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Tuesday, October 18


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#1 dirac

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Posted 18 October 2011 - 02:34 PM

Pennsylvania Ballet presents Alexei Ratmansky's "Jeu de Cartes."

http://www.philly.co...Pa__Ballet.html

Jeu de Cartes - "The Card Game" - was initially a wild card. Another ballet planned for Plisetskaya's gala hadn't come together, So with time running short, the Bolshoi shuffled the deck and turned to Ratmansky, then its artistic director. "We were all like in panic: 'What to do? What to do?' " the choreographer said. "And so they all said, 'Well, there's nothing left. You have to do this yourself.' "

He had choreographed for the Bolshoi before, as well as the Mariinsky and other major companies. But this was one of his first works as artistic director, and the first time he had to choreograph on the fly, with no plans and with whichever dancers he could pull together.



#2 dirac

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Posted 18 October 2011 - 02:43 PM

New York City Ballet's Nutcracker will be broadcast in December as part of the "Live from Lincoln Center" series. Item in brief.

http://www.theaterma...live_42998.html

Set to Tchikovsky's score, Balanchine's production premiered on February 2, 1954. The broadcast will feature New York City Ballet's dancers and the New York City Ballet Orchestra, as well as 50 children from the School of American Ballet, the official school of New York City Ballet.



#3 dirac

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Posted 18 October 2011 - 02:44 PM

Occupy Wall Street heads for Lincoln Center.

http://gothamist.com..._to_lincoln.php

Last week, Occupy Wall Street protesters marched to the Upper East Side and visited the homes of millionaires and billionaires, like media titan Rupert Murdoch and industrialist (and Tea Party backer) David Koch. Tonight, a "sizable contingent" will join the Granny Peace Brigade at Lincoln Center—which happens to be home of the David Koch Theater.



#4 dirac

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Posted 18 October 2011 - 02:47 PM

Jeanette Delgado talks about dancing Balanchine and Miami City Ballet's trip to Paris.

http://blogs.miamine...jeanette_de.php

What was different for the Miami dancers was that the Parisian audiences save their applause until the very end -- no clapping after each dance, no bravos after a particularly difficult arabesque. "At first we thought, 'what is going on, there's no clapping!' But then we realized that it's not done that way there -- and when they saved their applause, it was tremendous."

Back in Miami, Delgado says that one of the joys of Square Dance is that it is a "complete ballet -- there's an opening, a pas de deux, an entire journey." However, it doesn't have a narrative or storyline. It's all about dance and the music, she explains. "It's an homage to an American tradition, and we as dancers get pulled along with it. Edward [Villella] has us really feel the music, make us understand what it is trying to say" and almost anticipate the next sound and movement, she says.



#5 dirac

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Posted 19 October 2011 - 10:30 PM

A review of Les Grands Ballets Canadiens in 'Rodin/Claudel' by George Jackson for danceviewtimes.

http://www.danceview...thou-shalt.html

Foremost, this ballet probes the relationship of artist and work of art. Peter Quanz, author and choreographer of the "Rodin / Claudel" story, does it with movement that has body power and that haunts the stage. By animating the statues that populate his tale, Quanz shows they are not just putty in a sculptor's hands. They make demands and woe to the individual who disobeys the 11th commandment - thou shalt tend to thy work. As the statues take shape, their torsos seem as pliant as protoplasm. They twist and they torque. They flow singly as solitary figures or, grouped, surge as would salmon upstream. It is when they stall that the sculptor's diligence is crucial. "Rodin / Claudel" would be a rich dance work were it just a set of panoramas about the sculptor's art in process....




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