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  2. Next season announced (Atlanta)

    Gaines' work is certainly neo-classical, so that might help with the anchoring you were hoping for.
  3. Today
  4. School of American Ballet: 2018 Annual Workshop

    Didn’t they JUST do Western Symphony?? I guess is has a lot of featured roles.
  5. Saturday, March 17

    A review of Pacific Northwest Ballet by Philippa Kiraly for The SunBreak.
  6. Friday, March 16

    A review of Boston Ballet by Jeffrey Gantz in The Boston Phoenix.
  7. Sad, but not too surprising. Major newspapers and journals tend to be more a part of the 'system' than representatives of the opposition. Any decent paper might feature opposing viewpoints in editorials, but they still reinforced the dominant culture at every opportunity.
  8. It is an interesting list. I was also found it interesting that the NYT was against allowing women to vote, during the women's suffrage movement. Perhaps those things are connected.
  9. From the NY Times: Remarkable Women We Overlooked in Our Obituaries Overlooked "Since 1851, obituaries in The New York Times have been dominated by white men. Now, we’re adding the stories of remarkable women." https://www.nytimes.com/interactive/2018/obituaries/overlooked.html The list is quite varied and interesting, from Chinese revolution Qiu Jin (who I mentioned in a different thread) to Margaret Abbott (first American female Olympic athlete).
  10. Saturday, March 17

    Alexandra MacDonald prepares for her debut as Aurora.
  11. Saturday, March 17

    An interview with Daniil Simkin.
  12. Friday, March 16

    Reviews of the Washington Ballet. The Washington Post The New York Times
  13. This is the only review I've seen of the recent performances: http://www.danceviewtimes.com/2018/03/in-the-mood.html Now that the New York Times is moving away from comprehensive dance reviews, I wonder how small successor companies like the Sokolow company are going to attract attention.
  14. Yesterday
  15. Maria Alexandrova

  16. Maria Alexandrova

  17. 2018 Met Season

    Yes, I meant I don't try to navigate anywhere from the new main page. I go immediately to the old site and navigate from there. It's always the very first thing I do. (I should really just put it in my favorites bar, I know...) For instance, trying to look up dancers from the new main page is awful, because the photos are huge and the names aren't visible unless you hover over a certain photo, so trying to find a particular corps member whom you know by name but not by face is annoying.
  18. 2018 Met Season

    It's not like you have any other choice. Anywhere you click from there will either redirect to the Met's site, or lead you immediately to the old site..
  19. 2018 Met Season

    I said fresh-er. Remember the one before that? At least this one looks like its from this decade. Again, lipstick on a pig.
  20. 2018 Met Season

    Agree. I always go immediately to the old site, which at least is moderately navigable.
  21. 2018 Met Season

    I don’t find the landing page very fresh. I find it a jumble and it’s hard to find the links I want. They should also IMHO take new photos of the dancers with a consistent style. Last time I looked they had cropped all the photos into extreme close ups that looked odd.
  22. 2018 Met Season

    This is true, but like you said, it's a Met Opera program, not one that was conceived or developed at ABT. Instead, they quietly got rid of their 18-29 program this year. The fresher-looking landing page for the website is a year or two old, but when you click through, it's the same old, dated calendar and webpages that look straight from 1999. They just put a wrapping paper on it.
  23. 2018 Met Season

    Only the main page was redone then. The inner pages are all the same as before. Clicking on "Visit the Full Site" in the upper right-hand menu takes you back to the old website exactly as it was.
  24. 2018 Met Season

    The Met Opera has a student discount program where you can buy individual tickets to ABT instead of 3 packs. It may not reach as many young adults as NYCB's 30 under 30, but it certainly helps.
  25. 2018 Met Season

    The website I believe is just a year or so old, but it is a confusing, jumbled mess.
  26. 2018 Met Season

    I would expand the point and suggest that ABT has done a poor job in cultivating patrons, period. Their marketing — as many on here have noted in many contexts — is generally pathetic. Even just hiring a few really good, forward-thinking marketing professionals and investing in a less embarrassingly out-of-date website could make a huge difference. Or just look across the plaza and steal a few ideas! It makes me so sad and frustrated, thinking of what this company could be with stronger vision and leadership.
  27. 2018 Met Season

    IMO, ABT has done a poor job in cultivating young patrons. Other companies such as Paris Opera Ballet and NYCB have done such a great job with their young patron programs and keeping them engage and interested. On the other hand, ABT Junior Council program has continuously disintegrate in the past four years especially, not offering any value with young patrons. In addition for non JC members, ABT has removed their 18-29 programs which is their discounted tickets for young people. This is a really backward move from ABT's part, how else are they going to motivate new young audiences to be invested in their future. If ABT continue to rely on their old patron, this company will dissolve sooner sadly. Therefore, I see much value in individual dancers being proactive in reaching out to new and younger audience through social media, social engagements and other means. Personally, I have been a long time member for JC and considering canceling my membership this year. I feel less and less invested in ABT as a company and more invested in seeing my favorite dancers such as Abrera, Cornejo, Lendorf, Boylston, Cirio, Murphy, Teuscher, and Whiteside.
  28. Scene from Le Somptier's film Le P’tit Parigot (1926) A brief appearance of the French/Romanian dancer Lizica Codreanu in Pierrot-Eclair costume - set and costumes (for the women) designed by Sonia Delaunay Terk. The men in their dark suits seem to serve as a neutral backdrop for Delaunay Terk's modernist colors and geometries. Lot's of cigarette smoke wafting into the air too. I'd love to see a restored copy of this film. https://vimeo.com/246879115 A modern documentary and performance referring to the dancer Codreanu (who was a muse of Constantine Brancusi): Reenacting Lizica Codreanu (a tribute) https://www.youtube.com/watch?v=5sJ3hhtRV1I "Lizica Codreanu (b.1901, Bucharest – d.1993, Louveciennes) was a French dance artist and choreographer with Romanian ancestry. In 1918, she joined The Belle-Arti School in Bucharest, making her debut during the first artistic tea program of the “Friends of the Blind” Society at Carol cel Mare Theatre in Bucharest, along with Ion Manu, Maria Filotti and Petre Sturdza. After a few individual performances in Bucharest (Dances of Character, The Spring’s Dance and Rococo Entertainment, March 9th 1919, at the Eforia Theatre), Lizica Codreanu left for Paris and, from 1921 onwards, led an increasing choreographic activity. The composer Florent Schmitt recommended her to Ida Rubinstein for several of her shows, she frequented Bronsilava Nijinska’s courses and got increasingly in touch with the avant-garde groups: Albatross, the dada and surrealists groups, Tchérez and so on. In 1926, she made her debut in film, with the character of Pierot Lightning in Le P’tit Parigot, directed by René le Somptier." http://en.cndb.ro/performances/reenacting-lizica-codreanu-rythmodia-by-vera-proca-ciortea
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