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  1. SOKOLOW THEATRE/DANCE ENSEMBLE PASSES TO NEW GENERATION SAMANTHA GERACHT NAMED ARTISTIC DIRECTOR The Sokolow Theatre/Dance Ensemble, the only New York modern dance company dedicated to the works of the late Anna Sokolow, has undergone a change in artistic directorship to a new generation of dancers with deep experience in the work of the iconoclastic choreographer. Artistic Director Jim May, who inherited the Sokolow repertory in 2000 upon the choreographer’s passing, has announced the company’s artistic direction has been entrusted to long-time Sokolow dancer Samantha Geracht. May, whose career with Sokolow spanned over 35 years, will retain the title of director, but stressed in his announcement that significant autonomy has been granted to Geracht and several veteran dancers in the company who will be directing and reconstructing works from Sokolow’s vast and varied collection of works. “Samantha joined Anna’s company in 1992 and has been my teaching assistant for all these years,” said May. “She likes the challenges. She loves dance, and she has such a respect for Anna’s work.” Company members Eleanor Bunker, Lauren Naslund, Francesca Todesco, and Luis Gabriel Zaragoza form the core of dancers with long experience performing the Sokolow repertory. In addition to directing assignments from Geracht they will assist in educating and training a new generation of dancers in the approach to modern dance originated by Anna Sokolow, a hybrid of theater, dance, and behavior that has influenced numerous later choreographers, including Pina Bausch. “All the dancers in Sokolow Theatre Dance Ensemble have been performing Anna’s works for years, just as I did,” May said. “Also, my daily teaching has produced another generation who are learning Sokolow from the base up.” Eleanor Bunker worked with Sokolow while a member of Rondo Dance Company under the direction of Liz Rockwell before joining Anna Sokolow’s company Player’s Project in the 1980s. Lauren Naslund joined Players Project in 1989. Francesca Todesco came from Europe to study with May in the 2000s and in addition to dancing with the company helps run the organization. Gabriel Zaragoza worked with Anna in Mexico when he was a teenager before coming to the states to join Player’s Project in 1992. “These dancers know Sokolow,” May said. “I have tried to assemble a special group of dancers who represent Sokolow at the highest level and I am fiercely protective of them. I watched Anna work for 35 years and now these dancers watched while I struggled to teach them how to carry on her artistry. They have absorbed and will continue the process. That is the only way dance can truly be passed on. Dancers must feel the movement, practice, and perform the choreography repeatedly to absorb the technique and style.” About ten years ago he started sending Geracht, Bunker, and Naslund out to do reconstructions of Sokolow work at university dance departments and with other American dance companies. He said the key result was that the new directors learned how to choose dancers capable of learning the essence of the Sokolow approach. “Sokolow can’t be for a pickup company, because of the requirements of the dancing and the acting that are the style.” Reconstruction and relevance As the great modern dance choreographers of the 20th century pass away it is sometimes assumed the works they left are “historical” and, when revived, merely represent a past period in the art form. But Anna Sokolow’s unique approach to modern dance, starting in the cultural and political ferment of the 1930s, was to combine theater and dance to illuminate universal truths about the human condition, creating dances as metaphors for life as it is lived, now and for all time. For Geracht this describes the path the company will travel into the 21st century. “The fundamental mission of the Sokolow Theatre Dance Ensemble going forward is to present works from Anna’s vast choreography that are relevant to the times we live in and that touch the hearts of all people, everywhere, struggling with the universal issues of living regardless of differences in place and culture.” The real counterculture today, she said, is the same thing art has been about forever - that there is beauty in truth. “We will strive, as Anna did in her 70 year career, to present metaphors that are honest images of the human condition. Anna Sokolow’s work is timeless, always relevant, and will always speak to the challenge for human beings to live as free people struggling to comprehend and understand the great issues of existence, large and small, that were the wellspring of her art.” Upcoming concert The company recently began rehearsals with a corps of 14 dancers for a concert on March 8-11 2018 at The Actors Fund Arts Center in Brooklyn. For more information about Anna Sokolow and the Sokolow Theatre Dance Ensemble, and to stay current with the company visit their website at www.sokolowtheatredance.org.
  2. F.Y.I. the following has just been announced: Dear Friends, Ballet Society and Eakins Press Foundation are proud to announce the Dance Index Project, which consists of a free, completely searchable archival website showcasing all 56 original Dance Index issues from the 1940's, as well as a new biannual print journal of original scholarship relevant to historical and contemporary themes of world dance. You can click on the images below to link to the new Dance Index website where you can browse past issues and pre-order the new issue, "When Noguchi Took The Stage," by Edward M. Gómez, which ships on November 6th. We intend this project to serve as an invaluable resource to the world dance community. In order for our efforts to have the broadest possible reach, we humbly ask you to forward this email to anyone whom you think would be interested in the Dance Index Project. Please help us spread the word! With all good wishes for the fall, Peter Kayafas & Nancy Lassalle Publishers Archival issue: "Dance in Bali," by Colin McPhee Dance Index, Volume 7, No.7-8, 1948 56 pages, 58 illustrations New issue: "When Noguchi Took The Stage," by Edward M. Gómez Dance Index, Volume 8, No.1, Fall 2017 32 pages, 27 illustrations $10 The Eakins Press Foundation is a not-for-profit educational and charitable private operating foundation whose purpose is the advancement of literature and art through excellence of presentation. The success of its programs is fundamentally dependent upon the generosity of its supporters. Click here to make a tax-deductible donation. Eakins Press Foundation 20 West 44th Street, #405 New York, NY 10036 (212) 764-2255 info@eakinspress.com
  3. according to those closest in to David in both the ballet world and that of Merce Cunningham, especially over the past few months when he was in ill health, the well-known author, historian and archivist died this morning. no details have been announced about a memorial, but formal obituaries both here and in England, where David was born, are likely to published in print and on line.
  4. What does D'Jampo mean?

    the following text was found on Google Books. f.y.i.
  5. Croce's been working on a critical study of what she deems to be Balanchine's "key" works, i forget the precise number. i was shown a list at one point but don't have it to hand. As w/ all critical studies, it's safe to assume that biographical information is part of the plan. i don't have any hard evidence of a specific release date, but, like Doug, i'm not discounting the book's appearance, despite the time that has elapsed.
  6. Then/Now photos

    if mem. serves and if this question relates to the 4 NYCB NUTCRACKER PdD fotos above, they show: top left; SHyltin w. AVeyette, top right:JdAmboise w/ SFarrell bottom left: ALaracey w/ RJanzen, bottom right: AProkovsky w/ MHayden
  7. according to a communication from a staffer at the NYRoB the audio recording of the AGON symposium will be posted on NYRoB website "within the next few weeks." if anything more definite or a link/posting comes to light, it will be noted here.
  8. ABT 2017 Corsaire

    um, really? as stated above: Dance Theatre of Harlem presented the multi-act CORSAIRE in AMHolmes staging? i'd love to where and when, as it's not a factor in DTH history as far as i've kept up with it. (i rem. the pas de deux w/ Paul Russell and a number of DTH women, but the complete ballet?)
  9. Eifman Ballet's "Red Giselle"

    today's Eifman Ballet presentation (its last this run) is TCHAIKVOSKY; RED GISELLE began the run but TCHAIKOVSKY is closing it.
  10. ABT 2017 Corsaire

    casting update from ABT: Veronika Part and Gillian Murphy are injured and will not perform in Le Corsaire this week. Please note the following cast changes. Tuesday EVE, June 6 - Medora will be danced by HEE SEO Wednesday MAT, June 7 - Medora will be danced by CHRISTINE SHEVCHENKO* Friday EVE, June 9 - Medora will be dance by CHRISTINE SHEVCHENKO Saturday EVE, June 10 - Medora will be dance by CHRISTINE SHEVCHENKO June 7 will be Shevchenko’s debut in the role.
  11. odd, it would seem to 'the full picture,' that the decor used for Workshop performances isn't credited at SAB, that is, no credit this year to Ian Falconer for SCENES DE BALLET and none to Karin von Aroldingen for SCOTCH SYMPHONY which replaced Horace Armistead's backcloth from Balanchine's era.
  12. the short answer here is that you'd have to be on NYPL/JRDD premises to view any of its moving picture items. there's no option for viewing by way of outside access, and most certainly there is no option for individually saving, as a duplicate copy, any of the items in its vast catalog. the one somewhat recent change regarding viewing policies on the premises is that some items have digitized, so that watching them is more direct and simple than the longstanding need to write a call slip for a cassette or disc and to watch it on a player in the research room once the item has been retrieved from the shelves by a library worker.
  13. Onegin and Jewels

    as was pointed out at the time, Barnes called the Stuttgart Ballet on or following a trip to see the company at home in Stuttgart,"Germany's ballet miracle," Hurok Presents' promotion for the Stuttgart's initial season under Cranko in NYC hailed the troupe as "a ballet miracle," if mem. serves.
  14. Catherine Hurlin danced "Mademoiselle Marianne Chartreuse" at the NYC opening of WHIPPED CREAM
  15. from ABT's press office: Please note that there is a cast change for Whipped Cream tomorrow evening, Tuesday, May 23: Herman Cornejo is injured and unable to perform. JEFFREY CIRIO will dance in his place.
  16. Holly Brubach was recently awarded a Guggeneheim Fellowship, presumably for this biography.
  17. perhaps your questions will be answered here: https://www.nypl.org/node/370718
  18. f.y.i. as part of the following series: To Save and Project: The 10th MoMA International Festival of Film Preservation, the museum is screening its would-be newly restored print of THE DUMB GIRL OF PORTICI tomorrow Oct. 13 @ 1 pm & Sun. Oct. 21st @ 4 pm. here's a MoMA link: http://www.moma.org/visit/calendar/films/1325
  19. Pastor's 'Romeo and Juliet'

    i'm not sure anyone has recalled the ROMEO AND JULIET Joffrey brought in for his co before getting the Cranko staging, it featured 3 different women in the role of Juliet: Romeo and Juliet : Chor: Oscar Araiz; mus: Sergei Prokof'ev; cos: Renata Schussheim. First perf: Buenos Aires, Sept 15, 1970, Ballet del Teatro San Martin. // First perf. by The Joffrey Ballet: New York, City Center Fifty-Fifth Street Dance Theater, Oct 12, 1977; lighting: Jennifer Tipton.
  20. Tudor's R&J was famously designed by Eugene Berman, see credits below: Romeo and Juliet : Narrative ballet in one act, based on Shakespeare's play. Chor: Antony Tudor; mus: Frederick Delius (A walk to paradise garden from A village Romeo and Juliet, Eventyr, Over the hills and far away, Brigg fair, arr. by Antal Dorati); scen & cos: Eugene Berman. First perf: (incomplete): New York, Metropolitan Opera, Apr 6, 1943, Ballet Theatre. First perf (complete): Apr 10, 1943.//Revival: Stockholm, Royal Opera House, Dec 30, 1962, Royal Swedish Ballet.//Revival: New York, New York State Theatre, July 22, 1971, American Ballet Theatre; scen & cos: Eugene Berman; lighting: Nananne Porcher. ABT revived an excerpt in 2008, billed as ROMEO AND JULIET (Romeo's Farewell). (Xiomara Reyes and Gennadi Saveliev were the first cast offered that season.)
  21. Program 4

    regarding applause there was a time at NYCB, during the 1970s at least, when there was a slip in the program for DIVERTIMENTO NO. 15 that said the company "respectfully asks the audience to hold its applause until the final curtain." a similar slip was included in the program when Jerome Robbins's GOLDBERG VARIATIONS was given. it hasn't been done in many years however, including at the end of Balanchine's and Robbins's lifetimes. it didn't always work but it did help a bit in this direction. Balanchine told an interviewer, Anna Kisselgoff perhaps, that people who applaud while the music was playing should be put in jail for stealing those notes.
  22. it's possible, one supposes, that the Kay designs are still around, on paper, or that restagings of Nureyev's RAYMONDA III are done with help from the Nureyev Foundation and its photo records of the Kay designs. it seems that once Kay died it became unduly complicated for some of this designs to be used. i think his work for Macmillan's 1967 SLEEPING BEAUTY (in Stuttgart), close on the heels of his work for ANASTASIA (for the Royal Ballet) were considered when Macmillan staged BEAUTY for ABT but the task was deemed undoable.
  23. another photo of Barry Kay's costuming for Nureyev's RAYMONDA ACT III with the Royal Ballet, with Fonteyn and Nureyev in the foreground: Photo credit to Louis Perez - undated but circa 1969? Fonteyn's headpiece is more distinct in this photo.
  24. Reimagine

    you've understood the gist of this usage here; another way to define "reimagine" is to understand the effort to put the ballet back on stage as more an educated guess than a carefully researched reconstruction using notations, films, and the memories and efforts of dancers who knew the ballet first-hand..
  25. p.s. it is odd about translating Pashkova's identification of the King into English. Balanchine's entry in GREAT STORIES says "Andrew II"; Wiley's translation of the full libretto, etc. in A CENTURY OF RUSSIAN BALLET says "Andrei II". looking back at the photos that are linked at the top of this thread i see that they are likely NOT Georgiadis's work for the 3-act Raymonda but remakes of Kay's designs for Nureyev's stand alone RAYMONDA ACT III. as they were not captioned i ended up making assumptions that i now see are off the mark. the wire-kokoshnik-styled headpiece seems to be a version of Kay's scheme not Geogiadis's which as the later photos posted here show is rather different from Kay's.