dirac

Monday, May 15

5 posts in this topic

A review of New York City Ballet in 'The Decalogue' by Apollinaire Scherr in The Financial Times.

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In a sign of his expanding artistry, Peck turned this weakness to his advantage. The NYCB resident choreographer translated the piano’s meandering into spaciousness — between dancers, between moments, and between dancer and choreographic design. The Decalogue set us in a borderless present, where the players seemed self-directed and the bright formations exceptionally fluid.

 

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Richmond Ballet honors local newspaper editor Todd Culbertson.

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Only four times previously has the ballet presented the award, which is "given to persons whose formal livelihood is outside the arts world but whose efforts have materially supported the arts in general and Richmond Ballet in particular."

 

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The Center for Ballet and the Arts at New York University announces new fellowships.

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The designers Reid Bartelme and Harriet Jung, who have made costumes for choreographers like Justin Peck and for companies including New York City Ballet and American Ballet Theater, plan to work on the project “A New Way In: Reconceiving Ballet Through Design.” They will stage “The Nutcracker” from the perspective of designers — as opposed to the more conventional approach of following a choreographer’s vision.

 

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A review of "42nd Street" and "An American in Paris" by Jann Parry for DanceTabs.

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Day fits the role of the naïve American ex-GI more plausibly than the more mature-looking Fairchild.  With a flashing white smile and boyish stage personality, Day is engagingly gauche – a blundering puppy who wouldn’t understand the delicatesses of post-war Parisian society. He breaks down Lise’s initial reserve by persuading her to role-play as carefree Liza, dancing with a joy she can’t repress. Cope evidently trusts him as a partner in their pas de deux, including the ‘nightmare’ one in the ballet-within-a-ballet near the end. He can certainly dance as well as act, though his show-off numbers aren’t quite as spectacular as Fairchild’s.

 

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Siobhan Burke writes on violence against women in ballet for The New York Times.

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If such sleek, unexamined images of violence against women — this wasn’t the only one in “Odessa,” but to me the most prominent and inexplicable — weren’t so pervasive in contemporary ballet, I might have felt differently. But they are, and I’ve seen enough.

 

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