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dirac

Tuesday, August 27

6 posts in this topic

Recent remarks by Benjamin Millepied draw a reaction from Alyssa Rosenberg at ThinkProgress.

It’s not enough, of course, for a ballet company to simply be made up of a diverse selection of dancers, or for a company director to choose pieces that have fresh ideas about gender and race. If you want to make art that’s both creatively and politically transcendent, you need a solid technical foundation, genuine creative insight, and an understanding of how those things interact with and serve the point you want to make about the state of the world......

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A video interview with Patrick Corbin.

Patrick Corbin is a choreographer/dancer who starred as a principal for The Joffrey Ballet and Paul Taylor Dance Company before forming his own company, CorbinDances.

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A preview of the San Francisco Dance Film Festival by Janos Gereben for San Francisco Classical Voice.

Screenings will be held in the Roxie Theater and the Delancey Screening Room because the originally announced venue for the event, Landmark's Embarcadero Cinemas, canceled all bookings due to a delays in renovations. The festival will show some 50 films, including Matthew Bourne’s Swan Lake, with 21 additional films on viewing stations at the Museum of Performance+Design.

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A review of L.A. Dance Project at the Edinburgh Festival by Honour Bayes in The Stage.

Merce Cunningham’s sparse Winterbranch is an act of creative dissonance that becomes something remarkable. Created in 1963, this abstract piece is still so controversial it causes booing from some sections of this audience....

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This piece on a Francis Bacon exhibition notes that the Pushkin Museum will hold an exhibit spotlighting the career of Mikhail Baryshnikov.

http://themoscownews.com/arts/20130827/191881173/Francis-Bacon-exhibition-heads-to-Pushkin-Museum.html

Before the end of the year, the Pushkin Museum will hold a series of exhibitions, including one dedicated to dancer Mikhail Baryshnikov and composer Benjamin Britten, as well as one dedicated to the jubilee of Alexander Solzhenitsyn.

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A lost orchestration by Benjamin Britten of "Les Sylphides" may have been discovered.

The hunt for the lost Britten score, which disappeared a few decades ago, was set in motion by David Vaughan, the dance historian, who fondly recalled seeing Ballet Theater perform “Les Sylphides” to the Britten orchestration in London in the mid-1950s. Several years ago, after Ballet Theater danced “Sylphides” to an arrangement by Roy Douglas, Mr. Vaughan wrote Mr. LaMarche and asked what had become of the Britten version.

His query set off the chain of events that eventually led to Secaucus.

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