Publications

Publications

_____________________________________1997












------------1999





____________2005





et aussi...

• contribution à I remember Balanchine di Francis Mason, Doubleday, 1991
• contribution à First Lessons in Ballet de Lise Friedman, Workman, 1999
  
• contribution à Balanchine: Celebrating a Life in Dance, Costas, Tide-Mark Press, 2003
• contribution à Grace Under Pressure: Passing Dance Through Time - Limelight Editions, 2003
• contribution à Balanchine Then and Now, Sylph Editions, 2008 (pages 101-109 Suki Schorer in conversation with Ann Hogan)

From New York Times, January 30, 2000

January 30, 2000

By MINDY ALOFF

When George Balanchine's ballets are carefully staged and well danced, words are superfluous. Few individuals understand this better than Suki Schorer, a former principal of the New York City Ballet and a teacher at the School of American Ballet, for whose annual workshop performances she stages and coaches some of the liveliest Balanchine productions to be found anywhere. Her book is something else, an analysis of how Balanchine thought about his work on the most intimate level of daily practice. It's a textbook, really -- laid out in double columns with instructional photographs -- and it goes into highly technical detail, down to the calibrations of pressure in the way a ballerina accepts a partner's hand. And yet even a general reader will be rewarded with clarity, humor and countless insights into Balanchine's sensibility and personality. The book describes the exacting pedagogy and exquisite refinements of taste that underlie the choreography's winging spontaneity and its fantastical imagery, and it is an invaluable and highly practical record of how Balanchine did what he did. former principal of the New York City Ballet and a teacher at the School of American Ballet, for whose annual workshop performances she stages and coaches some of the liveliest Balanchine productions to be found anywhere. Her book is something else, an analysis of how Balanchine thought about his work on the most intimate level of daily practice. It's a textbook, really -- laid out in double columns with instructional photographs -- and it goes into highly technical detail, down to the calibrations of pressure in the way a ballerina accepts a partner's hand. And yet even a general reader will be rewarded with clarity, humor and countless insights into Balanchine's sensibility and personality. The book describes the exacting pedagogy and exquisite refinements of taste that underlie the choreography's winging spontaneity and its fantastical imagery, and it is an invaluable and highly practical record of how Balanchine did what he did.