The Spring issue of DanceView is at the printers now and I should be mailing it out over the weekend. This is a commercial
For those of you who've found us in the last six months or so, this message board was originally intended to be a sort of online letters to the editor for my two publications, DanceView (a quarterly journal founded in 1979) and Ballet Alert! (a bimonthly newsletter founded in 1996). I think the magazines are interesting in themselves, but subscribing to them does help support the site
Many of our writers also take the time to post here, for which I am endlessly grateful. Mary Cargill (who reviews NYCB city season in this issue) has been writing for us since 1992 and is on the board of the Dance Critics Association. Mary also writes a New York report in every issue. Leigh Witchel, who is a choreographer as well as a writer, and has an interesting collection of writings on his web site (the link is in his signature line). His contribution this issue is the third in a series of reports on the Balanchine Archive project sessions, where dancers teach and discuss solos or other segments of Balanchine ballets so they can be filmed for posterity. This article is about a solo from a very old (and very lost) ballet, "Reminiscence." Jane Simpson has been our London correspondent for the past three years, and has done commentary and interviews as well (and we hope will do more interviews in the future ) Marc Haegeman, who has also written reviews and interviews for us for the past three years, reviewed the Paris Opera Ballet's "Paquita" and the Kirov Ballet's recent tour to Amsterdam.
Some of our regular writers aren't Net People and so don't post here. Rita Felciano, our San Francisco correspondent since 1992, also reviews Pacific Northwest Ballet's "Sleeping Beauty" in this issue. George Jackson, whose interests and specialties range from Romantic Ballet (especially Viennese), German modern dance, Balanchine and Judson Church, has a piece about opera ballets he's seen in several European cities this past year, as well as a report on White Oak's "Past Forward" -- he's one of the few people who's written about it who actually saw Judson regularly in its heyday. Carol Pardo, who often reviews ballet in New York and Paris for us, writes on the Mark Morris season.
It's a black and white publication. There's a "round up" report from New York, London and San Francisco in every issue, and Paris as often as we can get it There are no ads, just copy and photos. You can read lots of past articles on the main web site to get a feel for the kinds of things we do.
And you can subscribe or renew on line
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