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Tuesday, November 12


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#1 dirac

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Posted 12 November 2013 - 02:17 PM

Sarasota Ballet previews its new Balanchine-Ashton mixed bill at an "Inside the Studio" program.

 

Compared to other Ashton ballets its ['Illuminations] imagery is sexually charged and graphic; some have said, sordid. Ashton, who Coyle described as "enthralled" with the poet, dictated that the woman dancing the role of "Profane Love," wear only one pointe shoe; her other foot is bare, possibly a reference to Rimbaud's ambigious sexuality.

 

 



#2 dirac

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Posted 12 November 2013 - 02:19 PM

A Playbill story on American Ballet Theatre's diversity initiative, Project Plie.

To help make the training process more truly diverse, the company will also recruit dance teachers from minority backgrounds and award scholarships for certification in ABT’s National Training Curriculum. One goal is to provide more role models at the front of the classroom for students. The company is also adding arts administration fellowships aimed at building up diversity behind the scenes in company management. Finally, Project Plié will also partner with Boys & Girls Clubs of America, where soloist Misty Copeland took her first dance classes. ABT teachers will conduct master classes at clubs across the country, and connect talented and interested young students with local ABT certified teachers.

 



#3 dirac

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Posted 12 November 2013 - 02:21 PM

A review of the Royal Ballet by Zoe Anderson in The Independent.

 

Marianela Nuñez is partnered by all six men. The way she’s passed from hand to hand recalls a scene from MacMillan’s Manon – but MacMillan made it clear that each man was in thrall to Manon’s beauty. Dawson’s men are so bogged down with the mechanics of partnering that they barely have time to respond to Nuñez as she’s thrown and turned and tugged. Dawson’s women are often dragged about by their ankles, swung or slid across the polished floor.

 



#4 dirac

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Posted 12 November 2013 - 02:24 PM

A review of American Ballet Theatre by Barnett Serchuk for Broadway World.

 

Here's what I saw, and forget the program notes and the original play. There is a man named Prospero who lives on an island with a flying creature dressed in Kabuki makeup and a small monster. There is a woman who seems to be his daughter. There's another man who's a prince, but he doesn't wear a crown. Then more people come on stage and there seems to be a great deal of confusion. Then the prince and the woman dance a pas de deux and Prospero sails home to Milan. The last piece of information I got from the playbill notes.

 

 



#5 dirac

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Posted 12 November 2013 - 02:29 PM

A review of the National Ballet of Canada's "Swan Lake" by Dana Glassman in The National Post.

 

When Kudelka rechoreographed this ballet in 1999, he replaced the dated Act One waltz with testosterone-fuelled rigorous dancing for the male corps. It was a wise decision.  The company’s men now get to show off their skill and athleticism, and they do so with gusto, energetically whipping off a series of jumps, beats and tour jetés, often in canon.

 



#6 dirac

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Posted 12 November 2013 - 02:42 PM

A witness in the trial of Pavel Dmitrichenko says police threatened him.

Annadurdiyev said that in between official questioning sessions in March, he was marched out of a rehearsal at the Bolshoi by police for unofficial questioning at 38 Petrovka Street, the headquarters of the Moscow police. The session lasted eight hours, and he was told he would go to jail himself if he did not give the right evidence, he claimed in court.

 

"They told me boys like me are in high demand among prisoners," he said.

 

 



#7 dirac

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Posted 12 November 2013 - 02:47 PM

An AFP interview with Sergei Polunin.

Polunin makes no attempt to hide his lack of enthusiasm for the exhausting routine of rehearsing, preferring to be driven by the intoxicating adrenaline of the live performance.

 

“For dancers, it constantly has to be a firework, every show has to be like you have proven something. It has to be an event,” he said.

 



#8 dirac

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Posted 16 November 2013 - 11:55 AM

Reviews of Pacific Northwest Ballet's new mixed bill.

 

Seattle Weekly

 

Those who’ve previously seen Pite and her Kidd Pivot company at On the Boards will be familiar with some of her extreme movement choices. But those kinetic experiments are really amplified by the sheer scale of Emergence. Created four years ago for the National Ballet of Canada, the work features almost 40 dancers in a stunning investigation of group behaviors and “hive mind,” drawing images from the insect world. Ballet often uses unison movement to create a sense of rising momentum, but here the collective action is more threatening than exhilarating. At several key moments, the dancers count in sotto voce as they snap from one position to another—a thoroughly eerie effect.

 

 

The Queen Anne News

 

Pite has 39 dancers moving in perfect rhythmic synchronicity to Owen Belton’s ominous computer-processed score, peppered with the scarily militant sounds of marching and droning bees. The dancers’ movements and the choreography are fascinatingly insect-like, with twitching shoulders, praying mantis arms and the unstoppable single-mindedness of the hive mind. En pointe has never been so terrifying as Pite’s line of black-masked female dancers marching in unison across the stage, almost effortlessly repelling attacking males.

 

 



#9 dirac

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Posted 21 November 2013 - 01:25 PM

Q&A with Devin Alberda.

 

Time Out New York: One of your focuses at Fordham was gender studies, an interest born from a perceived lack of power in the ballet world once you identified yourself as being gay. How do you think of gender and ballet now?

 

Devin Alberda: Now I’m trying to cool that a little. I think one thing that really changed my mind about all of the identity politics and how we negotiate that was [Slavoj] Zizek, in one of his pieces about the Occupy movement, was saying that now is the time that we realize these struggles of the past 20 years in identity politics—feminism, race studies, gender studies—we’re finally going to realize that they’ve just been distracting us from the real problem, and that being the specter of capitalism. And then I was like, What do we do from there? Clearly, identity matters and always will matter.

 




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