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Thursday, July 18

12 posts in this topic

A look at the Ballets Russes online in the latest installment of the "MoveTube" series in The Guardian. By Judith Mackrell.

With Picasso, Stravinsky, Nijinsky, Cocteau among those collaborators, it's not surprising that Ballets Russes has since become a cultural legend. Yet the truth is, that very few of its original works can still deliver the shock and awe that were first claimed for them. Among the few survivors I'd count the Royal Ballet's staging of Nijinska's 1923 masterpiece Les Noces, and any great performance of Balanchine's Apollo (although that work has been much revised and redesigned since its 1928 premiere). I'd also include Massine's Parade for the still-astounding freshness of its Satie score and the novelty of its cubist aesthetic.

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Reaction to Tamara Rojo's comparison of ballet to pornography.

Judith Mackrell in The Guardian

Rojo's use of the word porn, however, has a very different and specific slant. She claims that men and women tend to approach the art of choreography from opposite perspectives: while the latter start with the emotion they want to express, the former begin with the making of steps – an approach to bodies that Rojo suggests is parallel to the objectification of porn.

Daily Mail

Miss Rojo said that men often approach dance choreography in a ‘more physical’ way by starting with the steps, rather than women who often begin with the ‘emotional landscape’.

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Reviews of Russian Seasons of XXI Century.

Mark Monahan in The Telegraph.

7.35: Weber’s lovely music erupts with menacing shrillness from the loudspeakers, sounding as if it was recorded at a downmarket ice-rink. The stage is swamped in abattoir-style blue light. Young Xander Parish (the Brit at the Mariinsky) and Yulia Makhalina (also Mariinsky) do their best to render Fokine’s quirky little romantic fantasia, but he lacks the spring for this part and they look under-rehearsed together.

Keith Watson for Metro (in brief)

Xander Parish was tempted away from the Royal Ballet three years ago by St Petersburg’s Mariinsky Ballet, who spotted an underused talent. He has blossomed into a dancer able to command a stage brimming with talent from a clutch of Russian companies, brought together for this short season of reconstructed Russian classics.

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A review of the National Ballet of Canada in "Giselle" by Susan Mehalick in The Albany Times Union's blog.

Greta Hodgkinson brings a lighter than air quality to her portrayal of Giselle, the shy, unspoiled beauty caught up in the first blush of love. Peasants fill the stage, pedal-stepping in pinwheel formations, passing off baskets filled with the bounty of the harvest. Villager Hilarion (Piotr Stanczyk), who fancies Giselle for himself, begins to suspect something is amiss with the handsome stranger in their midst. When a party of nobles arrives, all is revealed, not just the true identity of Albrecht (Guillaume Cote), but also that he is betrothed to another and can never be with Giselle.

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"Breaking Pointe" returns for its second season.

Any effect on ticket sales has been negligible, according to John Roarke, Ballet’s West’s marketing director. But web hits increased by almost 1.3 million the month the show premiered in 2012.

"Because of the program, we quadrupled our summer program auditions, which in effect made us more competitive with other programs around the country and helped to raise the quality of the students admitted to our program," Roarke said.

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Christopher Sellars is appointed interim director of Ballet West II.

He replaces principal artist Christopher Ruud, who is stepping aside to focus exclusively on his dancing and choreography.

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Ballet Wichita unveils its latest billboard.

This is the second year Ballet Wichita has created a billboard. It uses it to help promote awareness of the organization and the many different kinds of art found in Wichita each year, said Barbara Chamberlin, executive director of Ballet Wichita.


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Maria Tallchief will be honored at a performance of an Osage ballet in Oklahoma.

Several members of the Osage Congress are expected to attend the tribute performance. “The Osage Nation Congress looks forward to the opening performance of the Osage ballet, Wahzhazhe,” said Osage Congressional Speaker Raymond Red Corn in the release. And about Tallchief, he said: “Her public life exemplifies dedication to her art and to the heart of dance, a common thread that pulls the Osage people together as one.”

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The Joffrey Ballet elects a new board chairman.

Earlier this year, the Joffrey parted ways with former Executive Director Christopher Clinton Conway.

Supporters hope a new administration can invigorate donor interest in the troupe.


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The Australian Ballet's touring arm, The Dancers Company, begins a regional trek.

ABC News journalist Megan Roberts spoke with senior artists at the Australian Ballet, Amy Harris and Andrew Wright about the performance, the life of a ballet student and the demands of choosing a life in dance.

Amy said it was a great experience being able to bring the ballet to regional areas and give graduating students a chance to perform.

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The Walla Walla Dance Festival kicks off this weekend.

“The styles of dance this year will be somewhat different,” said festival board member Jackie Wood. “We are not presenting any classical ballet this year; we have not ever had Broadway dancers. That’s a first.”

"ODC will perform contemporary ballet with five men, “which is a little different,” Wood said.

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A review of the National Ballet of Canada by Jay Rogoff in The Saratogian.

Despite the backdrop’s frozen Alps, the National Ballet of Canada gave the Saratoga Performing Arts Center its first “Giselle” in a heat wave. This 1841 classic, to Adolphe Adam’s unexciting but serviceable music, defined Romantic ballet forever; Wednesday night it featured strong performances by Greta Hodgkinson as Giselle, Guillaume Côté as Albrecht and, best of all, Heather Ogden as Myrtha, Queen of the Wilis.

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