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ACKNOWLEDGMENTS

This book began as a doctoral dissertation submitted to the Department of Performance Studies, Tisch School of the Arts at New York University, and is here offered in an expanded and revised version. I would like to thank the following people, without whom this book would have been impossible: Suzanna Tamminen, editor-in-chief of Wesleyan University Press, who heard me speak at the Performance Studies Conference at Northwestern University in 1996 and urged me to publish; Carlota Mercé de Pavloff, who, after many hours together, told me “Now it’s up to you to pass on my Aunt’s legacy” and entrusted me with dozens of photographs of Argentina’s rich career; Ivor Guest and Selma-Jeanne Cohen, who read and corrected the manuscript, offering structural and historical advice; and the staff of the University Press of New England, who saw the book through production. I would also like to thank my wonderful doctoral advisors, Professor Brooks McNamara and Dr. Lynn Garafola, for their advice, patience, and counsel. I would also like to thank the following institutions and libraries without whom the research and writing of this book would have been impossible: Señor Gascon, Director of the Program for Cultural Cooperation between Spain and the Americas; the Spanish Ministry of Culture; Dean Emeritus Gilmore Stott, Chair of the Lucretia Mott Fellowship for Women in the Humanities Committee; Romain Feist, conservateur, and the wonderful staff at the Paris Opera’s National Academy of Music and Dance; the Bibliothèque Nationale de Richelieu and Simone Drouain, Bibliothèque Nationale de l’Arsenal; The Hispanic Society, New York City; Constance Old, The Metropolitan Museum of Art, New York City; Nicolas, Cinémathèque de la Danse; Roger Viollet photographic archives, Paris; Antonio Gallego and his staff at the Juan March Fundación, Madrid; Rosario Sanchez at the Conde Duque archives of the city of Madrid; the Fundación Andaluza de Flamenco, Jerez; the Biblioteca Nacionale, Jerez; Juan de la Plata, Catedra de Flamencología, Jerez; Elena and Ana Paredes and Jorge de Persia at the Manuel de Falla archives in Madrid and Granada; Miguel Alonso Lopez and the Teatro Español, Madrid; the Teatro Real de Madrid; the Biblioteca Nacionale, Madrid; Monique Paravicini, president, Les Amis de l’Argentina, Monaco and Paris; Mariemma, past director of the National Academy of Dance, Madrid; Lola Greco, ex-principal soloist with Ballet National de Español; Madeline Nichols, Monica Moseley, and the staff at The New York Public Library for the Performing Arts Dance Collection; and the Library of Congress. Further, I gratefully acknowledge the ceaseless and tireless work of my British translator, Joan Taylor, who sat with me in the Paris Opera, poring over the correspondence of the Spanish vanguard’s composers, librettists, and scene designers.

I would like to thank the following editors, mentors, friends, and family members whose counsel and support during the writing of my dissertation was indispensable: Richard Philp, editor-in-chief, Dance Magazine; Robert Johnson; Paul Ben-Itzhak; Annette Grant, arts and leisure editor of the New York Times; Elizabeth Zimmer, senior editor, the Village Voice; my friend and inspiration Dr. Constance Valis-Hill; Martha Goldstein; Matteo; María Benitez; Nancy Zeckendorf; the late Vicente Granados; Mario Maya; Eva Enciñas-Sandoval and Joaquín Enciñas; La Conja and Pedro Cortes; Christine Spizzo and Raymond Serrano; Lynn Fenwick, American Ballet Theatre educational coordinator; Rebecca Wright; the late Cynthia Novack, Deborah Jowitt, Mark Franko, Marcia Siegel, Peggy Phelan, Barbara Kirschenblatt-Gimblett, and Richard Schechner; Dr. Dwight Conquergood, Northwestern University; Dr. Kaori Kitao, my friend and mentor who taught me to see; Professor Sharon Friedler, Swarthmore College; Dr. Mary Schmidt Campbell, Dean Tisch; Camille Hardy; Joseph Machlis, professor of music at the Juilliard School; Jo Anna Parmalee and María Bermudez, Jerez de la Frontera; Maríja Temo; Joan Erdman; Eric and Daria Foner; Jan Rosenberg; Marla del Collins, Gail-Ann Greaves, John Sannuto, Stuart Fishelson, Dev Mondale, Luz Martín del Campo, Yuko Minowa, José Sanchez; Barbara Parisi; Carole Walker and Stefano Natella; Steven Salovitch; Steven Rosenthal; Seth Lemler; the members of Ballet Museum Club, Ellen Crane, Jane Potter, and Sophia Fatoures; Kim Arrow and Sally Hess; Ze’eva Cohen, Princeton University; Bob Ackerman, Nancy Heller, and Susan Glazer, The University of the Arts; Linda Haviland-Caruso, Bryn Mawr College; Larry Lavander; Barbara Barker; Iro Valaskakis-Tembeck; Shelley Berg; Sally Banes; Madame Brigitte Ortiz; George Dorris; Elizabeth Aldrich; Tommy de Frantz; Sumitra Mukherji; Lutyz de Luz; Nina, Tamara, and Elisso Tarassachvili; Edward Tellos, Tower Records; Eléanore Schoëffer; Lélie and Maurice Kurtz; Jacqueline Harding; Jérôme Schmeitsky for walking me around Paris after exhausting, research-filled days; Maxine Pines, my cousin; Judith Berke, poet; James Lack; Wendy Abrams; Dolores Chafik; Judy Senouf; choreographer and friend Mariko Tanabe; Spanish guitarist Marija Temo; Gypsy guitarist Chuscales; Claude Fouillade; Josh Berger, who always lets me stay at his house in Madrid; Penny and Pedro Ferreira; the late Alan Haskel; Roz and Bill Gerschell; Joyce Haskel; Lucy Hayden and Joetta Jercinovic for teaching me to dance; Jennifer Predock-Linnell and Jim Linnell, friends, mentors, and inspirations; my friend and physical therapist Gayanne Grossman; Dr. John Graham; the late Dr. Bob Kellner; Dr. Allen Adolphe; Joan Duddy of Joyce SoHo administrative staff, who believes in experiments in Spanish-flamenco choreography; friends and beautiful dancers Carmen Smith, Sara Baird, Dante Puleio, Rob Hayden, Heidi Latsky, and Jan Leys, who helped me to explore flamenco through my dance company, The Route 66 Dance Company; Suki John; writer Douglas Cooper; Molly Savitz; Neil Morley; Michaela and Schlomo Kami; Malka and Elyana Sutin; David and Sheila Conine-Johnson; Roselyne Chenu; my Feminist muse; my cousin David S. Bennahum; my great aunt Stella Fishbach; my best friend musician/lawyer David Thornquist; and all of my students.

I am especially grateful to have been born into an awesome family and thank them here for their love and unwavering support: my mother, Dr. Judith Chazin-Bennahum, my father, Dr. David Alexander Bennahum, my creative writer sister, Rachel, and my brilliant brother, Aaron, ballet dancer and educator.

SoHo, New York City June 1999