Intro V.O. with Bucky & George No. 14 [May 1987]
I'm sorry, I'm not good at this.
I'm sorry, I'm not good at this.
I'm sorry, I'm not good at this.
I'm sorry, I'm not good at this.
I'm sorry, I'm not good at this.
I'm sorry, I'm not good at this.
I'm sorry, I'm not good at this.
I'm sorry, I'm not good at this.
I'm sorry, I'm not good at this.
I'm sorry, I'm not good at this.
I'm sorry, I'm not good at this.
I'm sorry, I'm not good at this.
I'm sorry, I'm not good at this.
I'm sorry, I'm not good at this.
This is a tape of voiceovers for a Ruth Page documentary at stage number 17, the Eiffel Lom productions.
This will be on channel 2, the lavaliers from the actors and actresses, and on channel 1 will be the boom mic, and we're recording them together.
Why don't I just lay them here, okay? Okay.
She was the only American invited to dance at the coronation of the Emperor Hirohito.
First, number one, take three.
She was the only American invited to dance at the coronation of Emperor Hirohito.
Where is this tune? Okay, okay, I just wanted to make sure.
Ruth Page was the first American prima ballerina to dance at the Met, one of a series of firsts in her remarkable 75 -year career.
One of a series of firsts in her remarkable 75 -year career.
Ruth Page was the first American prima ballerina to dance at the Met, one of a series of firsts in her remarkable 75 -year career.
One of a series of firsts in her remarkable 75 -year career.
First, number two, take three.
Ruth Page was the first American prima ballerina to dance at the Met, one of a series of firsts in her remarkable 75 -year career.
Okay, so we still got, let's see if we can just get the second half of it.
Bit of a truck, there's bit of a truck, so the whole thing would be better.
One of a series of firsts in her remarkable 75 -year career.
One of a series of firsts in her remarkable 75 -year career.
Is that better? The operative words are series and firsts.
One of a series of firsts in her...
Ruth Page was the first American prima ballerina to dance at the Met, one of a series of firsts in her remarkable 75 -year career.
I love it with all my hands, that's exactly the way I like it.
Firsts, three, four, five and six, take one.
Ruth Page created the first jazz ballets.
She created the first all -black ballet, the first Americana ballet and the first feminist ballet in 1937.
You need to push it in a way that it would be like overacting if you were on camera.
It needs to bite through, okay? First, three, four, five and six, take two.
Ruth Page created the first jazz ballets.
She created the first all -black ballet, the first Americana ballet and the first feminist ballet in 1937.
Okay, one more time, a little cleaner on Ruth Page because we're saying her name again for the first time and not quite so rushed but with that same kind of feeling.
First, three, four, five and six, take three.
Ruth Page created the first jazz ballets.
She created the first all -black ballet, the first Americana ballet and the first feminist ballet in 1937.
First, number seven, take one.
She was the first person to commission a ballet from George Balanchine.
One more time, a little bit, I guess, louder.
A little more push in your voice.
First, number seven, take two.
She was the first person to commission a ballet from George Balanchine.
Is there a way to read that so that, I mean, that is amazing.
First, number seven, take two.
She was the first person to commission a ballet from George Balanchine.
Hit the she a little harder, your voice is in the way.
First, number seven, take three.
She was the first person to commission a balanchine from George Balanchine.
What did I say? A balanchine from George Balanchine.
She was the first person to commission a balanchine.
A balanchine ballet is what you want to say.
First, number seven, take five.
She was the first person to commission a ballet from George Balanchine.
A little more excited the way you started to do it the last time.
She was the first person to commission a ballet from George Balanchine.
First, number seven, take six.
She was the first person to commission a balan...
First, number seven, take seven.
She was the first person to commission a ballet from George Balanchine.
One more time, a little more almost reverently.
And it will give the viewer a sense that he must be somebody important.
First, number seven, take eight.
She was the first person to commission a balan...
She was the first person to commission...
What's happening, Becky, so that you know, is that he puts a beeper so we can count and fast forward.
So if you make a false start, he's beeping and you're starting again.
First, number seven, take nine.
She was the first person to commission a ballet from George Balanchine.
First, number eight, nine, take one.
She commissioned composer Aaron Copeland's first score for a ballet.
Ruth Page presented Rudolf Nereyev in his first performance in America.
She commissioned composer Aaron Copeland's first score for a ballet, and Ruth Page presented Rudolf Nereyev in his first performance in America.
I mean, because the thing is building now.
She commissioned composer Aaron Copeland's...
And the way you read the number nine was perfect.
First, eight, nine, take three.
She commissioned composer Aaron Copeland's first score for a ballet, and Ruth Page presented Rudolf Nereyev in his first performance in America.
One more time, slightly more excited about both.
First, eight, nine, take four.
First, eight, nine, take seven.
She commissioned composer Aaron Copeland's...
Sorry, I'm having trouble with composer now.
She commissioned composer Aaron Copeland's first score for a ballet, and Ruth Page presented Rudolf Nereyev in his first performance in America.
First, ten and eleven, take one.
Her Earthy Frankie and Johnny Ballet was almost banned in Boston and created a legendary...
First, ten and eleven, take two.
Her Earthy Frankie and Johnny Ballet was almost banned in Boston and created a legendary scandal in Paris.
Her Bolero was censored on a college tour.
What do you think? I think it's fine.
First, number twelve, take one.
For more than thirty years, Ruth Page and her dance companies toured Europe and brought ballet to big cities and small towns.
First, number twelve, take two.
For more than thirty years, Ruth Page and her dance companies toured Chute.
First, number twelve, take three.
For more than thirty years, Ruth Page and her dance companies toured Europe and brought ballet to big cities and small towns across America.
I mean, who can blame you for having trouble reading this? I'm just doing like Skippenall.
First, number twelve, take four.
For more than thirty years, Ruth Page and her dance companies toured Europe and brought ballet to big cities and small towns across America.
Becky? Okay, dance overview, number one, take one.
Ruth was always doing things like that, always the unexpected.
With a little more liveliness in your voice, a little more isn't it fine? A little...
Dance overview, number one, take two.
Ruth was always doing things like that, always the unexpected.
Dance overview, number two, take one.
Ruth's known for creating so many different kinds of ballets, it's impossible to pin her down to any one style.
Almost a little more an answer, George.
Ruth's known for creating so many different kinds of ballets, it's impossible to pin her down to any one style.
Dance overview, number two, take two.
Ruth's known for creating so many different kinds of ballets, it's impossible to pin her down to any one style.
Dance overview, number two, take three.
Ruth's known for creating so many different kinds of ballets, it's impossible to pin her down to any one style.
Okay, a little more, not quite so.
Wait, you need to do something to drink.
Okay, dance overview, number two, take four.
Ruth's known for creating so many different kinds of ballets, it's impossible to pin her down to any one style.
One more time, it's any one is the aperture word there.
It's impossible to pin her down to any one style.
Dance overview, number two, take five.
Ruth's known for creating so many different kinds of ballets, it's impossible to pin her down to any one style.
Speak or something? No, no, no, no, no.
Do you want it three and four together? No, I don't.
Okay, dance overview, number three, take one.
Here's Ruth in the first ballet she ever choreographed.
A little more, sort of, isn't it amazing in your voice? Here's Ruth in the first ballet she ever choreographed.
Dance overview, number three, take two.
Here's Ruth in the first ballet she ever choreographed.
Without the plaza after Ruth, they have to answer right.
Is it really a ballet? Well, sure, it's a dance.
I mean, they don't understand the distinction between dance and ballet.
Is it a dance or a ballet? No, it's a dance because it's short.
No, it will confuse the viewer.
First, dance overview, number three, take three.
Here's Ruth in the first ballet she ever choreographed.
OK, one more time, punch the ever.
In the first ballet she ever choreographed.
Maybe like that, OK? Dance overview, number three, take four.
Here's Ruth in the first ballet she ever choreographed.
You need to punch the Ruth in the first ballet she ever choreographed.
Dance overview, number three, take five.
Here's Ruth in the first ballet she ever choreographed.
Dance overview, number four, take one.
And here's Ruth 31 years later in a modern dance based on a Salvador Dali painting she liked.
You can sort of, a Salvador Dali painting she liked.
And here's Ruth 31 years later in a modern dance.
Sort of hit the modern a little bit, maybe.
Dance overview, number four, take two.
And here's Ruth 31 years later in a modern dance.
Dance overview, number four, take two.
And here's Ruth 31 years later in a modern dance based on a favorite Salvador Dali painting.
A little more, if you could put like a little.
Dance overview, number four, take three.
And here's Ruth 31 years later in a modern dance based on a favorite Salvador.
All right, so you do it again.
Dance overview, number four, take four.
And here's Ruth 31 years later in a modern dance based on a favorite Salvador Dali painting.
Dance overview, number four, take five.
And here's Ruth 31 years later in a modern dance based on a favorite Salvador Dali painting.
Is that all right? Perfect, yeah, okay.
Dance overview, number five, take one.
Modern jazz classical ballet, her range is remarkable.
Do you want to know the news for safety? Let's just enjoy the cases of something, whatever, just like that again.
Dance overview, number five, take two.
Modern jazz classical ballet, her range is remarkable.
Ruth Page was born on March 22nd, 1899 and grew up in this house in Indianapolis.
A tiny bit more zestfully, like you're enjoying time.
Early life, number one, take two.
Ruth Page was born on March 22nd, 1899 and grew up in this house in Indianapolis.
One more time, a little happier in your voice and punch the this again the way you did the first time.
You know? Early life, number one, take three.
Ruth Page was born on March 22nd, 1899 and grew up in this house in Indianapolis.
The 1899 is great and grew up in this house in Indianapolis.
Early life, number one, take four.
Ruth Page was born on March 22nd, 1899 and grew up in this house in Indianapolis.