New York City, April 2020 (03:36)

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Performer and choreographer Twyla Tharp meets with Herman Cornejo, Maria Khoreva, Benjamin Buza, and Misty Copeland over Zoom. They are the main characters in her truncated version of "The Princess and the Goblin."

New York City, 1963 (04:21)

After graduating in art history, Tharp met Robert Huot while looking for a loft to rent; she was surrounded by established artists. She joined Paul Taylor's dance company, but was fired. She used no music for "Tank Dive."

New York City, May 2020 (02:19)

Tharp works on "The Princess and the Goblin" over Zoom with Cornejo and Copeland. They must overcome working together virtually in different physical spaces.

New York City, 1969 (05:10)

Tharp sought companionship and counterpoints in her group, which was composed of culturally and physically diverse women. They danced in the park and worked out new ideas for spacing and movement. Tharp left NYC after the other members quit.

New York City, June 2020 (01:58)

Tharp continues working with Cornejo and Copeland on "The Princess and the Goblin" over Zoom. There is discipline involved in working in a new, restrictive arena. Tharp does not get emotional about the past when her body moved differently.

New York, 1970 (03:34)

Tharp married Bob Huot and moved to a farm. Members of her group began visiting to dance and made a piece called "The Fugue." Tharp learned how she could dance safely while pregnant.

New York City, 1970 (07:28)

After giving birth to her son, Tharp needed to find a way to make money dancing. The hair and costumes in "Eight Jelly Rolls" are a tribute to American theatrics. Ken Raker was the first make member of the Twyla Tharp Dance company.

Continued: New York City, June 2020 (06:33)

Tharp works with Khoreva and Buza on "The Princess and the Goblin" over Zoom. Tharp's family was Quaker and she grew up with a tight schedule of activities that would help her become an artist.

New York City, 1975 (07:30)

Tharp created a piece for Mikhail Baryshnikov; he was open to adjusting to her modern style. After "Push Comes to Shove," she choreographed a duet for the two of them. Her next project was "Hair."

New York City, Late 1970s (07:40)

Tharp worked on "Hair" with Milos Forman. Her next project was "Baker's Dozen" with her dance company. She has regrets about the amount of time she spent working when Jesse was a child.

New York CIty, 1981 (06:59)

Tharp commissioned David Byrnes to write the music for "The Catherine Wheel" and "Bad Smells" after she learned about the Aztec ritual sacrifice of humans; it premiered back-to-back with "Nine Sinatra Songs."

New York City, November 2020 (05:32)

Copeland is recovering from surgery and Charlie Hodges has taken her place in "The Princess and the Goblin." Working over Zoom is causing timing issues. Tharp and Jesse discuss problems with the production.

New York City, 1985 (05:36)

"White Noise" was written for Baryshnikov and tap dancer Gregory Hines. Tharp continued to work on new material every day for her dance company, which disbanded after "In the Upper Room."

Continued: New York City, November 2020 (12:38)

Tharp continues working with Hodges, Cornejo, Khoreva, and Buza on "The Princess and the Goblin." "Movin' Out" features music by Billy Joel and choreography by Tharp. Production designer Santo Loquasto gives Tharp feedback on her virtual production. See a rolling list of works by Tharp.

Credits: American Masters: Twyla Moves (02:23)

Credits: American Masters: Twyla Moves