We want you to walk back with both of us.
Yeah, just like that.
Okay.
I just want to make sure.
Just watch.
And you can walk back.
Okay, I'm gonna have to hide in here.
You'll never see me.
Okay.
One, two, three, four.
Wait a minute.
Is she not gonna be here with me? Oh.
Scrolling.
Welcome.
This is my home, and I love it very much.
And I hope you'll come and love it with me.
Now, my husband, Andre Del Faux, did all these pictures on the wall.
This one is Harold Kreutzberg.
Maybe you don't remember him.
He was a great, great dancer.
And those are his three, a picture of his three mad figures.
And it looks exactly like him.
And this is Lydia Barka, who did my last Carmen.
She's a black girl, and she did it marvelous.
And we did it all black, one of the various Carmons that I did.
And this is Nerea, my good friend, whom I brought to this country, who's a wonderful artist and a great dancer.
And let's see, on this side, these are all my dancers.
That's Larry Long and Lori Slipinski and Klukovic and Johnson and Arne Kayen.
Yours truly up there.
And this is my dear friend, Claudia Cassidy.
She's a marvelous person, and this looks exactly like her.
I don't know how my husband got her likeness so well, because he didn't even know her at that time.
And this is one of my dancers, Charles Schicks.
And that's Del Faux over there.
He does look very much like him.
Margot Fontaine is way down there.
But that doesn't look very much like her either, I don't think.
Now, as you come, this is my living room.
And these three pictures are by Isamu Noguchi, who's a very, very great sculptor.
And he designed a sort of a jersey sack for me.
And I got inside the sack and danced.
And they're awfully interesting dances, actually.
And you can tell how interesting they are if you look at these pictures.
And that's his statue called Expanding Universe up there, which is the same period, the sack period.
And as you come in, you will see that I like seashells.
The room is all full of seashells.
I don't know if you can see them, but anyway, there are seashells all over the place.
And I like seashells.
And let's see what else is in this room.
Oh, they're mostly seashells.
And those are Toulouse -Lautrecs and those three pictures there, and this one, the Divin Chaponet.
Those are Toulouse -Lautrecs.
And all the rest in this room are by Delpho.
And here's the only award I got that I like the looks of it.
I forget who gave it to me.
Oh, it's the University Club of Chicago, and I think that's a beautiful thing.
I like this key very much.
That I got in Miami.
I got the key to Dade County, and I like that.
And this one is nice, too.
This is the Academy Award.
Most of the awards are so ugly, but those are pretty, so I put them up.
And let's see what else is in this room.
Well, I think that's about everything.
Oh, there's my brother's book.
And I like that little statue out of me.
I think that over there is by Derozinski.
And these are interesting pictures in here.
This is the view from this place, which is wonderful.
That's the view in winter when there's snow.
And over here is the view in the afternoon without snow when you see the shadows, which are so beautiful over there.
That view changes all the time, and it's always interesting.
There's sometimes waves, sometimes it's still, sometimes it's blue, sometimes it's green, sometimes it's purple.
It can be any old color, but it's always beautiful, the view of the lake.
And these are my husband's pictures, too.
These are the Calcutta...what does he call them? I can't think of what he calls them.
Brothels, the brothels of Calcutta.
Everything else he does is...
Harlequins are in the other room.
Yeah, there are no harlequins in here.
So that's about all in this room, I think.
You can see how beautiful the seashells are, why I like them.
And, oh, can you see this doll over here? This one? This looks very strange, but this was an alley I did in which the leading man prefers to dance with this doll than to dance with the real girls.
It was sort of a amusing idea.
He was a little bit queer, I guess.
Anyway, I like the looks of the doll, so I just put her in here.
So that's the story of the doll.
I like this statue of me, too.
I like that.
That was taken in 1492, I think.
Dariuszczynski did it.
And is there anything else in here that's intriguing? I don't think so.
The mask.
What? The mask.
Oh, that's something I just got in Mexico.
I just bought it because...
That's not the mask I'm thinking of.
Which one are you thinking of? No, I'm thinking of the one that's in the hallway.
I just put it up there because I bought it in Mexico.
I don't know what it is and don't know the significance of it.
Maybe it has none.
I don't know.
But I like the looks of it, so I put it up in here.
Those are the Noguchi Ladders over there.
I think those are beautiful.
And, well, that's it.
So, this is my living room.
And now, come into the next room because there's a...
I call this the Tibetan Room because there's a Tibetan prayer wheel in there, which my father brought all the way home from the Orient because he thought I'd like it.
And I do.
I love it.
You can see it right here.
Hello.
Hang on.
Anytime.
Welcome to my home.
This is the entrance hall.
And my husband, Henri Dauphot, made all these pictures of all my favorite people.
This is Margot Fontaine, my very great friend.
And this is Harold Kreutzberg, with whom I danced for three or four years.
And I think he's a very, very great dancer.
That's his dance called Angel of the Annunciation.
And it looks exactly like him.
And this is Lydia Bargo.
I've done all four different versions of Carmen.
And this last one was done by the Dance Theatre of Harlem.
And she was the Carmen.
It was a very modern Carmen.
Nothing like you'd expect.
And this is Nouriev, who's a great friend of mine.
And I brought him to this country, actually.
And he danced in my Merry Widow and in Prince Igor when he first came.
And then, of course, had this great career afterwards.
And these are some of my own dancers.
This is Larry Long and his wife, Deloria Sapinski, who've been with me for years and years.
And they were both wonderful artists.
And this is Klukovitch and Johnson, Kenneth Johnson, who also danced with me for a long time.
This is Arne Kayen.
That's yours truly up there in the swing.
And this is Claudia Casting, who I think is a great woman.
And this looks exactly like her.
She's a wonderful friend and she's a very unusual Chicago lady.
And this is one of my dancers.
And that's Dufour over there in the corner.
You can't see him now.
Port Self -Portrait.
Now, as you come into the Liz Is My Living Room, and these are all by Noguchi, he designed a wonderful sort of a jersey sack.
You got it, I got inside the jersey sack.
And all these poses come out of the sack.
And I think they're very beautiful.
And let's see.
As you come on a little further.
These are various awards that I've gotten, and most of them I don't like at all.
But these are the ones that I like.
This one is from the University Club of Chicago.
And this key I adore.
That's keys to the Miami Dade County.
I think I got the key.
And this is from the Academy of Honors here.
And I think those three are beautiful.
And the other is the Peabody Award that I got for the Mary Widows.
That's very ugly, so I don't use that very much.
And then right over here is the Tibetan Room.
In here.
Stand by and action.
Welcome to my home.
This is the entrance hall.
And my husband Andre Del Faux has painted pictures of all my favorite people.
There's nothing in this room except my friends.
I like empty spaces.
I don't like things that are overcrowded anyway.
This is my friend Margo Fontaine right here.
And this is Harold Kreitzberg who was a genius I think.
That's her over in the university.
Welcome to my home.
This is the entrance hall where my husband Andre Del Faux has painted pictures of all my favorite people.
I love empty spaces.
And so this room is entirely empty except for the pictures of my friends.
This one is Margo Fontaine.
A wonderful person and a great dancer of course as you all know and a great friend of mine.
And this one is Harold Kreitzberg.
Harold Kreitzberg along with Margo was a genius also.
I had the great pleasure of dancing with him for a while.
And this is his favorite dance called the Angel of the Annunciation.
This looks exactly like it.
Over here is Lydia Barka.
I've done so many different versions of Carmen.
And the last one I did, it was all black, I did it with the Dance Theatre of Harlem.
And it was a very modern, different Carmen.
She was lovely in it I thought.
And this is Nerea.
And I brought Nerea to this country.
He danced Prince Igor in our version of it at the Lyric Opera at the opening year.
I think it was 1955.
And he danced also with my Mary Widow at the same time.
And over here on this side are all sort of my own dancers.
Larry Long.
This is Larry Long.
It's been with me a long time.
And Dolores Lipinski, his wife.
And this is Klackovitch and Johnson, who are a beautiful team.
There's Oren Cain, who is a teacher now over at the Academy.
And a very fine, he was a wonderful comedian.
I always remember his comedy bits.
And this is Claudia Cassidy, who's a great friend of mine.
And this looks exactly like her.
And a lot of people think she's too severe and that she runs people out of town.
But I found her very simpatico always.
That's me up there.
That is I rather up there.
And this is a self -portrait of Andre Del Faux, my husband.
And so this is my living room.
And over here in the corner, these three pictures are by Noguchi.
He designed a very marvelous jersey sack.
If you got into this sack, every position you got into was interesting.
As you can see here, he did these pictures, drawings of me in the famous sack.
A lot of people have used that sack since then, but it was very original at that time.
Now over here are the awards that I've gotten.
Most of the awards that I get, I don't like the looks of them, so I put them away.
I'm happy to have them naturally.
But this one I think is beautiful.
This is from the University Club of Chicago.
And this one, this key, I think is stunning.
I got that just this year at the, in Don and Miami, in the Dade County.
And this is the Academy here.
And those three I like, so I leave those here.
Then as you go further into the living room, you can see that I like seashells very much.
The room is all full of seashells.
And people bring them to me.
I don't pick them all up on the beach myself, but people bring them to me.
Somebody brought me a green one the other day from South Africa, which is very rare, and I adore it.
And I have seashells on the window.
There's the wonderful view I spoke of.
That view is very extraordinary because it changes all the time.
It's never the same.
You can, that's Oak Street Beach, the famous Oak Street Beach, which is fun to watch in the summertime.
And I did a ballet once called Oak Street Beach, which was the skyscrapers and the beach.
It was rather a fun ballet.
And this view is, every time you look at it, it's different.
Delpho did two pictures of it.
That's the view with snow.
And this is the view over here with the shadows that fall in the afternoon when there's sunlight, which is rare these days, I must say, but we get it once in a while.
And when we get the sun, it makes these marvelous shadows of the skyscrapers on the beach.
And over here, well, these are all Delphos.
These are the brothels of Bombay that he's just been finished a series of those.
All of these are the brothels of Bombay.
That one is too over there.
And this doll is an interesting piece.
It's a ballet I did about a man who preferred to dance with this doll than with the real girls.
He was a little queer, I guess.
But anyway, I like the doll, so I just put her in here.
And this is Expanding Universe.
That's also by Noguchi.
And that's the sack period.
I think it's a very interesting statue.
And I like the way we've put it up there.
And in here, now, I call this the Tibetan room, because there's the Tibetan prayer wheel there, and my father...
