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Friday, August 30


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#1 dirac

dirac

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Posted 30 August 2013 - 10:40 AM

The Smuin Ballet visits Montana.

 

“Dear Miss Cline,” she adds, is “our most Smuin-esque ballet yet.”

 

Seiwert is the ballet’s choreographer in residence, and Fushille says Seiwert was constantly asking herself, “What would Michael do here?” and “What would Michael do there?” as she mapped out the tribute to Cline, the country music icon who was killed in a plane crash in 1963 at age 30.

 

 



#2 dirac

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Posted 30 August 2013 - 10:43 AM

A review of the Australian Ballet by Stephanie Glickman in The Herald Sun.

 

With its Scottish locale and wedding scenario, the two-act narrative La Sylphide headlines the night. Madeleine Eastoe is beautiful as The Sylph – equal parts coquettish and delicate. A true principal performer, she is the epitome of the romantic ballerina.

 

 



#3 dirac

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Posted 30 August 2013 - 10:45 AM

Octavio Martin tries to get the Brandon Ballet on its feet.

 

It is all a far cry from his life in Sarasota, where Martin danced principal roles during his seven seasons of tenure and enjoyed general acclaim. The adjustment has been difficult, but for reasons other than what might be assumed.

 

"For me, to stop dancing was not that hard," says Martin, 39. "I knew at 38 you are almost there and I feel glad I was able to dance as long as I did. So to stop dancing wasn't hard. What was hard was for me to leave Sarasota."

 



#4 dirac

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Posted 30 August 2013 - 10:48 AM

Reviews of Don Quichotte du Trocadéro at the Edinburgh Festival.

 

The Guardian

 

Using Cervantes' novel and the Petipa ballet of 1869 as inspiration, choreographer José Montalvo has created (in conjunction with Paris-based Théâtre National de Chaillot) a hybrid show that employs high-energy versions of ballet, tap, contemporary and flamenco alongside breaking, body-popping and mime....

 

 

The List

 

Sometimes the disciplines compliment each other; sometimes it's hard to see where the seams are. A ballerina in scarlet gazelles about gracefully, carrying a flamenco fan while Quichotte mutters approval into a microphone. Suddenly she stops, legs squat, and unearthly waves travel down her limbs. Quichotte objects, 'No, no this is nonsense'. But we know that in Montalvo's eye it's not. Here all dances are equal; you don't even need to do them on your feet, as one handstand dancer demonstrates.

 

The Telegraph

 

Here the Don (played by actor Patrice Thibaud) is a non-dancer abroad. The Parisians he encounters are the young and the beautiful, ranging from classical ballerinas to hip hop kids breakdancing in Metro stations.

 

The Stage

 

Thibaud might be large and soft, to the lean muscled Benhalima, and has fewer moves, but he is equally sure of them and delivers them with exactly the same precision.

 

 

Kelly Apter in The Scotsman, via the Edinburgh Festival's blog.

 

But Montalvo is the antithesis of esoteric, and demands no prior knowledge of his audience. Instead, this wonderfully bizarre but wholly accessible show is there to be enjoyed for exactly what it is –fun, witty, dynamic and performed with technical excellence.

 

 



#5 dirac

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Posted 30 August 2013 - 10:55 AM

Lisa Macuja-Elizalde and her father Cesar are liable for damages in a court case brought by a former pupil.

 

On April 14, 2003, Lisa confronted Camille if she auditioned with Ballet Philippines (BP), a rival school of BM.

 

Chavez's camp denied the allegation but Lisa continued with her investigation. On April 24, 2003 Lisa suspended Camille's dance rehearsals. The Macujas even informed Chavez that she was no longer a scholar and that she had to pay P10,000 before she could attend the workshop.

 

 



#6 dirac

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Posted 31 August 2013 - 10:29 PM

A preview of Edward Watson in "The Metamorphosis" and the fall dance season by Leigh Witchel in The New York Post.

 

Watson prepared for the role by studying insects. “What makes you uncomfortable is that something’s always moving or twitching,” he explains.

 

 



#7 dirac

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Posted 31 August 2013 - 10:31 PM

An interview with Edward Watson and Arthur Pita by Roslyn Sulcas in The New York Times.

 

“I think because I’m not an easy person to cast in the big classical ballets.” Mr. Watson said. “It’s just the way I move and naturally stretch things, and I often don’t look right. I could do ‘Swan Lake’ and ‘Sleeping Beauty,’ I suppose, but there are other people who are better in those, so what’s the point? As long as there is enough other stuff, I don’t feel I’ve missed out.”

 

The process of creating “The Metamorphosis” turned out to be a grueling one for Mr. Watson. Mr. Pita, who trained at the London Contemporary Dance School after moving from Johannesburg in 1991, and performed with Matthew Bourne’s New Adventures company for seven years, works intensively with improvisation and discussion during the choreographic process — both more or less alien to ballet dancers.

 



#8 dirac

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Posted 31 August 2013 - 10:49 PM

Remarks by Benjamin Millepied on the need for diversity at the Paris Opera Ballet ruffle some feathers.

 

He has been accused of being insulting to France’s Republican ideal and the attitude that discrimination does not exist within its commitment to equality.

 



#9 dirac

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Posted 05 September 2013 - 11:02 AM

Vintage clothes from Sydney's Victoria and Albert boutique will be auctioned off. Interview with co-founder Patricia Burkitt.

 

Who were your more famous clients?

 

....We were commissioned to make a summer wardrobe for the dancer Margot Fonteyn. She did a tour of Australia one summer but she hadn't brought any summer clothes, so we made her streetwear for the heat of North Queensland. She was a really lovely person.....

 

 

 




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