:51.530 They we did it with the Ballet Rous to Monte Carlo and Danilo was not in part of her and she was she talked 169 00:16:52.490 --> 00:16:58.110 Frederick Franklin was Billy's son and they both talked which is rather unusual, you know ballet art is usually silent 170 00:16:59.330 --> 00:17:04.730 Well, then that was about the end of my jazz period. I haven't done anything in jazz for a long time 171 00:17:04.730 --> 00:17:07.030 I know you're interested in jazz, but to be chronological 172 00:17:08.610 --> 00:17:10.590 What did you do after you did? 173 00:17:11.450 --> 00:17:18.610 Well, I went into a sort of an abstract period actually, you know, there was a time there when 174 00:17:19.290 --> 00:17:23.770 We were all the artists I think were very much influenced by modern architecture 175 00:17:24.350 --> 00:17:29.250 Modern painting modern music and I was naturally very influenced too 176 00:17:29.250 --> 00:17:32.470 We were searching for new meanings inner meanings 177 00:17:32.470 --> 00:17:37.290 We did all kinds of strange things and I'll show you pictures of some of them 178 00:17:37.290 --> 00:17:40.150 Here's one that I did called expanding universe 179 00:17:42.150 --> 00:17:45.190 It looks as if you're wrapped up in a sack there 180 00:17:48.990 --> 00:17:54.090 Sack why it was quite hot in there, but I made interesting sort of sculpture s design 181 00:17:54.850 --> 00:17:59.530 These are some drawings that he saw Monoguchi made out of the 182 00:18:02.030 --> 00:18:06.890 Well, he's half Japanese of course here's another one in the same period where it was 183 00:18:08.230 --> 00:18:13.550 Strings instead of sacks. I love these pictures. Don't you they sort of freeze time? 184 00:18:14.130 --> 00:18:19.090 Of course we artists loved this period but the audience didn't always like it 185 00:18:19.090 --> 00:18:24.430 I remember during this period I was dancing with a great German dancer Harold Kreutzberg and 186 00:18:25.370 --> 00:18:30.190 We were got along fine when we were in the big cities, but once we went to a little town in Iowa 187 00:18:31.110 --> 00:18:33.730 And we thought our concert was a great big success 188 00:18:33.730 --> 00:18:39.410 We did all these very modern numbers and there was lots of applause and the next day 189 00:18:39.410 --> 00:18:45.310 There was a long review and paper about it and it said how wonderful we were what great artists we were 190 00:18:45.310 --> 00:18:48.450 And at the end it said we hope they never come back 191 00:18:48.450 --> 00:18:52.530 Well, what what time you know, this was recently of course 192 00:18:52.530 --> 00:18:58.410 What time would this be well that period was thought between 1935 and 40 when I was dancing with him 193 00:18:58.410 --> 00:19:03.110 Just coming out of the depression and just before the yes. It was a very interesting period 194 00:19:03.110 --> 00:19:09.050 There were no swan queens no sleeping beauties and it was in and here's another picture that might interest you 195 00:19:09.410 --> 00:19:17.050 You know, I I had two tours in the Orient and in all the places that I went I studied the native dancers 196 00:19:17.050 --> 00:19:21.750 I learned the Japanese dances in Japan with all these funny little head movements 197 00:19:21.750 --> 00:19:28.610 Then in Bali I studied these and learned these and I bought Balinese costumes and Japanese costumes 198 00:19:28.610 --> 00:19:32.210 Is this Balinese? No, this is not I 199 00:19:33.270 --> 00:19:38.930 Started to do these dances realistically like this and it was ridiculous because any 200 00:19:38.930 --> 00:19:42.530 Japanese girl could have done them better any Balinese girl could have done them better 201 00:19:42.530 --> 00:19:46.230 So I forgot it all and tried just doing an impression 202 00:19:46.230 --> 00:19:49.910 This is an impression of the tropics this dance is called tropic 203 00:19:49.910 --> 00:19:53.870 And I think it's one of the most successful because it I didn't do any of the movements 204 00:19:53.870 --> 00:19:57.230 I think the mass is probably influenced by no game 205 00:19:58.910 --> 00:20:02.770 In other words you attempted to get the essence of what you felt the Balinese 206 00:20:03.370 --> 00:20:07.690 Yes, and that's the way to do it, of course then this one is rather funny 207 00:20:07.690 --> 00:20:09.690 I think this is this is 208 00:20:10.430 --> 00:20:16.490 I guess you recognize me here. I am trying to represent toil, but I don't think that was very successful in that one 209 00:20:16.490 --> 00:20:21.350 It looked like a sailor got mad there. I don't I don't think that one was a very big success 210 00:20:21.350 --> 00:20:26.650 I think that I finished with that period fairly quickly without five years 211 00:20:27.210 --> 00:20:33.430 In other words this is you in we're speaking now in terms of of your development as an artist over a period of some time 212 00:20:33.430 --> 00:20:38.870 I began with a classical period then you went to the jazz period then which you might call American folk 213 00:20:38.870 --> 00:20:40.450 Myth a ballerina 214 00:20:40.990 --> 00:20:47.070 I call it my backyard period because I was looking around at home to see what material I could find at home 215 00:20:47.070 --> 00:20:50.110 then then moving from that into the 216 00:20:51.110 --> 00:20:54.930 abstract experimental each one experimental but in a different direction 217 00:20:55.530 --> 00:21:02.590 So now we're up to the abstract. Where do we go from here? Well lately I have been doing offers in the ballets 218 00:21:04.030 --> 00:21:06.010 And that's quite interesting 219 00:21:06.010 --> 00:21:08.010 I don't know how I ever got started on it 220 00:21:08.010 --> 00:21:12.670 but I think I got started because I've always been associated with opera companies I've 221 00:21:13.530 --> 00:21:19.090 Really learned my trade at the Ravinia opera and the cologne opera in Buenos Aires the Metropolitan Opera 222 00:21:19.090 --> 00:21:24.230 But of course, you know the dancers never had any union until just recently 223 00:21:24.230 --> 00:21:29.430 So sometimes we'd be called early as 10 o'clock in the morning and we wouldn't dance until four 224 00:21:29.430 --> 00:21:32.610 So there I was sitting around all day and I loved it actually 225 00:21:32.610 --> 00:21:37.970 I didn't complain I listened to it, but I didn't like the way they operas looked 226 00:21:37.970 --> 00:21:44.950 So I used to shut my eyes and listen to the beautiful music and then came all these ideas about how these wonderful 227 00:21:44.950 --> 00:21:48.390 Stories and how this wonderful music could be done 228 00:21:49.170 --> 00:21:52.850 Well one thing that I'd like to before we 229 00:21:53.690 --> 00:21:55.730 Examine your creating 230 00:21:55.730 --> 00:22:01.590 Ballet opera I've been staring at this statue. That's right behind you 231 00:22:01.810 --> 00:22:09.430 Don't you recognize me? Is that you? Oh, yes. Oh, I'm sorry. I really am a little bit excited. Who did that? 232 00:22:09.970 --> 00:22:17.370 The same one who designed the stacks for all the that period expanding universe period. Oh that is from the abstract 233 00:22:20.610 --> 00:22:27.110 Exciting if he did the bells to he did be the church that rises and falls. Well now back to where we were 234 00:22:27.890 --> 00:22:32.530 This creating valley of opera you take what have you done in that field so far? 235 00:22:32.570 --> 00:22:35.170 Well, I've done five the first one I did was 236 00:22:35.850 --> 00:22:44.710 Carmen of course that is a natural because all the tunes and other dance tunes and I called it guns and cast mits and 237 00:22:44.710 --> 00:22:50.330 I put it into the Spain of the revolution the fascist and loyalist revolution now 238 00:22:50.330 --> 00:22:53.010 I don't change them about as much as I did then now 239 00:22:53.010 --> 00:22:55.850 Try to get just as close to the inner 240 00:22:55.850 --> 00:23:03.310 motivation of the story and they listen to the music without reading all of the words that go with it and try to 241 00:23:03.310 --> 00:23:07.970 Get out it that way and I think it's better out the second one. I did was the Trovatore 242 00:23:08.730 --> 00:23:12.570 And I have a picture that this is actually the last act 243 00:23:12.570 --> 00:23:19.270 If I did it first at Mandel Hall in 1950, I think 51 no 51 I guess 244 00:23:20.340 --> 00:23:26.000 Just an experimental performance down there without any orchestra with the costumes that weren't quite successful 245 00:23:27.400 --> 00:23:32.900 So I liked it. However, I mean I love the music I should say and I love the crazy story 246 00:23:32.900 --> 00:23:39.120 You know that was originally based on a play in the 15th century Spain. It took them eight days to do the play 247 00:23:39.900 --> 00:23:43.800 Then when he said he's there he wrote it it took him four hours 248 00:23:43.800 --> 00:23:48.340 But mine now is down to about a little under an hour it takes for me to do mine 249 00:23:48.340 --> 00:23:50.340 So you've come full circle now you're 250 00:23:51.320 --> 00:23:58.460 Started out with the classical training along through jazz Americana abstract and now of course with your interest in making operas into ballet 251 00:23:58.460 --> 00:24:05.860 You have come full circle as we say and you're interested again in the legitimate classical ballet is a simple art form 252 00:24:05.860 --> 00:24:12.340 I'd like to ask you about that other sketch that you have back there. Well, this is by 253 00:24:12.340 --> 00:24:19.100 Bordman O'Connor of channel 11 and he did it especially for this part of there what you're going to see now 254 00:24:19.100 --> 00:24:22.940 It's by Beethoven is based the middle section of Beethoven's 255 00:24:24.160 --> 00:24:28.180 Sonata which is popularly called the patty peak. This is the adagio section 256 00:24:28.180 --> 00:24:36.300 The dancers are miss Barbara steel and mr. Charles Schick. They're both soloists of the Chicago lyric opera and 257 00:24:37.680 --> 00:24:39.860 The neo-cane is at the piano 258 00:24:47.540 --> 00:24:48.940 Oh 259 00:25:26.680 --> 00:25:28.080 Oh 260 00:25:58.380 --> 00:25:59.780 Oh 261 00:26:35.920 --> 00:26:37.320 Oh 262 00:26:56.500 --> 00:26:57.900 Oh 263 00:27:12.340 --> 00:27:13.720 Oh 264 00:27:45.040 --> 00:27:46.440 Oh 265 00:28:13.140 --> 00:28:14.540 Oh 266 00:28:42.340 --> 00:28:43.740 Oh 267 00:29:24.060 --> 00:29:25.460 Oh 268 00:29:45.580 --> 00:29:46.980 Oh 269 00:29:51.260 --> 00:29:52.140 Oh 270 00:30:09.340 --> 00:30:11.700 We hope you've enjoyed this short visit 271 00:30:12.400 --> 00:30:16.300 with Ruth page into the imaginative world of ballet 272 00:30:16.300 --> 00:30:18.880 By the way last year with page 273 00:30:18.880 --> 00:30:24.480 Traveled 22,000 miles and visited 130 cities throughout the United States with her ballet group 274 00:30:24.480 --> 00:30:27.900 This she will do again this fall and winter 275 00:30:27.900 --> 00:30:33.840 I'd like to turn your attention now to some of the people who were connected with this half hour 276 00:30:33.840 --> 00:30:35.540 of course 277 00:30:35.540 --> 00:30:37.020 Ruth page 278 00:30:37.020 --> 00:30:42.300 Barbara steel and Charles Schick our two dancers Neil K and the pianist 279 00:30:43.300 --> 00:30:45.380 Bordman O'Connor set designer 280 00:30:46.080 --> 00:30:51.940 Richard Mansfield our director and this is my name here, but bottom billing of course goes to 281 00:31:17.680 --> 00:31:18.380 You 282 00:31:47.640 --> 00:31:49.040 You 283 00:32:17.640 --> 00:32:18.380 You 284 00:32:47.560 --> 00:32:48.380 You 285 00:33:17.960 --> 00:33:18.380 You 286 00:33:47.620 --> 00:33:48.380 You 287 00:34:17.720 --> 00:34:18.380 You 288 00:34:47.440 --> 00:34:48.840 You 289 00:35:17.400 --> 00:35:18.800 You 290 00:35:47.620 --> 00:35:48.380 You 291 00:36:17.740 --> 00:36:18.380 You 292 00:36:48.200 --> 00:36:48.380 You 293 00:37:17.680 --> 00:37:18.380 You 294 00:37:47.700 --> 00:37:48.380 You 295 00:38:17.460 --> 00:38:18.860 You 296 00:38:47.560 --> 00:38:48.380 You 297 00:39:17.660 --> 00:39:18.380 You 298 00:39:47.580 --> 00:39:48.380 You 299 00:40:17.660 --> 00:40:18.380 You 300 00:40:47.720 --> 00:40:48.380 You 301 00:41:17.680 --> 00:41:18.380 You 302 00:41:47.620 --> 00:41:48.380 You 303 00:42:17.600 --> 00:42:18.380 You 304 00:42:48.280 --> 00:42:48.380 You 305 00:43:17.400 --> 00:43:18.800 You 306 00:43:47.380 --> 00:43:48.780 You 307 00:44:17.980 --> 00:44:18.380 You 308 00:44:47.640 --> 00:44:48.380 You 309 00:45:17.500 --> 00:45:18.380 You 310 00:45:47.720 --> 00:45:48.380 You 311 00:46:17.460 --> 00:46:18.860 You 312 00:46:48.020 --> 00:46:48.380 You 313 00:47:17.400 --> 00:47:18.800 You 314 00:47:47.640 --> 00:47:48.380 You 315 00:48:17.560 --> 00:48:18.380 You 316 00:48:47.540 --> 00:48:48.380 You 317 00:49:17.540 --> 00:49:18.380 You 318 00:49:47.660 --> 00:49:48.380 You 319 00:50:17.640 --> 00:50:18.380 You 320 00:50:51.340 --> 00:50:52.740 You