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Monday, September 16


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#1 dirac

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Posted 16 September 2013 - 10:27 AM

The Rudolf Nureyev Dance Foundation awards a $500,000 challenge grant to the Joffrey Ballet.

 

The foundation has given over $4,000,000 in grants to benefit dance in this country. The Joffrey Ballet has benefited in the past: gifts allowed it to put on a 1997 revival of Nijinsky’s ”L’Apres-midi d’un Faune,” in honor of Rudolf Nureyev, and supported the company’s 50th anniversary celebrations in 2005-2006.

 

 

Related.
 

 

The Rudolf Nureyev Fund at the Joffrey Ballet will be the first endowment in the company's 57-year history.

 

 



#2 dirac

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Posted 16 September 2013 - 10:30 AM

A story on the fitness chain Barre Be Fit  by Brigid Sweeney for Crain's Chicago Business.

 

Ms. Lorenz and Ms. Chernin knew they needed to change the choreography constantly to keep clients coming back. They also wanted to offer more than just barre classes—Barre Bee Fit today also offers kickboxing, Tabata-style interval workouts and yoga—while creating a supportive environment for women. “We really wanted to subvert the image of the Barbie doll and reappropriate the word, which is how we came up with Barre Bee Fit,” Ms. Chernin says.

 



#3 dirac

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Posted 16 September 2013 - 10:31 AM

A review of Ballet Austin by Jeff Davis for Broadway World.

 

Any theater-goer must have some passing familiarity with William Shakespeare's A Midsummer Night's Dream, arguably the screwball comedy in which fairies use a magical flower to make two sets of humans fall in love with each other. No such flower is needed here to elicit the audience's love and affection. Ballet Austin's production of Midsummer is a spectacular, charming, riotously funny, and an instant crowd-pleaser.

 



#4 dirac

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Posted 16 September 2013 - 10:34 AM

The State Ballet of Karlsruhe performs at a festival in Bangkok next month.

 

The ballet director of the State Ballet of Karlsruhe is Birgit Keil, the leading German ballerina of her generation. As a member of the Stuttgart Ballet, she earned international recognition during tours with the company when they appeared at the Paris Opera, La Scala Milan, the American Ballet Theatre New York, and Royal Ballet London.

Since 1968 she has been in both a private as well as professional partnership with Vladimir Klos, principal dancer of the Stuttgart Ballet from 1972 to 1997. Klos is now the associate ballet director of the State Ballet of Karlsruhe.

 



#5 dirac

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Posted 16 September 2013 - 10:39 AM

The first in a series of blog posts by artist Stacey Williams-Ng, who's working on murals for Milwaukee Ballet.

 

But I knew it wouldn't be enough to sketch some dance poses and propose that we simply hang pretty pictures in the windows of the Jodi Peck Center. I needed an idea, a concept. I researched the career of Michael Pink. I reviewed the history of the Milwaukee Ballet. I tried to wrap my mind around all the aspects of this site, and this ballet company. Then I thought about the building itself. There are nine windows I needed to fill. What is significant about the number nine, I thought? Then my concept hit me: the nine muses. As in, ancient Greece. Yes, it's a little lofty. But the Greeks believed that the nine muses were quite literally the embodiment of inspiration. They were the nine daughters of Zeus, and they were the lifeblood of all branches of knowledge and the fine arts.

 



#6 dirac

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Posted 16 September 2013 - 10:41 AM

Renovations begin on Salt Lake City's Capitol Theatre.

 

The Janet Quinney Lawson Foundation donated $4.1 million to finalize funding for the project after federal tax credits fell through. For that contribution, the modernized facility will be renamed the Janet Quinney Lawson Capitol Theatre. It will stand side by side with Ballet West’s new headquarters and its Jessie Eccles Quinney Center for Dance, named after Janet’s mother.

 



#7 dirac

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Posted 16 September 2013 - 10:45 AM

A review of a week of ballet at the Teatro Colón by Pablo Bardin for The Buenos Aires Herald.

 

I attended the Perillo farewell, and I found it moving as well as an object lesson of professionalism from all concerned but particularly from Perillo, leaving her career at 45 in full possession of her formidable technique and charming as ever in her favourite role.....

 

The final selection was a well-choreographed experiment by Frederick Ashton: five Brahms waltzes danced in the style of that famous individualist of modern dance, Isadora Duncan. Nicely played on stage by Iván Rutkauskas, it allowed Tamara Rojo to show her versatility in flowing robes.

 



#8 dirac

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Posted 16 September 2013 - 10:47 AM

A story on the Australian Ballet's new Cinderella from The Brisbane Times. Video.

 

The classic tale of a girl dressed in rags who dreams of going to a ball has been reimagined in The Australian Ballet company's lavish new production of Cinderella.

 



#9 dirac

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Posted 16 September 2013 - 10:58 AM

"Breaking Pointe" closes out its second season tonight.

 

On tonight’s show with closing night behind them, the dancers head to Los Angeles for a fundraiser. Christiana and Christopher make a tough decision about their future while Ian says goodbye to Ballet West. After performing a passionate piece together, Allison and Rex find themselves getting closer. Meanwhile, the dancers throw a bonfire and let loose on their last night in Los Angeles.

 

 



#10 dirac

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Posted 17 September 2013 - 01:33 PM

A story on the designers creating costumes for the New York City Ballet  gala by Ashley Lee in The Hollywood Reporter.

3. Olivier Theyskens gave female dancers a specific silicon scar.

 

Of the three, Preljocaj’s work is the only one with a recognizable element of plot. “The Peck ballet and the Millepied ballet don’t have a story, it’s just pure movement; the Preljocaj ballet is supposedly, very, very loosely based on the Salem witch trials,” says Happel. For moves set to several pieces of music by composer John Cage, Theyskins will dress male dancers in gray stretch suits that “have a Puritan-like historical feel to them,” and female performers in flech-colored unitards with “deconstructed Puritan dresses in chiffon that are attached to the unitard along these giant silicon scars, which they have on their backs.” The theatrical design approach is familiar to the artistic director of Theory – he dressed Madonna and the Smashing Pumpkins early on in his career, and also created stage costumes for the National Opera of Belgium.

 



#11 dirac

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Posted 28 September 2013 - 09:21 PM

An article on food and the famous Karl Bissinger photograph, "Salad Days," featuring Gore Vidal, Tennessee Williams, Tanaquil Le Clercq, et al., by John T. Edge for The Oxford American.

 

I’m pretty sure that Bissinger did not intend that his photograph be read as a metaphor for the exclusion of black labor from conversations about excellence in the culinary arts. Along the path of my argument, Bissinger was a fellow traveler, which is to say that he, like Lewis, had once been a member of the Communist Party, focused on workers’ rights, the sort of thinker who would have owned up to a sin of omission. But I’m the petit bourgeois fellow who forced this issue. To do good work in the world of Southern food, I’ve come to believe, we have to start by paying down the debts of pleasure we owe to the men and women who sustain our society. For me, that means acknowledging Virginia Reed, the woman with the glowing smile and the clock in her head who brought that pot of tea to the table in 1949....

 

 




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