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dirac

Tuesday, October 29

11 posts in this topic

Pavel Dmitrichenko pleads not guilty.

Proceedings were adjourned to Thursday after the three men heard and responded to the charges.

The Independent

Zarutsky and Andrei Lipatov, who is accused of driving the car used to transport the attacker, face 12 years in prison on charges of wilfully inflicting grievous bodily harm. Zarutsky told the court he carried out the crime alone and that Dmitrichenko and Lipatov had nothing to do with it. Lipatov pleaded not guilty. However, prosecutors argue Dmitrichenko had planned the crime as he was unhappy with how Filin assigned roles. Previous reports claimed the dancer wanted revenge after his girlfriend, soloist Anzhelina Vorontsova, was denied a major role in Swan Lake by Filin

Reuters

Guards brought Dmitrichenko and the suspected attacker, Yuri Zarutsky, handcuffed into a Moscow court room and locked them in a metal cage with a third defendant at the start of a case that has tarnished the reputation of a prime Russian cultural symbol.

The Guardian

The socialite Ksenia Sobchak wrote on her blog that Tsiskaridze had been appointed after pressure from government figures on the academy. Tsiskaridze's powerful admirers include the wife of Sergei Chemezov, a top Russian official and old friend of Vladimir Putin. Sobchak says Chemezov's wife put pressure on the culture ministry to ensure that her favourite gained a new top job.

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A selection of ballet offerings worldwide during the winter season by Elizabeth Farhi in The New York Times.

MAC Créteil/Festival d’Automne www.cullbergbaletten.se/en

The Swedish choreographer Jefta van Dinther conceived “Plateau Effect,” a large-venue piece, for nine dancers from the prestigious Swedish company Cullberg Ballet, which is bringing the work to the Autumn Festival near Paris. Dancers become like a nomadic community, moving in an unsettled progression through various terrain. The acts of building, transporting, communicating and inhabiting become a “choreography of matter” as the community unites in an effort to create more together than one person can alone. Raw materials used on the set represent the instability of our environment. Sonic landscapes created by David Kiers and lighting by Minna Tiikkainen immerse the dancers and the audience in the frenetic activity of social interaction. Dec. 5 to 7.

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Daniel Ulbricht's troupe of "Stars of American Ballet" visit Mobile.

A group of tremendously talented New York City Ballet dancers will treat the Port City to an elegant, unforgettable evening of scenes from ballets including Balanchine's patriotic "Stars and Stripes" with music from John Philip Sousa, August Bournonville's "Napoli," set to the music of Edvard Helsted, and Balanchine's "Who Cares?" scored by George Gershwin.

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An interview with Carlos Acosta.

Acosta thinks the story could make a terrific film. His autobiography is being adapted for the big screen, he reveals. In the meantime, Day Of The Flowers – a rather sweet, gently amusing, Cuba-set British romcom – sees him play a tour-guide/ballet dancer who wins the heart of the prickly Scottish protagonist (played by Eva Birthistle), sweeping her off her feet with some sultry salsa moves.

Acosta is still dancing but the glorious classical dance career must come to an end soon. He has been experimenting with contemporary dance, his choreography will continue and he’s sketching ideas for a new novel. ‘I want to bring the characters to London; immigration laws allow Cubans to leave now and it would be good to explore some peasant people going to a metropolis.’

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A look at the indictment of Pavel Dmitrichenko and two others by Sergei L. Loiko in The Los Angeles Times.

The indictment says that Dmitrichenko, driven by animosity toward Filin over the distribution of dance roles and fees, hired Yuri Zarutsky and Andrei Lipatov and masterminded the Jan. 17, 2013, acid attack months before.

Prosecutor Yulia Shumovskaya said in the indictment that as early as Oct. 12, 2012, Dmitrichenko led the two men to Filin’s house, showed them the entrance and the compound gates and assigned them their roles.

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A review of San Francisco Ballet's "Cinderella" by Joan Acocella in The New Yorker's blog.

The choreography: in what is not a species of iconoclasm but its opposite, Wheeldon makes a great show of high-flying steps, where the man turns the woman, in splits, maybe three hundred and sixty degrees—that sort of thing. But I think Wheeldon is actually much more impressive in the smaller, classroom steps—cabrioles, sissones—that he knows so well. The power of the big, do-with-me-what-you-will maneuvers wears off fast. You start to want something more inflected, more intelligent.

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Q&A with Allison DeBona.

CN: I really like your role on the show because it shows you going through two struggles--one in your professional career and one in your personal career. What advice can you give to other people facing a decision like you did? What did you learn from it?

AD: Thank you. I learned a lot about myself from the show. I also learned that it's better to be vocal then quiet. I think that is why you see a difference in me between Seasons 1 and 2. My best advice to anyone going through what I did is to not force any decision. Time was the key to deciding what I needed to do, truths came out as I went along.

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The Joffrey Ballet appoints a chief development officer.

In her new role, [sarai] Hoffman, 52, will be responsible for nurturing the Joffrey's philanthropic culture and developing donors and volunteers to support the organization.

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A review of Sacramento Ballet by W. Mark Dendy for Digital Journal.

This set the stage for the playful pas de deux with Sacramento Ballet veterans Alexandra Cunningham and Christopher Nachtrab who took command of the stage and delivered that jazziness that is paramount to both the music and the movement of Balanchine's work. Both dancers demonstrated their versatility, separately. yielding and delivering individuality – together, dancing as if extensions of each other.

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A review of "Matthew Bourne's Sleeping Beauty" by Tobi Tobias in her blog, "Seeing Things."

You might call this ballet a takeoff, but I’m convinced you’d be mistaken. I think Bourne reveres the original—and is not greedily envious of its place “in the canon.” Can we not assume he is simply fashioning a clever and beautiful response to it, along with some useful and/or witty “corrections”?

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Hubbard Street Dance Chicago honors Mikhail Baryshnikov.

Hubbard Street Dance Chicago has announced that Mikhail Baryshnikov, the dancer, choreographer, actor and found of the New York-based Baryshnikov Arts Center, will be the recipient of its 2014 Spotlight Award to be presented at the company’s annual benefit at the Fairmont Chicago Millennium Park on May 19, 2014.

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