Interview with Mary Hinkson, June 23 and 28 and December 3 and 10, 1976 and January 14, 1977
NamesHinkson, Mary (Interviewee)Nuchtern, Jean (Interviewer)
Dance Oral History Project
Dates / OriginDate Created: 1976-06-23Date Created: 1976-06-28Date Created: 1976-12-03Date Created: 1976-12-10Date Created: 1977-01-14
Library locationsJerome Robbins Dance DivisionShelf locator: *MGZT 5-705 (former)Shelf locator: *MGZTO 5-705
TopicsHinkson, Mary -- InterviewsProtas, RonTetley, GlenButler, John, 1920-1993Menotti, Gian Carlo, 1911-2007. Amahl and the night visitorsBartók, Béla, 1881-1945. Kékszakállú herceg váraH'Doubler, Margaret Newell, 1889-Graham, MarthaCanticle for innocent comedians (Choreographic work : Graham)Seraphic dialogue (Choreographic work : Graham)Diversion of angels (Choreographic work : Graham)Embattled garden (Choreographic work : Graham)Circe (Choreographic work : Graham)Part real - part dream (Choreographic work : Graham)Dark meadow (Choreographic work : Graham)Deaths and entrances (Choreographic work : Graham)Clytemnestra (Choreographic work : Graham)Cave of the heart (Choreographic work : Graham)Ricercare (Choreographic work : Tetley)Figure in the carpet (Choreographic work : Balanchine)Seven deadly sins (Choreographic work : Sokolow)
NotesBibliographic history: Title supplied by cataloger.Source note: Sound quality is fair. There is considerable extraneous noise including "tape hiss" as well as occasional short gaps. However, the speakers' voices are easily intelligible.Venue: Recorded for The New York Public Library for the Performing Arts June 23, June 28, December 3, and December 10, 1976 and January 14, 1977 New York (N.Y.)Funding: The conservation and cataloging of this recording was made possible in part by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature. The support of the National Endowment for the Arts is also gratefully acknowledged.
Physical DescriptionAudiotape reelExtent: 4 audiotape reels (approximately 7 hr., 34 min.) : analog, 1.875 ips, (reels 1, 3, 4) and 3.75 ips (reel 2), half-track, polyester; 5 in.
DescriptionStreaming file 1, June 23, 1976 (approximately one hour and 37 minutes). Mary Hinkson speaks with Jean Nuchtern about her early dance experiences; studying dance with Margaret H'Doubler and performing with other students at the University of Wisconsin; her impressions upon first seeing Martha Graham's work; touring with the Wisconsin Dance Group; moving to New York City with Matt Turney and Sage [Fuller, later Cowles] and studying at Martha Graham's studio; her first performances with the company; Graham's work Canticle for innocent comedians; teaching at Graham's studio; Graham's work Seraphic dialogue; assisting Graham at the Neighborhood Playhouse; working with John Butler at the New York City Opera; Graham's Diversion of angels including its performance on tour in the United Kingdom and Europe; Graham's lack of interest, as a rule, in the personal lives of her dancers; critical reception of the tour performances [ends abruptly but continues on streaming file 2].Streaming file 2, June 23, 1976 (approximately one hour and 37 minutes). Mary Hinkson continues to speak with Jean Nuchtern about the tour including the premiere of Graham's Embattled garden; the costumes in Diversion of angels; Seraphic dialogue, in particular her roles; her daughter, Jennifer [Jackson Hardy]; the tour in Israel including her roles, in Clytemnestra and other works; revisions made to Clytemnestra; learning new roles; Graham's work Embattled garden including Hinkson's various partners; more on Seraphic dialogue; Graham's work Circe [ends abruptly].Streaming file 3, December 3, 1976 (approximately 49 minutes). Mary Hinkson continues to speak with Jean Nuchtern about Circe; Martha Graham's work Part real, part dream including Hinkson's contributions to the choreography; the revival of Dark meadow; Graham's work Death and entrances [ends abruptly but continues on streaming file 4].Streaming file 4, December 3 and 10, 1976 (approximately 50 minutes). Mary Hinkson continues to speak with Jean Nuchtern about Deaths and entrances including Martha Graham's direction of her; [December 3 session ends and December 10 session begins]; learning the role of Clytemnestra including the use of film; the role of Medea, in Cave of the heart; more on Clytemnestra; more on learning the role of Medea including the use of film and Bert [Bertram Ross] as a partner; [ends abruptly but continues on streaming file 5].Streaming file 5, December 10, 1976 (approximately 50 minutes). Mary Hinkson continues to speak with Jean Nuchtern about her performing the role of Medea in Martha Graham's Cave of the heart; Graham's 18-month absence from the studio during which Hinkson and others produced studio performances and developed an apprentice company; Ron Protas and the increasing dissension in the company;[ends abruptly but continues on streaming file 6].Streaming file 6, December 10, 1976 (approximately 18 minutes). Mary Hinkson continues to speak with Jean Nuchtern about Ron Protas and his effect on the company; her final quarrel with Martha Graham and departure from the company; her thoughts on her last season with Graham and her lack of regrets.Streaming file 7, January 14, 1977 (approximately one hour and 33 minutes). Mary Hinkson speaks with Jean Nuchtern about her work with John Butler on television productions and at New York City Opera, including Gian Carlo Menotti's Amahl and the night visitors; performing with Glen Tetley in [Giuseppe Verdi's] Aida and in Béla Bartók's Bluebeard's castle [Kékszakállú herceg vára]; various television productions in which she performed; Martha Graham's disapproval of Hinkson's working outside her company; the valuable experience Hinkson gained performing for Butler; other people with whom she worked including Pearl Lang, Alvin Ailey, and Harry Belafonte; performing in Donald McKayle's Rainbow 'round my shoulder; auditioning, at Arthur Mitchell's invitation, for George Balanchine; rehearsing and performing in his The figure in the carpet; dancing in [John Butler's] Carmina Burana including Martha Graham's praise of her performance; dancing for Tetley including in his Ricercare; Tetley's Seven deadly sins compared with Anna Sokolow's Seven deadly sins; dancing with Arthur Mitchell for Walter Nicks in a Harry Belafonte production.
Type of ResourceSound recording
IdentifiersRLIN/OCLC: 80508428 NYPL catalog ID (B-number): b12118546Universal Unique Identifier (UUID): 144a83b0-b30d-0133-ceaf-3c07547a230f
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