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Friday, January 17


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#1 dirac

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Posted 17 January 2014 - 02:56 PM

A preview of Cedar Lake Contemporary Ballet by Robert Johnson in The Star-Ledger.

 

Although Benoit-Swan Pouffer left his post as artistic director in May, the acting director, ballet mistress Alexandra Damiani, says there are no plans to veer from the path he laid out. "Cedar Lake will continue to present new works by exciting talents, in much the same manner that has distinguished us," she says. "Definitely the company will remain a repertory company."

 

 



#2 dirac

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Posted 17 January 2014 - 02:59 PM

An interview with Chris James, company doctor to the English National Ballet.

What are the benefits of your role at the ENB?

Well, I have not paid to see a ballet since 1995. But the perks are much wider than that. My ENB role brings variety to my working week and the opportunity to work with a fantastic team of staff and dancers.

One person with whom it was a particular pleasure to work was David Wall CBE, a highly respected gentleman who I knew as one of the ballet masters .It was partly through his encouragement that the company asked me to be its doctor. He is the only dancer to have a statue in London and it was a great loss to the world of ballet when he died last year.

 



#3 dirac

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Posted 17 January 2014 - 03:03 PM

A PBS NewsHour item on the Bolshoi Ballet's bad year, with links to old stories on the topic.

 

For Filin, who has returned to the Bolshoi, and his dancers, 2014 will hopefully be focused on their performances instead of drama offstage. The Bolshoi plans to tour Washington and New York this year. It will perform "Giselle" at the Kennedy Center May 20-25 and then will perform several ballets, including "Swan Lake," "Don Quixote" and "Spartacus" at the Lincoln Center Festival in July 12-27.

 

 



#4 dirac

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Posted 18 January 2014 - 11:09 PM

A review of "Balanchine and the Lost Muse" by Juliet Bellow in The New Republic.

 

Kendall throws open the Theater School’s doors and introduces us to its “cast of characters,” a group so large that a list is provided: ballet masters and mistresses, choreographers, dancers young and old, administrators and bookkeepers, priests and governesses—all of whom responded variously to the revolutionary turbulence. In some ways, this complex and fascinating institutional history feels like the true core of Kendall’s book, its most significant contribution. And because they existed at the margins of this institution, Balanchine and Ivanova, Kendall’s twin subjects, seem almost arbitrary points of entry into it. One wishes for more information about the many vibrant characters surrounding Balanchine and Ivanova rather than biographical material about them that in some places feels thin.

 

 




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