Antony Tudor

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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Tudor, Antony


Born Apr. 4,1909, in London. British dancer, choreographer, and teacher.

Tudor began to study dance under M. Rambert in 1928, and in 1930 he joined the Ballet Club (renamed Ballet Rambert in 1934), where he was a dancer, stage director, and choreographer. He became famous as the choreographer of Jardin aux lilas (Lilac Garden), to music by Chausson, and Dark Elegies, to music by Mahler. From 1933 to 1935 he worked in the Vic-Wells Ballet, performing as The Man She Must Marry in Jardin aux lilas and Malvolio in Cross-gartered, to music by Frescobaldi. In 1938, Tudor and P. van Praagh founded the London Ballet (dissolved 1941), where Tudor staged Pillar of Fire, to music by Schônberg, W. Schuman’s Undertow, and Romeo and Juliet, to music by De-lius. In 1949–50 and 1963–64, Tudor directed the Royal Swedish Ballet. In 1951 and 1952 he staged works for the New York City Ballet, including The Lady of the Camellias, to music by Verdi, and La Gloire, to music by Beethoven. Since the second half of the 1960’s he has staged ballets for various companies.

Tudor’s ballets reveal the feelings and thoughts of the hero and tend to penetrate the subconscious. They often use elements of modern dance. His works have had a great influence on modern ballet.


Antony Tudor, vols. 1–2. New York, 1963.
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
I took ballet with Anthony Tudor. Talley Beatty, I got caught up with Donny McKayle.
In any case, she had by then probably already grown accustomed to my praising her with faint damns (she was, incidentally, very aware of the what and the who of everything written about her, but surprisingly seemed less sensitive to criticism than do many artists who are far less surface-prickly), because from the time I encountered her choregraphy--Tally-Ho and Three Virgins, when Ballet Theater first came to London in 1946--I had been rather less than underwhelmed by it, regarding it as well crafted but derivative (for example, from Eugene Loring in Rodeo--an influence disputed by the Mille--and from Anthony Tudor and Martha Graham in Fall River Legend).
Judith Chazin-Bennahum in The Ballets of Anthony Tudor (Oxford University Press, 320 pp., $29.95) combines a biography of the man with detailed discussions of works he made for major companies and the Juilliard School.