WEBVTT

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We want you to walk back with both of us.

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Yeah, just like that.

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Okay.

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I just want to make sure.

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Just watch.

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And you can walk back.

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Okay, I'm gonna have to hide in here.

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You'll never see me.

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Okay.

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One, two, three, four.

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Wait a minute.

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Is she not gonna be here with me?

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Oh.

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Scrolling.

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Welcome.

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This is my home, and I love it very much.

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And I hope you'll come and love it with me.

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Now, my husband, Andre Del Faux, did all these pictures on the wall.

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This one is Harold Kreutzberg.

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Maybe you don't remember him.

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He was a great, great dancer.

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And those are his three, a picture of his three mad figures.

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And it looks exactly like him.

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And this is Lydia Barka, who did my last Carmen.

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She's a black girl, and she did it marvelous.

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And we did it all black, one of the various Carmons that I did.

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And this is Nerea, my good friend, whom I brought to this country,

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who's a wonderful artist and a great dancer.

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And let's see, on this side, these are all my dancers.

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That's Larry Long and Lori Slipinski and Klukovic and Johnson and Arne Kayen.

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Yours truly up there.

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And this is my dear friend, Claudia Cassidy.

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She's a marvelous person, and this looks exactly like her.

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I don't know how my husband got her likeness so well,

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because he didn't even know her at that time.

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And this is one of my dancers, Charles Schicks.

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And that's Del Faux over there.

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He does look very much like him.

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Margot Fontaine is way down there.

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But that doesn't look very much like her either, I don't think.

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Now, as you come, this is my living room.

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And these three pictures are by Isamu Noguchi, who's a very, very great sculptor.

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And he designed a sort of a jersey sack for me.

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And I got inside the sack and danced.

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And they're awfully interesting dances, actually.

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And you can tell how interesting they are if you look at these pictures.

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And that's his statue called Expanding Universe up there,

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which is the same period, the sack period.

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And as you come in, you will see that I like seashells.

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The room is all full of seashells.

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I don't know if you can see them, but anyway, there are seashells all over the place.

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And I like seashells.

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And let's see what else is in this room.

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Oh, they're mostly seashells.

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And those are Toulouse-Lautrecs and those three pictures there, and this one, the Divin Chaponet.

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Those are Toulouse-Lautrecs.

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And all the rest in this room are by Delpho.

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And here's the only award I got that I like the looks of it.

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I forget who gave it to me.

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Oh, it's the University Club of Chicago, and I think that's a beautiful thing.

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I like this key very much.

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That I got in Miami.

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I got the key to Dade County, and I like that.

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And this one is nice, too.

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This is the Academy Award.

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Most of the awards are so ugly, but those are pretty, so I put them up.

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And let's see what else is in this room.

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Well, I think that's about everything.

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Oh, there's my brother's book.

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And I like that little statue out of me.

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I think that over there is by Derozinski.

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And these are interesting pictures in here.

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This is the view from this place, which is wonderful.

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That's the view in winter when there's snow.

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And over here is the view in the afternoon without snow when you see the shadows,

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which are so beautiful over there.

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That view changes all the time, and it's always interesting.

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There's sometimes waves, sometimes it's still, sometimes it's blue,

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sometimes it's green, sometimes it's purple.

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It can be any old color, but it's always beautiful, the view of the lake.

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And these are my husband's pictures, too.

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These are the Calcutta...what does he call them?

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I can't think of what he calls them.

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Brothels, the brothels of Calcutta.

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Everything else he does is...

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Harlequins are in the other room.

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Yeah, there are no harlequins in here.

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So that's about all in this room, I think.

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You can see how beautiful the seashells are, why I like them.

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And, oh, can you see this doll over here? This one?

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This looks very strange, but this was an alley I did in which the leading man

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prefers to dance with this doll than to dance with the real girls.

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It was sort of a amusing idea.

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He was a little bit queer, I guess.

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Anyway, I like the looks of the doll, so I just put her in here.

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So that's the story of the doll.

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I like this statue of me, too.

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I like that. That was taken in 1492, I think.

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Dariuszczynski did it.

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And is there anything else in here that's intriguing? I don't think so.

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The mask.

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What?

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The mask.

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Oh, that's something I just got in Mexico.

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I just bought it because...

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That's not the mask I'm thinking of.

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Which one are you thinking of?

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No, I'm thinking of the one that's in the hallway.

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I just put it up there because I bought it in Mexico.

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I don't know what it is and don't know the significance of it.

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Maybe it has none. I don't know.

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But I like the looks of it, so I put it up in here.

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Those are the Noguchi Ladders over there. I think those are beautiful.

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And, well, that's it.

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So, this is my living room.

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And now, come into the next room because there's a...

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I call this the Tibetan Room because there's a Tibetan prayer wheel in there,

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which my father brought all the way home from the Orient because he thought I'd like it.

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And I do. I love it. You can see it right here.

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Hello. Hang on.

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Anytime.

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Welcome to my home.

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This is the entrance hall.

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And my husband, Henri Dauphot, made all these pictures of all my favorite people.

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This is Margot Fontaine, my very great friend.

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And this is Harold Kreutzberg, with whom I danced for three or four years.

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And I think he's a very, very great dancer.

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That's his dance called Angel of the Annunciation.

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And it looks exactly like him.

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And this is Lydia Bargo. I've done all four different versions of Carmen.

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And this last one was done by the Dance Theatre of Harlem.

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And she was the Carmen. It was a very modern Carmen.

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Nothing like you'd expect.

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And this is Nouriev, who's a great friend of mine.

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And I brought him to this country, actually.

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And he danced in my Merry Widow and in Prince Igor when he first came.

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And then, of course, had this great career afterwards.

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And these are some of my own dancers.

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This is Larry Long and his wife, Deloria Sapinski, who've been with me for years and years.

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And they were both wonderful artists.

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And this is Klukovitch and Johnson, Kenneth Johnson, who also danced with me for a long time.

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This is Arne Kayen. That's yours truly up there in the swing.

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And this is Claudia Casting, who I think is a great woman.

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And this looks exactly like her.

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She's a wonderful friend and she's a very unusual Chicago lady.

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And this is one of my dancers.

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And that's Dufour over there in the corner. You can't see him now.

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Port Self-Portrait.

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Now, as you come into the Liz Is My Living Room, and these are all by Noguchi,

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he designed a wonderful sort of a jersey sack.

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You got it, I got inside the jersey sack.

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And all these poses come out of the sack.

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And I think they're very beautiful.

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And let's see.

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As you come on a little further.

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These are various awards that I've gotten, and most of them I don't like at all.

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But these are the ones that I like.

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This one is from the University Club of Chicago.

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And this key I adore. That's keys to the Miami Dade County.

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I think I got the key.

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And this is from the Academy of Honors here.

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And I think those three are beautiful.

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And the other is the Peabody Award that I got for the Mary Widows.

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That's very ugly, so I don't use that very much.

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And then right over here is the Tibetan Room.

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In here.

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Stand by and action.

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Welcome to my home.

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This is the entrance hall.

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And my husband Andre Del Faux has painted pictures of all my favorite people.

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There's nothing in this room except my friends.

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I like empty spaces. I don't like things that are overcrowded anyway.

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This is my friend Margo Fontaine right here.

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And this is Harold Kreitzberg who was a genius I think.

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That's her over in the university.

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Welcome to my home.

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This is the entrance hall where my husband Andre Del Faux has painted pictures of all my favorite people.

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I love empty spaces.

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And so this room is entirely empty except for the pictures of my friends.

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This one is Margo Fontaine.

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A wonderful person and a great dancer of course as you all know and a great friend of mine.

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And this one is Harold Kreitzberg.

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Harold Kreitzberg along with Margo was a genius also.

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I had the great pleasure of dancing with him for a while.

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And this is his favorite dance called the Angel of the Annunciation.

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This looks exactly like it.

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Over here is Lydia Barka.

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I've done so many different versions of Carmen.

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And the last one I did, it was all black, I did it with the Dance Theatre of Harlem.

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And it was a very modern, different Carmen.

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She was lovely in it I thought.

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And this is Nerea.

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And I brought Nerea to this country.

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He danced Prince Igor in our version of it at the Lyric Opera at the opening year.

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I think it was 1955.

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And he danced also with my Mary Widow at the same time.

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And over here on this side are all sort of my own dancers.

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Larry Long. This is Larry Long.

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It's been with me a long time.

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And Dolores Lipinski, his wife.

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And this is Klackovitch and Johnson, who are a beautiful team.

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There's Oren Cain, who is a teacher now over at the Academy.

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And a very fine, he was a wonderful comedian.

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I always remember his comedy bits.

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And this is Claudia Cassidy, who's a great friend of mine.

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And this looks exactly like her.

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And a lot of people think she's too severe and that she runs people out of town.

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But I found her very simpatico always.

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That's me up there. That is I rather up there.

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And this is a self-portrait of Andre Del Faux, my husband.

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And so this is my living room.

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And over here in the corner, these three pictures are by Noguchi.

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He designed a very marvelous jersey sack.

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If you got into this sack, every position you got into was interesting.

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As you can see here, he did these pictures, drawings of me in the famous sack.

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A lot of people have used that sack since then, but it was very original at that time.

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Now over here are the awards that I've gotten.

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Most of the awards that I get, I don't like the looks of them, so I put them away.

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I'm happy to have them naturally.

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But this one I think is beautiful.

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This is from the University Club of Chicago.

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And this one, this key, I think is stunning.

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I got that just this year at the, in Don and Miami, in the Dade County.

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And this is the Academy here. And those three I like, so I leave those here.

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Then as you go further into the living room, you can see that I like seashells very much.

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The room is all full of seashells.

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And people bring them to me. I don't pick them all up on the beach myself, but people bring them to me.

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Somebody brought me a green one the other day from South Africa, which is very rare, and I adore it.

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And I have seashells on the window. There's the wonderful view I spoke of.

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That view is very extraordinary because it changes all the time.

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It's never the same.

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You can, that's Oak Street Beach, the famous Oak Street Beach, which is fun to watch in the summertime.

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And I did a ballet once called Oak Street Beach, which was the skyscrapers and the beach.

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It was rather a fun ballet.

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And this view is, every time you look at it, it's different.

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Delpho did two pictures of it. That's the view with snow.

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And this is the view over here with the shadows that fall in the afternoon when there's sunlight,

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which is rare these days, I must say, but we get it once in a while.

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And when we get the sun, it makes these marvelous shadows of the skyscrapers on the beach.

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And over here, well, these are all Delphos. These are the brothels of Bombay that he's just been finished a series of those.

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All of these are the brothels of Bombay. That one is too over there.

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And this doll is an interesting piece.

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It's a ballet I did about a man who preferred to dance with this doll than with the real girls.

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He was a little queer, I guess. But anyway, I like the doll, so I just put her in here.

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And this is Expanding Universe. That's also by Noguchi.

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And that's the sack period. I think it's a very interesting statue.

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And I like the way we've put it up there.

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And in here, now, I call this the Tibetan room, because there's the Tibetan prayer wheel there, and my father...