The Australian Ballet soloist jets to London in August for four months to rehearse - and hopefully perform - with the prestigious Royal Ballet.
Chynoweth, 23, is one of only a handful of dancers to receive the Walter Bourke Prize, which is awarded only on merit and was last granted in 2009.
Wednesday, June 12
Posted 12 June 2013 - 10:36 AM
Posted 12 June 2013 - 10:38 AM
But Cardiff Crown Court heard on Wednesday that his night came to a violent end when he was attacked by Mohamoed who took his Apple iPhone and left him for dead in the street.
Mr Widdowson managed to return to full health due to his fitness, strength and flexibility, the court heard, and is once again dancing at a top level almost two years after the attack in November 2011.
Posted 12 June 2013 - 10:39 AM
But the world of competitions that Kargman portrays presents harder issues. Children as young as eight are faced with the knowledge that their few precious minutes in front of the jury and audience can make life-changing differences to themselves and their families, holding out the promise of a scholarship to an elite dance school or, for the eldest, a job with a major company.
Posted 12 June 2013 - 11:13 AM
On her first entrance, Jordan Miller (one of this year’s Wien Award winners for outstanding promise) managed the intricate flow of the choreography in the initial variation with a fresh, spontaneous feel, as did Daniela Aldrich (another Wien award winner) in the leading role of the sixth variation. The intervening entrances by Clara Ruf-Maldonado, Mimi Staker and Laine Habony had a similar clean musical spaciousness. The fact that all the women were of fairly uniform proportion contributed to the sense of coherence, the mark of a great academy. The three men in the ballet – Patrick Frenette, Zachary Guthier and Alejandro Ocasio – partnered well and danced with grace in subsidiary roles. Suki Schorer coached them all beautifully.
Posted 12 June 2013 - 11:21 AM
Alexander Footman and Eric Glatt had complained they were made to undertake menial work with little or no educational value that ought to have been carried out by paid employees. US law makes it clear that unpaid interns must gain educational benefit from their work experience and cannot be used to replace regular paid workers. Federal judge William Pauley ruled yesterday that Footman and Glatt were in fact "employees" of studio offshoot Fox Searchlight, which oversaw production of Black Swan, meaning they were entitled to legal protection under minimum wage and overtime laws.....
The case of the unpaid American intern just got upended — again, and maybe for good: Just a month after one judge dismissed the class-action suit filed by free New York City media interns at Hearst Magazines, another has now granted the Hollywood coffee-fetchers who worked on Black Swan a precedent-setting win, ruling that the two production interns "worked as paid employees" and that Fox Searchlight should have to pay them as such. It's a pivotal decision, says the attorney for the two young men who worked on the Oscar-winning film: "This is the first time a judge has held that interns as we know them today are employees entitled to wages and protections," the lawyer, Juno Turner, told The Atlantic Wire in a phone interview Wednesday.
Posted 13 June 2013 - 03:28 PM
A feature on Ballet Tech by Gia Kourlas in The New York Times.
The show comes at a promising time for Ballet Tech. Beginning in the fall of 2014, the organization will team up with the Professional Performing Arts High School, allowing the students to continue studying both dance and academic subjects through 12th grade.
“I’ll only be 72,” the spry Mr. Feld said dryly.
Posted 13 June 2013 - 03:40 PM
A story on the revival of Dance Theatre of Harlem by Laignee Barron in The New York Daily News.
The company rebuilt with a nucleus of dancers from its own ballet school. But the company, which once had 44 members, had to slim down to just 18 dancers.
“There’s a lot more work for each dancer now,” said ballerina Ashley Murphy, who has been with the company since before the hiatus.
Posted 14 June 2013 - 10:37 AM
L.A. Dance Project performs this weekend. A column on Benjamin Millepied and his reception in Los Angeles by Danielle Berrin for Jewish Journal.
Despite some hurt feelings, almost no one denies that Millepied selected an exemplary group of dancers for L.A. Dance Project and that their presence here is strengthening the local talent pool. In the past, although young dancers have been attracted to L.A.’s many dance academies — CalArts, UCLA and USC’s Glorya Kaufman School of Dance, among them — graduation is usually followed by a swift exodus. By hiring New York dancers, Millepied was aiming for sea change.
Nevertheless, many felt his Disney Hall debut was too avant-garde for L.A. audiences and cast aspersions on his bold artistic choices. Renae Williams Niles, vice president of programming at the Music Center, said she was “absolutely blown away” by Millepied’s debut, but conceded that it probably wasn’t what the entertainment capital audiences were expecting....
Posted 14 June 2013 - 10:39 AM
A feature on Damian Woetzel by Anna Ziverts for 303 Magazine.
With a warm smile and a becoming personality, Woetzel is a true gift to the arts. His predisposition and grueling dedication surely carved his name into the history books. But even greater is his commitment to the arts as a whole. Woetzel admitted, “The arts, it’s not about being good. You can be really, really good and be uninteresting.” He explained that from a technical standpoint, a dancer might make every move flawlessly. But that talent alone does not make the dancer the best or the most appealing. It’s a dancers ability to engage with himself, the world and their audience that makes them phenomenal.
Posted 14 June 2013 - 11:17 AM
A review of the National Ballet of Canada in 'Carmen' by Denise Sum for danceviewtimes.
The clichés continue, painfully, in the choreography. Carmen crawling seductively on a table, a cat fight with one of the cigarette girls complete with hair pulling, rolling on the floor... It is all there. The most explicit scene is the coupling of Carmen and Escamillo, who in Bombana's rendition is literally a bull rather than a bullfighter. The depiction of bestiality in a ballet is quite risqué but by then the viewer is probably too desensitized to notice. As Escamillo is thrusting, the only surprise is that Carmen chooses the missionary position.
Posted 16 June 2013 - 11:36 AM
Svetlana Lunkina dances at a National Ballet of Canada fundraiser.
Beyond her guest spot Lunkina’s professional prospects remain clouded. Officially, she’s on leave from the Bolshoi.
Lunkina says she’s caught in the middle of a festering dispute between her entrepreneurial producer husband, Vladislav Moskalev, 50, and his former business associate, celebrated Russian actor and comedian Vladimir Vinokur. The latter has accused Moskalev of stealing $3.7 million from his Vinokur Foundation for Arts and Culture.
Posted 16 June 2013 - 11:41 AM
Misty Copeland helps the Boys and Girls Club launch its Youth of the Year program.
Copeland took questions from the youngsters and talked about success.
"My story's so relatable," said Copeland. "For people to know that I started at Boys and Girls Club, to know that I came from poverty, to know that I'm one of six children of a single parent home, and African-American, which is also rare in the world of classical ballet."
Posted 27 June 2013 - 02:45 PM
A preview in brief of Breaking Pointe's second season.
But promotion video for Season 2 quickly dispells any notions of happily ever after: "Rex and I are no longer together," says DeBona, 29, a demi-soloist with Salt Lake City's Ballet West dance company.
The popular series returns July 22, with new hopes, dreams, conflicts, catfights, injuries and behind-the-scenes preparation for "Cinderella."
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