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Tuesday, May 28


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#1 dirac

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Posted 28 May 2013 - 10:42 AM

Sergei Polunin resurfaces in London.

"He is a good boy," Vladimir Urin said reassuringly to the dancer normally portrayed in the press as the bad boy of ballet, the tattooed, leather jacket-wearing prodigy who last year walked out on the Royal Ballet and just a month ago suddenly removed himself from a new production of Midnight Express.


Related.

He will dance the lead role of Frantz in three of six performances of "Coppelia," which begin July 11 at the London Coliseum, where the English National Ballet often performs. The shows feature a roster of the Stanislavsky's young talent in a version of the work created in 1975 by the late choreographer Roland Petit.



#2 dirac

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Posted 28 May 2013 - 10:46 AM

A preview of the Cape Town International Ballet Competition.

Africa’s only international ballet competition was launched in 2008, with subsequent competitions in 2010 and last year.

Dancers from South Africa and around the world compete for gold, silver and bronze medals, as well as substantial monetary prices.



#3 dirac

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Posted 28 May 2013 - 11:10 AM

Photo of Bolshoi dancers with text in brief.

The Bolshoi Ballet, in Australia for the first time in almost 20 years, will perform The Bright Stream, featuring a score by Dmitri Shostakovich, at Brisbane's Lyric Theatre only from Thursday to June 9.



#4 dirac

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Posted 28 May 2013 - 11:34 AM

More on Polunin.

Daily Mail

Asked if the pair had made up, Polunin said he was not 'friends' with Schaufuss, but said they had a professional relationship. He said: 'I always respect Peter as a dancer and as a director, we’ve never made friends, but I still respect him."



Reuters

Runaway Ukrainian dancer Sergei Polunin, more famous of late for his absences than his "arabesques", showed up in London on Tuesday vowing to return in July to dance in a production of "Coppelia" with Moscow's Stanislavsky Ballet.



The Independent

His Midnight Express exit followed an earlier much-publicised walkout on Covent Garden last year for which he has given a variety of explanations including the pressure of the art form and falling out of love with ballet. Asked whether that feeling had changed he said: “Not really, it’s a love-hate relationship,” he said.



#5 dirac

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Posted 28 May 2013 - 11:36 AM

A review of the Royal Ballet in "Raven Girl" by Clement Crisp in The Financial Times.

http://www.ft.com/cm...l#ixzz2UcMl6mEJ

Warning signs could be detected in the programme notes, in which Niffenegger and McGregor discourse at not inconsiderable length about what they are offering their eager public. The argument of this “fairy tale” has a postman father – such the wonders of miscegenation – a child by a raven. This morose offspring decides to seek surgery to replace arms with wings and so discover her true identity, rejecting a human suitor and finally meeting her Raven Prince. It pre-supposes aesthetic gullibility at its worst: an elaborate if monochrome staging, replete with ceaseless and distracting projections; choreography of a classic-dance-as-cliché kind and enfeebled narrative grasp.



#6 dirac

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Posted 29 May 2013 - 11:45 AM

A review of the National Gallery exhibition featuring Diaghilev and the Ballets Russes by Karen Wilkin in The Wall Street Journal.

Yet Chaliapin's gorgeous costume proves an inadequate introduction to Diaghilev and the Ballets Russes. As an emblem of the medieval past, it fails to convey the radical modern aesthetic that Diaghilev enthusiastically embraced and promoted. And radical modernity is both the unifying thread and defining characteristic of the entire exhibition. The Ballets Russes' vanguard productions are dramatically evoked by costumes, set and costume designs, photographs, theatrical memorabilia, music and film clips of reconstructed performances, in a splendid installation that makes an ephemeral art form as vivid as possible in a museum setting.



#7 dirac

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Posted 29 May 2013 - 11:48 AM

A review of American Ballet Theatre in "A Month in the Country" by Barnett Serchuk for Broadway World.

While this sounds like the perfect vehicle for an Ashton ballet, not to mention a night of lovely reverie, either the ballet, or I, failed to ignite. The sets and costumes were, for the most part, tasteful and sumptuous, the staging by Anthony Dowell and Grant Coyle "spot-on," and the dancing and characterizations excellent. Yet, the feeling of love lost, of emotion's burned embers at the end of an affair, was just not there. Can it be that the affirming beauty and satisfaction I expected to find in this Ashton ballet does not exist anymore, or is it that I have grown immune to those very things that ignited my very core in youthful passions and pursuits? I tested myself: I watched a recently released DVD of Ashton's La Fille Mal Gardee and was exhilarated.....



#8 dirac

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Posted 29 May 2013 - 02:26 PM

Another story on Polunin.

Billed to play the character Frantz in the Roland Petit ballet on July 11, 13 and 14, only “something major” could keep him away this time, he insisted.

“You have to take it day by day,” he said.



#9 dirac

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Posted 06 June 2013 - 09:44 AM

Heather Ogden shares her warm feeling for her company's artistic director and other interesting facts.

1. She’s a total Karen Kain fangirl
“When I joined the company in 1998, Karen was already retired from dancing. She came in to do some coaching, and I was like, ‘That’s Karen Kain.’ It took me a while to realize how approachable she is. She helped me with one of my first solos—I kept messing it up. She took me aside and told me I had to stop beating up on myself."




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