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dirac

Thursday, January 16

9 posts in this topic

The artistic director of the Tbilisi State Opera and Ballet Theater resigns.

According to Zhordania it was his personal decision to step down, because he could not remain on his post after such misunderstandings that led to the cancellation of all rehearsals. Zhordania also said that he is not going to work at the theater anymore, since it would be hard for him to cooperate with people who are not satisfied with his job.

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An interview with Daniel Gaudiello.

Gaudiello said he’d performed the role of Manon’s villainous brother before, but was looking forward to sinking his teeth into the hero character in front of his home crowd.

“I feel like ballet’s becoming more popular, more mainstream now... especially now the big names are coming, Paris Opera, American Ballet Theatre,” he said.


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A preview of Alberta Ballet's "Up Close" program by Salena Kitteringham in The Edmonton Journal.

The idea of the Up Close program was to give the male dancers something to do in the 2011-2012 season, the year the company took on Swan Lake for the first time. It offered a great deal of technical challenges for the ladies and not a whole heck of a lot for the men.

“There’s only one boy in Swan Lake, the girls dance for hours and hours, and the men do absolutely nothing,” says Ballard. “The idea was if we have the men here and we are already paying them, let’s use them for a choreographic workshop.”

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A review of Ballet Next by Brian Seibert in The New York Times.

Mr. Reeder, a freelance choreographer who danced with New York City Ballet and Ballet Theater, has good taste and good ideas. His command of the ballet lexicon and his musicality are better than good. Though none of the three works on Tuesday’s program were masterpieces, each had moments of brilliance, and the differences among them, evidence of Mr. Reeder’s impressive stylistic range, made for a sufficiently varied evening that was more than a miscellany.

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A story on the cancellation of " Breaking Pointe."

(The series struggled, rarely reaching as many as 1 million viewers per episode.)

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Misty Copeland gets a sponsorship deal with Under Armour.

Copeland, 31, is the second female African-American soloist in the American Ballet Theatre's history. She joins Under Armour's elite team of female athletes that includes downhill skier Lindsey Vonn and professional tennis player Sloane Stephens.

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Pacific Northwest Ballet hires a new executive director.

Pacific Northwest Ballet officials have named marketing director Ellen Walker to serve as the ballet's new executive director, starting July 1. Walker will take over when the current director, David Brown, officially retires on June 30.

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An interview with Louis Robitaille of Les Ballets Jazz de Montreal.

It’s true. Most ballet companies expound on the athleticism and power of their dancers, but even in watching 30 minutes of rehearsal, there are tons of holds, lifts, pulls, spins and duet work. Dancing that looks beyond precise, so much so that subtle shifts or a less-than-perfect grip can spin the whole performance out of sync.

“Accidents happen. This is part of the risk of a live show. The show is very risky,” said Robitaille. “For instance, ‘Closer,’ [choreographed by Benjamin Millepied] at 18 minutes long, you need so much power and stamina. I like challenge. Every single show is a challenge; every single show is important.”

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Reviews of Toni Bentley's stage adaptation of her book "The Surrender."

The New York Post

It’s hard not to daydream about what a more experienced actress could have done with the material.

But then, not even Judi Dench (now there’s a thought!) could salvage howlers like “I met this man in a foreign land called Bliss,” “The impossible had come to pass in my a - -,” and “He shattered the control panel of my being.”

The New York Times

Because Ms. Bentley is a former New York City Ballet dancer, and because she wrote “Winter Season,” one of the most beautiful accounts of the experience of being a dancer ever given, “The Surrender” has often been framed as a brave and scandalous offering. But both in reading Ms. Bentley’s thoughts on sex, and hearing them onstage, I was struck by how utterly conventional they are, as if she were somehow unaware that many, many people have engaged in the same activities for a long, long time, simply because, you know, they like it.

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