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Thursday, June 27


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#1 dirac

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Posted 27 June 2013 - 10:51 AM

A look at YouTube footage of Yuri, Nadia, and Zenaida Yanowsky  by Judith Mackrell in The Guardian.

 

As it happens, the Yanowskys share a mix of Russian and Spanish dance genes, which are inherited through their father Anatol Yanowsky and mother Carmen Robles. But, in addition to the physical inheritance of their long limbs and clever, charismatic faces, the Yanowsky talent is also family-trained. All three studied at their parents' dance school and were formed by a background in which, as Zenaida explained in a 2004 interview, they were encouraged to experiment with other art forms and view ballet as part of a wider cultural world.

 

 



#2 dirac

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Posted 27 June 2013 - 10:53 AM

Juan Carlos Amy-Cordero of the Eugene Ballet is found dead.

 

Riley Grannan, Eugene Ballet’s managing director, said Amy-Cordero’s wife couldn’t reach her husband in Eugene Wednesday night when she was traveling in Walla Walla, Wash. She asked a friend here to check on him; the friend found a suicide note on the door and called police, Grannan said. He didn’t know what the note said.

 



#3 dirac

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Posted 27 June 2013 - 10:54 AM

Milorad Miskovitch  has died at age 85.

 

His performances could surprise with their wide range. In 1949, on a visit to Paris, Merce Cunningham, also a novice choreographer, cast Mr. Miskovitch in his “Duets” with the American dancer Betty Nichols. During the 1949 New York season of Petit’s Ballets de Paris, Mr. Miskovitch created a sensation in “Le Combat,” a ballet by the American choreographer William Dollar, inspired by the story of the Christian knight Tancredi and the Saracen girl Clorinda. “Le Combat” entered New York City Ballet’s repertory the next year.

 



#4 dirac

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Posted 27 June 2013 - 10:56 AM

A piece on ballet class etiquette  by Claire van Bever for Broadway World.

 

Ballet dancers are territorial...really territorial, to the point of death glares. You don't want to be on the receiving end of a ballet dancer's death glares. You might shrivel under the pressure. To help you avoid that terrible fate, here's a few tips! If you are new to the class, you can approach an empty barre spot and ask "Does anyone usually stand here?" It's important that you ask if someone typically stands there as opposed to asking, "Is somebody standing here?" or "Did someone save this spot?" The first version will prevent you from standing in someone's favorite spot, and avoiding the glare. If you are a Trainee in a company you must wait until all company members have spots, then you can find a barre spot. It's not fun, but its part of being a Trainee......

 



#5 dirac

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Posted 27 June 2013 - 10:58 AM

A preview  of the weekend in dance by Ann Haskins for LA Weekly.

 

Malathi Iyengar was the only dance artist among those awarded a Cultural Affairs, City of Los Angeles (C.O.L.A.) fellowship this year. For 25 years Iyengar has led the Rangoli Dance Company and built a reputation as a performer and teacher of classical Indian dance. She's joined in this performance by dancers and musicians from Los Angeles and India in Love Trajectory, a personal recounting of the competing influences of her South Asian upbringing and life in the United States.....

 



#6 dirac

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Posted 27 June 2013 - 02:43 PM

Another article on the death of Juan Carlos Amy-Cordero.

 

Officers performing a welfare check found Juan Carlos Amy-Cordero dead in his Eugene home. He was 28. He is survived by his wife, former Eugene Ballet principal dancer Jennifer Martin.

 



#7 dirac

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Posted 27 June 2013 - 03:19 PM

Montgomery Ballet  presents "Don Quixote."

 

The performances, which will be re-staged by Darren McIntyre, will include four acts and eight scenes. The ballet is based on the famous novel.

 



#8 dirac

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Posted 27 June 2013 - 03:21 PM

A review of American Ballet Theatre in 'Sylvia' by Mary Cargill for danceviewtimes.

 

Writing about Gomes' Aminta is difficult--how many synonyms for magnificent can there be? His opening solo, with the beautiful arabesques, so expressive of the innocent purity of Aminta, was secure and flowing. His final solo was a burst of pure joy, the quick changes of direction seeming to explode from his very being. The pas de deux started beautifully, as Part used her flexible, luxurious back to lean in his arms. The quick turns, where he must stop her with precise placement and timing so she can freeze in the elegant position, though, came unstuck. Fortunately, this didn't seem to faze Part, and she hurled herself with complete confidence at Gomes in those leaping fishdives....

 



#9 dirac

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Posted 28 June 2013 - 10:22 AM

A BBC News story on eating disorders  in the ballet world.

Rachel Parker, 43, speaks at conferences for Dance UK about dancers and eating disorders.

 

The ex-Birmingham Royal Ballet dancer was never medically diagnosed as having anorexia but was forced to change her diet when she was diagnosed with osteoporosis in her 20s.

 



#10 dirac

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Posted 28 June 2013 - 10:31 AM

Layoffs are announced at The Oregonian, including that of Marty Hughley, whose articles on dance were posted regularly in this space.

 

....That left Hughley and Ryan as the last critics standing. Kristi Turnquist still turns her keen wit on television and pop culture to good effect, and if she bills herself as a critic, then SHE would be the Last of the Critics at The Oregonian. In any case, the major arts beats at the paper are now handled by freelancers for the first time since … well, I don’t know how long. The 1930s, maybe?

 



#11 dirac

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Posted 29 June 2013 - 07:03 PM

Bert Stern, photographer and Allegra Kent's ex-husband, is dead at 83.

 

But as his career flourished through the 1960s, Stern’s personal life fell apart, particularly as he underpinned his exhausting work schedule — he booked as many as seven shoots a day — with heavy use of amphetamines. Eventually his marriage to the beautiful New York City Ballet prima ballerina Allegra Kent collapsed, along with his health and his finances.

 

 

 

Related.

 

As Stern writes in The Last Sitting: “The Sixties were the best and craziest decade, not only of America’s life but of mine. Those were the years of the jukebox, and the big sound, and the big bucks, and the swimming pool, and the three children, and the townhouse, and the houseboy, and the black library with the Picasso over the door, Dr Feelgood, and the crystal blue Stingray, airplane trips to Fire Island, and the fantasy house with the wishing well, the herb garden, and the eight-foot tall roses Allegra grew while I photographed American beauties in New York”.

 

 

Photo gallery from LIFE.

 



#12 dirac

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Posted 01 July 2013 - 10:32 AM

The Sofia National Ballet visits the U.K. for the first time.

As well as being the company’s first visit to England the tour will also mark The Sofia National Ballet’s 90th year, with a rich tapestry of cultures being drawn together when the company was formed in 1928.

 

“The history of the Bulgarian ballet is 90 years already,” explains Sara-Nora. “We were somewhat lucky with our geographical situation of the country too, because it started with the influence of the Russian ballet in the school but also we absorbed the French influence, the French style and school, the Italian, and also the British, which personally I find the best. I am very proud and wish I could learn more from the British school of ballet.”

 



#13 dirac

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Posted 04 July 2013 - 11:40 AM

An article on working with new technology  in dance by Ismene Brown for The Arts Desk.

 

It’s rather more obvious that 3D digital art visuals have a big potential to captivate audiences in the live theatre, as a premiere in Paris last week demonstrated. The French star ballerina Marie-Claude Pietragalla, once one of Paris Opera Ballet’s decorations, and later the controversial director of the Ballet de Marseille, has launched a brave new enterprise to use 3D digital visuals to transform a bare white box of a stage into... well, anything you want. And that means absolutely, but absolutely anything.

 




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