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Tuesday, November 5


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#1 dirac

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Posted 05 November 2013 - 01:54 PM

A review of the Shanghai Ballet by Carla Escoda in The Huffington Post.

 

The Butterfly Lovers - one of those hybrid East-meets-West story ballets meant to showcase Chinese command of classical Western technique while celebrating a traditional Chinese theme - blew into Berkeley on a cloud of garishly colored butterfly tutus, courtesy of Shanghai Ballet at Cal Performances. This conventional tale of star-crossed lovers, with a cross-dressing twist, contains some spectacular and moving moments amid stretches of tedious, unremarkable choreography.

 

 



#2 dirac

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Posted 05 November 2013 - 01:58 PM

A link to a short video from Robert Lepage and Pedro Pines, "Danse Macabre," via The Huffington Post.

 

This NSFW short opens with a woman who has just committed suicide, and explores the subtle ways her body falls and shifts throughout the following course of events, all before rigor mortis kicks in. Think of it as Andres Serrano's morgue photos meets the New York City Ballet, with a little nudity.

 



#3 dirac

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Posted 05 November 2013 - 02:02 PM

A story on the New York City Ballet web series city.ballet, featuring quotes from corps dancer Gretchen Smith.

Ballet make-up, Smith says, is equally unglamorous and was developed to help block and conceal the dancers’ sweat, which is excreted courtesy of extensive physical work, as well as bright stage lights. ‘It suffocates your pores a bit so you can’t see the sweat as much,’ she says.

 

‘People definitely break out,’ Smith told us. But to combat the heavy makeup ‘everyone has their own diligent skincare routine,’ she said.

 

 

Related.

 

Parker narrates the episodes, each of which focus focus on a specific topic, from pointe shoes to what makes NYCB distinct from other companies. The series is now available at cityballet.com and bonus footage and content, including one-on-one interviews with the dancers and Parker, will be available throughout the season.

 

 



#4 dirac

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Posted 05 November 2013 - 02:07 PM

A photo of Allen Fields in a tutu gets a lot of attention on the Internet.

 

The impromptu performance by the Minnesota Ballet’s former artistic director attracted hundreds of bystanders — and the eye of a Pulitzer Prize-winning photographer, whose image from the scene has popped up on websites from around the world.

 



#5 dirac

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Posted 05 November 2013 - 02:22 PM

Society page photo gallery of a gala for the Joffrey, which raised $200,000.

 

The eighth annual “Couture and Cocktails” fundraiser of the Women’s Board of the Joffrey Ballet took place at Chicago’s Park West on Oct. 4.

 



#6 dirac

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Posted 05 November 2013 - 02:24 PM

A review of the Paris Opera Ballet by Laura Cappelle in The Financial Times.

 

Trisha Brown can be every bit as inscrutable, but her Glacial Decoy was a welcome return to choreographic clarity after Darkness. This 1979 piece has been in the Paris Opera Ballet repertoire for a decade now, and is revived on the heels of the American choreographer’s latest visit to the Théâtre de la Ville with her company. It is one of her earliest works for a traditional theatre stage, and Brown playfully probes its limits. Five dancers skip on and off the stage, echoing each other from one wing to the other or picking up a phrase where the previous dancer left it.

 



#7 dirac

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Posted 05 November 2013 - 02:27 PM

A review of the movie "Love Tomorrow" by Ismene Brown for The Arts Desk.

 

Scraping around the hidden freelance dance world of London, neither of them is employed at the moment. One has had her hopes broken by injury, the other by the natural transience of existence for the itinerant young dancer for hire. Oriel, a mercurial Cuban lothario, has a great brush-off line: “My visa expires in two weeks, so I probably won’t see you again.” Delivered with a rueful twinkle, it captures the allure of a life where people are constantly in transit, in their imaginations and in reality, forming professional intimacies unique to dancing, but on which not too many personal stakes should be placed.

 



#8 dirac

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Posted 05 November 2013 - 02:30 PM

The furore over the appointment of Nikolai Tsiskaridze to lead the Vaganova Ballet Academy continues.

 

Teachers at Russia's legendary Vaganova Ballet Academy on Tuesday published an open letter to President Vladimir Putin asking him to reconsider the appointment of a controversial dancer as its chief, in a scandal that has plunged Russian ballet into new turmoil.

 

 



#9 dirac

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Posted 05 November 2013 - 02:35 PM

An ABC News feature on Misty Copeland. Link to video with rough transcript.

 

American Ballet Theatre soloist reveals athleticism of classical dancers.

 

 



#10 dirac

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Posted 05 November 2013 - 02:38 PM

A review of American Ballet Theatre's gala by Robert Gottlieb in The New York Observer.

 

This season’s opening night gala began with a radiant performance of Theme and Variations, which Balanchine created for ABT in 1947 and which remains the most important work the company has ever commissioned. It’s famous as a template of classicism, demanding the clearest demonstration of ballet technique: The dancers have no place to hide. ......There’s no one at City Ballet today with the qualities of grandeur, strength and command it demands, but ABT has Gillian Murphy, and we’re the grateful beneficiaries. Her performance last Wednesday was both towering and luminous. The technical difficulties presented no problems for her, as we’ve come to expect, but beyond that, the musicianship, the flow, the ease were ravishing.

 



#11 dirac

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Posted 06 November 2013 - 02:29 PM

A review of Ballet Arizona's 'Cinderella' by Alastair Macaulay in The New York Times.

 

Last weekend I watched four performances at Symphony Hall of his [Ib Andersen's] most recent full-length story ballet, the three-act “Cinderella” (2011), which uses Prokofiev’s score. His is in no way an innovative “Cinderella”: it uses borrowed designs, and its scenario makes no surprising departures from the standard story. And yet it proves more touching, funny and musical than the more obviously rethought productions — with the same score — by David Bintley (Birmingham Royal Ballet), James Kudelka (American Ballet Theater) and Christopher Wheeldon (San Francisco Ballet).

 



#12 Alexandra

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Posted 06 November 2013 - 02:37 PM

A review of Alina Cojocaru in Neumeier's "Romeo and Juliet" by Ilona Landgraft, in her danceviewtimes blog:

 

http://danceviewtime...ph-of-love.html

 

Cojocaru shone in all respects. Her Juliet matured from behaving like a skittish young girl who jumps about with wet hair while wrapped in a bath towel to being firm and courageous and having depth. Highly sensitive, she tapped the psychological riches with which Neumeier's figures are endowed. This Juliet is akward at first – even dancing - but finds herself due to her love for Romeo. In her solo for the Balcony scene, unaware that Romeo is there watching, she shows her feelings for the young Montague with a clarity and naturalness that enchant. Also touching is the pas de trois in which Juliet expresses her apprehension of dying after taking the potion. Already in delirium, she rejects the vision of  death – represented by Tybalt's spirit – and finally seeks solace by remembering her beloved Romeo.


#13 dirac

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Posted 06 November 2013 - 02:57 PM

Sadler's Wells announces plans for a new London venue for dance.

The search has begun for the site of the 500-seat theatre, which could open as early as 2018.

 

Sadler's Wells' artistic director Alistair Spalding said the plan was a result of "frustration" with not having a medium-sized venue to stage work.

 



#14 dirac

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Posted 06 November 2013 - 03:02 PM

A review of San Francisco Ballet by Leigh Witchel for danceviewtimes.

 

“From Foreign Lands” could have been a sendup of character dance – when done at full tilt the style can seem close to parody – but Ratmansky is quoted in program notes as saying, “With music like this . . . you can almost switch your brain off and just let your body do [the choreographing] . . .” It looked that way. He seemed to barely go beyond enchaînements. There was lip service to character work – tarantellas in the Italian section, hands touching the head à la Raymonda in the Hungarian, but the vocabulary felt like a sampler, not an exploration and all the more anonymous: if it's Tuesday, this must be Anywhere.

 



#15 dirac

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Posted 10 November 2013 - 12:37 PM

The Talent 2013 perform this week.

 

The 10 young male dancers, who were handpicked from countrywide open auditions, are offering a question-and-answer session with the audience after their performance. They will also be joined by BalletBoyz® co-founders Michael and William.

 

The show, called The Talent 2013, was created by Derby Theatre in partnership with Derby dance centre Deda and begins at 7.30pm.

 

 

 



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