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Monday, March 20

8 posts in this topic

Trisha Brown has died at age 80.

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In December 2012 it was announced that the two dances she had made the previous year would be her last. By that point, she had been an international figure for over 30 years, choreographing for the Paris Opera Ballet, collaborating with Mikhail Baryshnikov, and commissioning stage designs from Robert Rauschenberg and other eminent visual artists, including Donald Judd and Nancy Graves.

 

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A review of the Ashley Bouder Project by Christina Pandolfi for Broadway World.

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The show opened with the world premiere of Bouder's "In Pursuit Of", a four-movement piece each inspired by a different international dance style. With striking partner work and repeated series of complex lifts, the three couples, led by Ashley Hod and Devin Alberda, brought intricate nuance to every moment. Taken from the energy of Masai jumping, Warrior set the stage with heightened action, each dancer ping-ponging off of one another with unique jumps, pas de chats, and dynamic acrobatics. Harvest cooled the energy with a meditative quality influenced by Polish Mazurek dancing, as the artists drew closer attention to the flicks of their wrists and the points of their feet.

 

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Tulsa Ballet presents "Swan Lake."

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[Marcello] Angelini’s version debuted in 1998, and was last performed in 2011.

 

“The challenge is to stay true to the choreographic architecture that Petipa and Ivanov devised for their production, as well as to adhere to the stylistic aesthetics of the original choreography,” Angelini said. “The reason I decided, back in 1998, to re-choreograph the work myself is that I had the privilege of dancing many productions of this work in my past life as a dancer, including Andre Prokovsky’s production and Ivan Nagy’s rendering of this work. Having danced over 80 performances of this classic gave me a good idea of what belongs in the ballet.”

 

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A review of Miami City Ballet by Gay Morris for danceviewtimes.

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Throughout the ballet, Ratmansky finds ways to interpret the narrative through novel choreographic means. Who would think there could be anything new to say about peasant dances? But in the village scenes, as the Young Man courts his Fiancée, the dances are full of unusual groupings and individual steps, like the small hopping backward jumps for the men, or the way the village girls lift the Fiancée in soft vertical risings that perfectly convey her joy.

 

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

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How different would the POB be today if Balanchine had stayed? For one thing, his 1962 Midsummer Night’s Dream, new to the repertoire this month, would sit more comfortably on the POB stage. The production was planned by former director Benjamin Millepied, an alumnus of Balanchine’s New York City Ballet, who sought to reintroduce Paris to the choreographer during his short tenure. Without Millepied at the helm, however, Balanchine’s Dream feels a little random.

 

That is a shame, because this staging, redesigned by Christian Lacroix, is luxurious. Its delicately painted new sets are arguably the most beautiful of any production from New York to St Petersburg.

 

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An appreciation of Trisha Brown by Graham Watts for DanceTabs.

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Brown described herself as a ‘hard core, abstract choreographer.’ Others saw her as predominantly a visual artist who became the pre-eminent innovator in postmodern dance. She routinely breached the link between seeing and understanding her work; through dislocation, discontinuity and spatial disruption, in terms of both the performance space and also the relationship between performers and their audience. Brown believed herself to be a ‘perpetual learner, an individual who takes nothing for granted other than discovery itself.’

 

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A review of Pacific Northwest Ballet by Moira Macdonald in The Seattle Times.

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Pacific Northwest Ballet’s “Director’s Choice” program is a lovely evening of dance that’s presented in the wrong order, like a dinner where all the food is good, but dessert for some reason comes first — which surely makes the meal more memorable, but feels a bit off-balance.

 

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A profile of San Francisco Ballet's Natasha Sheehan.

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With her delicate movement quality and a silken jump, at age 17 Natasha Sheehan became the youngest winner of the International Competition for the Erik Bruhn Prize this past November. The rookie San Francisco Ballet corps dancer flawlessly embodied the ghostly Giselle, and her emotional performance stood out in an arena typically showcasing athletic prowess. The spellbound audience and judges agreed: Sheehan's profound artistry and self-assurance belie her years.

 

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