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dirac

Saturday, June 1

6 posts in this topic

Egyptian artists protest a Salafist politician's denuniciation of ballet.

Angry artists took to the social media to criticize the Islamist lawmaker. Some warned of legal action against him.

Amir Ramses, a filmmaker, sought to highlight contradictions of the country’s Islamist lawmakers. “Egypt’s Brotherhood government extends [night] clubs’ licenses from 2 to 3 years to boost tourism, and a Shura Council [islamist] member calls for banning ballet because it is nudity dancing.”

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A review of the Royal Ballet and Akram Khan by Jenny Gilbert in The Independent.

Yet for all its flaws, which can be tweaked, McGregor has achieved something rare: daring in its simplicity, yet deliciously layered. Gabriel Yared's score brims with surprises, the chugga-chug of a postal sorting office and the rhythmic flap of wings slipping into driving orchestral textures that surge in Wagnerian waves. Paired with the clean, white symmetries of Balanchine's Symphony in C, it makes for a nicely balanced evening. Raven Girl's evolution, I predict, is just beginning.

Akram Khan's contribution to the Rite of Spring centenary, on the other hand, is a non-starter....

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An interview with Iain Webb and Margaret Barbieri about featuring works by Ashton at Sarasota Ballet.

Barbieri, who has staged all the Ashton ballets introduced here, says the range of technique required to perform Ashton's work is comprehensive — quick footwork, musicality, fluidity and, most especially, the articulated and often exaggerated use of the upper body, arms and head.

"'More! Do more! Bend more!,'" says Barbieri. "I can still hear his voice in my head when I'm staging his work."

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An interview with Misty Copeland.

Misty’s greatest priority remains racial integration, and she says it’s easy for the Obama generation to underestimate how difficult it remains to be a young, gifted, black ballerina. “People say, ‘It’s 2013, you live in New York City, you’re [being] dramatic’ — but they don’t understand the way the ballet world works,” she says. “We’re completely behind the way the world has evolved. Ballet is just kind of staid.”

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A preview of the Mariinsky Ballet's 3D film of "Swan Lake." Photos and video.

‘It takes eight large cameras including three in the stalls and one on a crane above the dancers, as well as on stage and in the orchestra pit.

'It’s not discreet, it will feel more like a Hollywood set than a theatre for the night but it really captures movement in space. With a pirouette, when the dancer’s leg extends it flies immediately at you. It’s just stunning.’

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An interview with William Forsythe.

“Ballet is like Lego,” Forsythe commented. “You can create anything you want by combining components. Like the Liberty Bell at the airport. Why not?”

Elaborating, he explained, “There is no arabesque. Arabesque is an idea. We move through it. No one can sustain it.”

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