Jump to content


Monday, September 10


  • Please log in to reply
9 replies to this topic

#1 dirac

dirac

    Diamonds Circle

  • Board Moderator
  • PipPipPipPipPipPipPipPip
  • 24,061 posts

Posted 10 September 2012 - 10:18 AM

A review of Houston Ballet's double bill of "Madame Butterfly" and "Clear" by Adam Castañeda for the Houston Press' blog.

It is obvious that Welch understands the power of images. The production is more than old-fashioned Orientalist confection. There's strong implications in the visuals, particularly in the concluding moment of Act I. Concluding a ravishing pas de deux, the reserved Butterfly gives herself over to Pinkerton. He leads her to their marriage bed and places her beneath him, her hand reaching towards the stars in both hopeful anticipation uncertainty. Butterfly is thus conquered over a shrine to the United States, complete with an American flag and a naval officer's cap. In this way, Welch's ballet becomes a scathing post-colonial critique.



#2 dirac

dirac

    Diamonds Circle

  • Board Moderator
  • PipPipPipPipPipPipPipPip
  • 24,061 posts

Posted 10 September 2012 - 10:20 AM

A story on the Gelsey Kirkland Academy of Classical Ballet by Andrew Blackmore-Dobbyn in The Huffington Post.

Imitating her performance was not teaching dancers how to work best with their own bodies. Kirkland came to agree with Chernov that the only way to have a lasting impact on students was to create their own academy. They set about learning the craft of teaching ballet by spending a year with Nina Osipyan, one of the great teachers of Russia's famed Vaganova method as taught at the Kirov Ballet. This is the same school of ballet that produced Nijinsky, Balanchine, Nureyev, Baryshnikov and Natalia Makarova. By any criteria, the Vaganova system works. The curriculum at GKACB also includes instruction in music theory, acting, character dancing, mime, partnering and body conditioning in addition to classical ballet technique.



#3 dirac

dirac

    Diamonds Circle

  • Board Moderator
  • PipPipPipPipPipPipPipPip
  • 24,061 posts

Posted 10 September 2012 - 10:23 AM

The State Ballet of Berlin brings "Swan Lake" to Bangkok.

This is going to be a real extravaganza, with one of the most elaborate sets ever seen in Bangkok, performed by some of the most prize-winning dancers from international competitions to ever grace a stage here. The 120-member dance troupe will be accompanied by 72 musicians for performances on the evenings of October 2 and 3 at the Thailand Cultural Centre. The shows are part of Bangkok's 14th International Festival of Dance and Music.



#4 dirac

dirac

    Diamonds Circle

  • Board Moderator
  • PipPipPipPipPipPipPipPip
  • 24,061 posts

Posted 10 September 2012 - 10:25 AM

A review of Headspace Dance by Liz Hoggard in The Evening Standard.

Their first show (with new commissions by Javier De Frutos, Luca Silvestrini and Didy Veldman and a reworking of a duet by Mats Ek from 1991) is funny and touching and very accessible, demystifying much of the jargon around ballet. An extended skit on taking a bow (elbowing fellow dancers out of the way) is met with cheers, as is the pretend tension between veterans Akrill and Broom and hot young talent Clemmie Sveaas (last seen in the Pet Shop Boys’ The Most Incredible Thing).



#5 dirac

dirac

    Diamonds Circle

  • Board Moderator
  • PipPipPipPipPipPipPipPip
  • 24,061 posts

Posted 10 September 2012 - 10:29 AM

In connection with the Brisbane Festival, a group of local arts leaders gather to discuss community outreach and government funding.

But the elephant in the room was the budget and the new government's relationship with the arts community. There was no mention of the axing of the Queensland Premier's Literary Awards and the cutting of other arts initiatives. Instead the conversation was largely aspirational and optimistic.

Two of the newly appointed arts leaders were there: Queensland Ballet's artistic director-designate Li Cunxin and Opera Queensland's Lindy Hume. Joining them were Queensland Theatre Company artistic director Wesley Enoch and Fiona Maxwell, state manager of the Australia Council's philanthropic arm Artsupport.



#6 dirac

dirac

    Diamonds Circle

  • Board Moderator
  • PipPipPipPipPipPipPipPip
  • 24,061 posts

Posted 10 September 2012 - 10:39 AM

A preview of Tulsa Ballet's new mixed bill by Alicia Chesser for Tulsa Dances.

“It’s important to me to extend the box [of how we understand ballet], not just for the dancers and the company, but for the community,” Angelini said. “If we don’t continue to challenge ourselves and our audience, the art form will die. The only way to stay fresh is to go a little bit out of our comfort zone.”

TB’s program this weekend builds upon and totally reimagines the classical tradition with three contemporary works: Age of Innocence by Edwaard Liang (who created last season’s world premiere Romeo and Juliet for the company), Slice to Sharp by Boston Ballet’s Jorma Elo, and PreSentient by the English contemporary dance phenom Wayne McGregor.



#7 dirac

dirac

    Diamonds Circle

  • Board Moderator
  • PipPipPipPipPipPipPipPip
  • 24,061 posts

Posted 11 September 2012 - 11:14 AM

Viktoria Tereshkina and Alina Somova drop out of the Mariinsky's Orange County engagement.

Both women withdrew from the performances because they are pregnant, center officials confirmed Monday.



#8 dirac

dirac

    Diamonds Circle

  • Board Moderator
  • PipPipPipPipPipPipPipPip
  • 24,061 posts

Posted 11 September 2012 - 11:20 AM

A story on Carlos Acosta's new Cuban venture.

Whatever Acosta’s merits as a visionary though, he has tripped up so far in his attempts at managing public relations for the Ballet School project.

When Foster released initial plans for the renovation, generating a buzz in the international press, several prominent Cuban architects reacted angrily, raising questions about the ethical implications of changing Garatti’s original design without his consent.



#9 dirac

dirac

    Diamonds Circle

  • Board Moderator
  • PipPipPipPipPipPipPipPip
  • 24,061 posts

Posted 11 September 2012 - 11:21 AM

A review in brief of Darcey Bussell's new book.

The gorgeous photographs capture not only Bussell’s magical dancing on stage, but also show the grittier aspects of life behind the scenery: at the barre, putting on her stage make-up and in rehearsals.



#10 dirac

dirac

    Diamonds Circle

  • Board Moderator
  • PipPipPipPipPipPipPipPip
  • 24,061 posts

Posted 15 September 2012 - 11:39 AM

Apollinaire Scherr takes Times readers to task over their responses to Alastair Macaulay's recent article on racial stereotyping in classic ballet.


Macaulay's responders combine vitriol with blockheadedness. One commenter argues in favor of the stupid and evil Muslim characters in Raymonda and Le Corsair because stereotypes, he says, are basically accurate. (They may have removed that comment...I couldn't find it this time.)

Other people cling to the notion of authenticity despite Macaulay pointing out that there is no extant original to adhere to--and this lack of anchor seems only to have made the caricatures more offensive, not less.




0 user(s) are reading this topic

0 members, 0 guests, 0 anonymous users


Help support Ballet Alert! and Ballet Talk for Dancers year round by using this search box for your amazon.com purchases (adblockers may block display):