6 replies to this topic

[dirac]

A look at the Royal Ballet's  2013-14 season schedule by Ismene Brown for The Arts Desk.

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Offering a more textured contemporary life in the Linbury Studio Theatre will be a less predictable parade. Visiting companies, such as Ballet Black, Phoenix Dance Theatre, National Dance Wales and the New York City Ballet star Wendy Whelan, show choreography by well-known names Angelin Preljocaj and Stephen Petronio along with current British contemporary dancemakers.

[dirac]

Edward Watson talks about his role in 'The Metamorphosis.'

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The first thing I had to do when we were creating the piece was not to think like a human. If I wanted to pick something up, I would normally do it with my hands, so I had to try to do it with my feet or teeth. It was basically tying myself in knots and then trying to move – and sometimes I tied myself up in so many knots that I actually couldn’t move. Performing the role is difficult and liberating and humiliating and degrading and strangely really satisfying – it’s like a lifetime in an hour there on stage.

[dirac]

The Pennsylvania Regional Ballet celebrates its twenty-fifth anniversary.

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The Pennsylvania Regional Ballet is considered a “leader in the Northeast region” for aspiring dancers, teachers and choreographers. Classes cater to children age 3 to 18 and cover techniques in classical ballet, jazz, tap and modern dance.

[dirac]

The National Ballet of Canadacommissions another evening-length work from Christopher Wheeldon.

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The Toronto company will return to Sadler's Wells in London — for the first time since 1987 — with performances of Romeo and Juliet from April 17-21.

Artistic director Karen Kain has boosted the profile of the National Ballet over the past three years with an increase in touring and an ambitious investment in new productions to pique the interest of audiences and her dancers.

[dirac]

Reviews of the National Ballet of Canada in "Romeo and Juliet."

The National Post

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Stamina, guts and passion are what define this company right now, and those key traits are front and centre in this heart-stopping production. Ratmansky, ballet’s current “it boy” choreographer, created this R&J for The National Ballet of Canada in 2011. It replaced John Cranko’s popular version, which possessed oodles of passion, but not enough technical challenges for a company of this calibre. Ratmansky understands these days audiences want less mime and more movement. His style is rooted in classical technique but is less posey and more spontaneous and free flowing than many 20th-century ballets.

The Globe and Mail

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In terms of choreography, Ratmansky’s greatness lies in his ability to mirror music in dance. There is absolutely no mime. The emotional arc of the characters is cunningly shown in movement. In fact, the music and the dance seem inseparable.

[dirac]

A beginner's guide to ballet in text and video in The Washington Post.

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If you’re still not swayed, there are at least four chances in the coming weeks to be convinced. American Ballet Theatre, New York City Ballet and Russian National Ballet Theatre are all coming to town. And our acclaimed resident company, the Washington Ballet, also takes the stage, bringing back an old favorite and presenting a world premiere.

So step away from the stereotypes and read on for solid evidence of why the common misconceptions about ballet are bunk.

[dirac]

Dancers from Ballet Chicago talk about the rigors of ballet and dealing with injury.

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The 21st century is an exciting time for ballet, said [Daniel] Duell, because dancers have more resources at their disposal than ever before.

“Ballet dancers have always been incredibly athletic,” Duell said. “What I would say is, a great deal of knowledge about diet and nutrition, wellness and most injury prevention and the care of the body, all those areas of knowledge have progressed at a fantastic rate the past 20, 30 years.”