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dirac

Thursday, September 26

9 posts in this topic

A story on "ballet startups" by Pia Catton in The Wall Street Journal.

Exploring new territory has been essential to Troy Schumacher, a dancer with New York City Ballet, who said donors to his side project, BalletCollective, respond to his collaborations with emerging artists. "It's accessible and different. I'm not going out and presenting 'Agon,' " he said, referring to the popular Balanchine ballet.

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A new study suggests that dancers' brains are programmed to resist dizziness.

A study has identified important differences in their brain structures that prevent them feeling dizzy during those endless spins.

It implies that years of training can enable dancers to suppress signals from the balance organs in the inner ear, which might otherwise make them fall over.

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A review of Fall for Dance by Leigh Witchel in The New York Post.

Kicking off the 10th anniversary of Fall for Dance, two singular stars shone the brightest. Gabriel Misse and Sara Mearns come from different worlds — tango and ballet — but on Wednesday night, you couldn’t take your eyes off either one.

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A review of the San Francisco Ballet Orchestra's recording of Carl Maria von Weber by Joshua Kosman in The San Francisco Chronicle.

Both pieces are well-represented on disc, but this new release by the San Francisco Ballet Orchestra led by Martin West, with Alexander Fiterstein as the nimble soloist, makes a handsome addition to the catalog (it also includes Weber's one-movement Concertino). The orchestral playing is vibrant and wonderfully detailed, and Fiterstein brings out both the economical grace of the slow movements and the athletic virtuosity of the finales.

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The Orlando Ballet will not return to its previous home, currently ravaged by mold.

The ballet has signed a 39-month lease for the former warehouse at the corner of Princeton and McRae streets. It will undergo a few weeks of renovations before classes move there from satellite campuses in Longwood and the Dr. Phillips area, as well as borrowed space.

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A television news segment on Richmond Ballet's new Series 1 programs.

Dancers Maggie Small and Fernando Sabino stopped by the 8News studio on Wednesday to discuss the company's artistic legacy and upcoming series.

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Matthew Bourne's Sleeping Beauty comes to Cleveland.

“There are fairies in the story -- we accept them as part of the community, as it were,” says Bourne. “Why not the odd vampire as well?

“It’s all part of that period of literature when people very much believed in those things. It’s fascinating to realize in the 1890s, if you’d asked people, ‘Do you believe in fairies and vampires?,’ they would have said yes.” (Remember, Bram Stoker’s “Dracula” was published in 1897.)

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A preview of two Othellos on view at Fall for Dance - Jose Limon's and Doug Elkins' - by Joan Acocella in the September 30 issue of The New Yorker.

“There are no mothers-in-law in ballet,” George Balanchine said. Part of what makes twentieth-century ballet look twentieth-century is economy, and the same is true in modern dance. José Limón’s “Moor’s Pavane,” from 1949, epitomizes the principle. Though Limón based it on Shakespeare’s “Othello,” he threw out everything that didn’t have to do with what he saw as the central theme: jealousy.

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Ron Cunningham will host a Sacramento Ballet "Inside the Directors Studio" performance.

On Sept. 27 at 6 p.m., Cunningham himself will explore the roots and rumors of the mysterious and mesmerizing Firebird ballet—returning to the Sacramento Ballet next month. Excerpts from Cunningham’s production of this Russian tale will have you rushin’ (it had to be done) to buy tickets.

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