The Atlantic: What was the genesis of this project?
Galen Summer: The producer of media for the New York City Ballet reached out to me because they wanted to do a series of short documentaries that looked at different aspects of the work that goes on behind the scenes at the ballet. They had seen a short film I did about a Brooklyn tailor named Martin Greenfield (the film is called Lessons From a Tailor and can be seen here) and they saw a connection between that and the stories they wanted to tell. Needless to say, I was excited about getting to discover a world that I was really unfamiliar with at the time.
Friday, May 25
Posted 25 May 2012 - 11:50 AM
Posted 25 May 2012 - 11:53 AM
As you'll see in the clip above, one ballerina pushed another, smaller, dancer who didn't let size keep her from fighting back.
A wise YouTube commenter calls the brawl the "inevitable Black Swan prequel." The Daily What says it's more like a precursor to "Mean Girls."
Posted 25 May 2012 - 11:59 AM
Peasley has worked for every AB artistic director.Founding director Dame Peggy van Praagh was the most demanding, South Australian Sir Robert Helpmann the most laid back. "The government only gave us enough money for eight months so Peggy van Praagh's leadership was critical for the company's survival," he says.
"Sir Robert Helpmann was the easiest-going. He believed performance was what it was all about - he was a great, great performer and a great character."
Posted 25 May 2012 - 12:03 PM
In books and movies, references to the ballet abound. But just how well do you know “Coppelia”? The Washington Post asked five dancers, teachers and ballet experts questions that provide a guide to a classic.
Posted 25 May 2012 - 12:06 PM
It's an exciting time of year for the family of three since Aleph is nearing his first birthday. The little guy has had a fun year with trips overseas, traveling coast to coast, and the marriage of his parents in February.
Posted 25 May 2012 - 12:11 PM
When Natalia Osipova and David Hallberg danced “Giselle” together, the sheer physical beauty of dance was married to poetic drama, taking us beyond the simple pleasure of watching to the stuff of mind and imagination.
Posted 26 May 2012 - 11:48 AM
It is, without a doubt, a canny and professional work. Ms. Stroman’s storytelling skills are so sure, and what happens so predictable, that the projected silent-movie titles probably aren’t necessary. In “The Blue Necklace” an aspiring actress (Maria Kowroski) is reunited, after some Cinderella-like complications, with the daughter (Ashley Bouder) she gave up. In “Makin’ Whoopee!” a man (Joaquin De Luz) learns that he will inherit millions if he marries within a few hours. You can fill in the rest, and Ms. Stroman knows you can.
Posted 26 May 2012 - 11:49 AM
......Ballet Prestige is a Russian-style studio run by Vera Kurmasheva and Zhanat Baidaralin on Waseca Avenue. The studio performs The Nutcracker every winter in addition to a spring performance featuring a variety of shows and dances.
The performers at Ballet Prestige come with varying levels of experience. Brittany Cavaco of East Providence, for example, has been dancing for about as long as she can remember. The 16-year-old said Don Quixote requires dancers to be precise but in difficulty lies opportunity.
Posted 26 May 2012 - 11:59 AM
The Ballet San Jose School was established in 1996 and is the official school of Ballet San Jose. Beginning in June 2012, Ballet SJ School will become the only certified institution on the west coast to provide the complete American Ballet Theatre National Training Curriculum, a breakthrough program that combines high-quality artistic training with the basics of dancer health and child development. ABT National Training Curriculum consists of a comprehensive set of age-appropriate outcome-based guidelines to provide the highest quality ballet training to dance students of all ages and levels.
Posted 26 May 2012 - 12:02 PM
Last season ballet-goers were treated to Morris's compelling Sandpaper Ballet. Drink to Me Only With Thine Eyes was an equally canny selection. This seemed Morris at his most balletic, but in took no longer than a wink of the eye and a slide of the hips to shift to a different idiom.
The dancers not only took this in stride but seemed to relish the coy and changeable movement. At times they seemed like perfectly crafted wind-up toys that induced an endearing quirk every fourth of fifth step. Gradually the oddities built up into an utterly singular texture.
Posted 30 May 2012 - 02:16 PM
Other elements in Part’s evolution—the strength, the control, the precision—are probably the last thing her admirers expected. In the past, although she offered her fans enough for them to consider her unique and wonderful, she’d hold back in her attack on a step, a phrase, a balance, or a lift, apparently through anxiety about her ability to execute it securely. Her hesitation was frequently so evident that her spectators grew nervous too. Now she trusts herself more and the audience can trust her in turn.
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