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Saturday, October 12


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#1 dirac

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Posted 12 October 2013 - 02:37 PM

A review of the Uruguay National Ballet by Pablo Bardin for The Buenos Aires Herald.

 

Since 2009 the company resides at the new National Auditorium Dra. Adela Reta, and this gave them a renewed impulse. In June 2010, Argentine dancer-choreographer Julio Bocca was appointed director of the Ballet. What he has accomplished in little more than three years is astounding. Although I haven’t seen the SODRE Ballet before, Uruguayan as well as international opinion is that there has been a quantum leap in quality. More than 20 ballets from the classics to the moderns have been staged with great success and, judging from the 29 dancers (out of a total 66) that came to BA, their level is high and their discipline and knowledge are evident in their y oung, athletic bodies.

 

 



#2 dirac

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Posted 12 October 2013 - 02:39 PM

Q&A with Lisa Macuja-Elizalde.

Q: Did you get inspiration from anyone—going into production after being an artist for years? Would you know of other artists who went into this path? Would you recommend this to other artists?

 

A: I’ve always been inspired by my parents, my siblings and my mentors. I was already a “miss-all-around” when we founded Ballet Manila—dancing, coaching, doing music editing, writing sponsorship letters, doing communications, marketing and even purchasing equipment… But I think I was only able to study and get my degree when I had the time and means to do so. I think many artists expand their horizons by going into other jobs other than practicing their art and I believe that, as long as it makes you happy and fulfilled, then you can do this. I have to admit that the easiest part of the job—and definitely the most pleasurable—is still the dancing.

 



#3 dirac

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Posted 12 October 2013 - 02:44 PM

A mother writes about taking her daughter to her first ballet in The Copenhagen Post.

 

Performing the ballet will be students from the Royal Danish Theatre Ballet School. The school, which has been training dancers since 1771, has between 60 and 70 pupils aged between six and 16 years – performances such as these provide them with a rare opportunity to take centre stage. For us in the audience, it is a chance to spot the stars of the future – who knows, some of the children present might still be cheering these dancers on in 15 years time. Both the stage and audience should be brimming with youthful enthusiasm. I’m excited, Liv’s excited and I’ve already planned the emergency snack pack just in case things go awry.
 

 



#4 dirac

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Posted 12 October 2013 - 02:46 PM

An interview with Lila York about adapting "The Handmaid's Tale" for the Royal Winnipeg Ballet.

York first read The Handmaid's Tale in college. "Then I read it many more times once I started working on this project," she says with a laugh. While Atwood's precise, evocative language lends well to balletic interpretation, the book is dense, which posed challenges. Each read revealed new details.

 

"She created this whole strata," York marvels. "There are the Marthas, the Aunts, the Wives. But this is a company of 26 dancers, so there are no Marthas, for example. There are a lot of details I just couldn't deal with."

 



#5 dirac

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Posted 12 October 2013 - 03:01 PM

A review of The Forsythe Company by Leigh Witchel for danceviewtimes.

 

Two groups claim Forsythe: ballet and dance theater. After the London run of “Artifact” by the Royal Ballet of Flanders that sold out Sadlers Wells, ballet’s claim seems ever more urgent – and distant. That 1984 work (the full ballet rather than the more common abridged versions) is arguably the best ballet of the last 30 years. But Forsythe hasn’t made anything like it for well over a decade. That exceptional, daring output, now growing older and older, makes him as irresistible and unavoidable for ballet as for dance theater. The house was packed with pilgrims from both sects, a hajj, only in fashionable black instead of white.



#6 dirac

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Posted 14 October 2013 - 11:01 PM

A review of Ballet Black by Kelly Apter in The Scotsman.

Overall, what you get is strong technique with a dynamic edge, plus the capacity to take on a role and imbue it with meaning.

 

As company introductions go, this quadruple bill said it all: three essentially abstract works (although with no shortage of emotion) and one narrative piece with astute characterisation.

 

 




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