Have you ever wondered what it's like to be a dancer in The Australian Ballet -- the hard work, the performance highs, the tight-knit friendships, the laughs and challenges? Focusing on Telstra Ballet Dancer Award nominees Amy Harris and Jake Mangakahia, this new ten-part series will take you behind the scenes as never before to show you the inner workings of the company. In Episode One: January, the dancers return from their break to gear up for the 50th anniversary season.
Wednesday, March 28
Posted 28 March 2012 - 10:18 AM
Posted 28 March 2012 - 10:20 AM
“The show is going to increase exposure to an art form that we don’t have a lot of exposure to on this campus,” said company co-founder Aren Vastola ’14.
Amymarie Bartholomew ’13, Vastola’s fellow co-founder and a member of the Groove Dance Company, said the vast majority of dance groups on campus incorporate ballet as one of the techniques they employ but otherwise leave the form as “a very minor part of their performance.” Yalies trained in ballet and not interested in the contemporary work of other groups had few opportunities to perform or attend regular classes in ballet technique until the ballet company was formed last spring, she added.
Posted 28 March 2012 - 10:21 AM
The opening work, Celebration, showed its eight dancers off well. It’s by Christopher Gable, Ballet Central’s founder, and of course a great dancer in his day. A classical work, the girls in beautiful white shifts by Richard Gellar, it shows the influence of Frederick Ashton’s early work, and told us immediately that we were in for a good evening as the cast went through a series of linked pieces, with Carmen Vasquez Marfil and Andrew McNicol particularly impressive. McNicol is an engaging and versatile dancer who made his presence felt throughout the programme.
Posted 28 March 2012 - 10:24 AM
"But the generations coming up behind you do it better. Like in skating where now the skaters are doing quads and bigger jumps, they are doing pirouettes and turns I could only dream of. They'll do 10 and stop where I would do four and stop."
And he has a different perspective on dance, he continues. "I don't worry as much about technique, but about being artistic, about the shapes, the form, the performance. Sometimes they forget about the artistry and I remind them of it from time to time."
Posted 29 March 2012 - 12:57 PM
Torres' version of Sleeping Beauty was originally created for the Finnish National Ballet in 2008. The Prague version, however, won't be a mere copy of the Finnish one.
"I could hardly make a copy," Torres says. "It's impossible to make a true copy of anything as you can't live the moment you already experienced once again. The only thing possible is to attempt to re-create it. However, since the first meeting with Petr Zuska [Artistic Director of the National Theater Ballet Ensemble] we both agreed some things should be changed. And why not try to improve something when it's possible? But it's like ping pong: a serve and a return. If I don't give the dancers enough, they wouldn't return much either...."
Posted 29 March 2012 - 12:59 PM
With the two world premieres by Edwaard Liang and Ashley Page following each other only two days apart, San Francisco Ballet offered an intense dose of works whose choreographers, for all their differences, think of twenty-first century ballet as super-athletic, fractured, ferociously non-narrative, at hurricane-speed and packed with action. Smartly, both Liang and Page also recognized what they had in SFB's superb musicians, under the formidable baton of Martin West, so they chose distinguished scores which highlight symphonic timbre. Liang set Serge Rachmaninoff's "Symphonic Dances"; Page chose John Adams' "Guide to Strange Places." Both works were named after the music.
Posted 02 April 2012 - 10:51 AM
The MCB board of directors is scheduled at a meeting Tuesday to select either Jennifer Kronenberg, a popular, longtime principal dancer who is Villella’s choice as the best person to carry on his legacy, or Lourdes Lopez, a Miami-raised, Cuban-American former principal dancer with New York City Ballet who is favored by some executive board members and advisors.
The choice reflects the division over Villella’s ouster: Kronenberg is an MCB insider supported by the bulk of the dancers. Lopez has the advantage of management experience and the support of powerful donors and board members.
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