Color plates follow pages 44 and 140
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