Marian Horosko, Dancer and Advocate for the Art, Dies at 92

Her writing could be practical, as it was in those manuals, or lyrical, as in her book “Martha Graham: The Evolution of Her Dance Theory and Training,” a collection of interviews published in 1991 and revised in 2002. In the introduction, she noted that as a child Graham was influenced by stories told to her by her nurse and her family’s Japanese gardeners.

“Graham knew about witches, wee folk and the poetic mystery of things,” Ms. Horosko wrote. “Some called Martha a sorceress, in the Irish sense of having insight, intuition and the ability to command people to do her bidding. Others said she was a witch. She was witty and scholarly, had an extremely flexible body, was mentally disciplined, and was small but powerful, approachable to the earnest but distant to the novice, quiet yet eloquent, simple yet complex.”

Marian Anna Horosko was born in Cleveland on Aug. 4, 1925, to Louis Horosko, an upholsterer, and the former Marian Gromand.

Photo

Ms. Horosko in an undated photograph. Besides dancing for ballet companies, she performed on Broadway in “Oklahoma!” and in the movie “An American in Paris.”



Credit
The Beverly Glen Studio

She was a dancer from a young age, making her debut at 12 with the Ballet Russe de Monte Carlo. She studied at the Juilliard School and the School of American Ballet.

Before joining the Metropolitan Opera’s ballet corps, Ms. Horosko appeared on Broadway in the ensemble of “Oklahoma!” and in two musical revues. She also appeared as a dancer in two 1951 movies: “Royal Wedding,” which starred Fred Astaire and Jane Powell, and “An American in Paris,” with Gene Kelly and Leslie Caron.

She was a soloist with the Metropolitan Opera Ballet, but after moving to City Ballet she filled mostly character roles, Dr. Kupersmith said.

“Marian Horosko plays a quarrelsome flirt like a genuine comedian,” John Martin wrote in The New York Times in January 1957, reviewing a performance of Todd Bolender’s “Souvenirs” at City Center.

After her performing career ended in the early 1960s, she stayed connected to the dancing world through her writing, much of it for Dance Magazine. She was education editor there for many years, offering advice for dancers on how to care for their hair and their toe shoes as well as writing longer articles, including a series on “Teachers in…

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