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dirac

Friday, July 14

5 posts in this topic

Michaela DePrince is interviewed on "Sunday Night with Megyn Kelly" this weekend.

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This Sunday, NBC News correspondent Kate Snow reports on the inspirational story of Michaela DePrince, a young woman who overcame incomprehensible obstacles: losing her parents in Sierra Leone’s civil war, branded the “Devil’s Child” at the African orphanage because of a skin condition, and defeating racial stereotypes in the competitive world of ballet.

 

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Aspen Santa Fe Ballet presents a new piece by Fernando Melo.

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The rehearsal process required its own shifts in perception — and, for the ASFB dancers, a shift in physical position. During the piece’s six weeks of development, the dancers were lying and moving on the floor, an unusual space for professionals used to making the floor a springboard for vertical movement. “We began by exploring what is possible on the floor, and what movements we could do. How can you reinvent things like walking, sitting, standing? We spent a period of exploration where we discovered what is and what is not possible in the studio.”

 

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A review of the Royal Ballet School's Annual Main Stage Performance by Jann Parry for DanceTabs.

 

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Before the next ensemble piece for older Upper School students came a bonus addition, Frederick Ashton’s 1971 pas de quatre from Act III of Swan Lake. Coached by Merle Park and Anthony Dowell, Yu Kurihara, Amelia Townsend, Eli Gruska and Harrison Lee (all 2nd years) accomplished the demanding choreography with blithe assurance. One can only wonder whether professional company members can still dance Ashton at his quirkiest so speedily and stylishly.

 

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The Royal New Zealand Ballet presents "Romeo and Juliet."

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Newly choreographed, this three-act ballet by Francesco Ventriglia, with set and costume design by three-time Oscar winning designer James Acheson (Dangerous Liaisons, The Last Emperor, Restoration) has its world premiere in Wellington on August 16.

 

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Q&As with Marijn Rademaker and Jozef Varga.

 

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When comparing the younger generations of dancers with your own – their approach to the art form, the problems they struggle with – do you recognize any differences?


We didn’t have social media during our time at school. I think that’s a big change. People have so many opportunities to watch things online, they’re so focused on the outside, on marketing, on posting selfies. I’m not saying that marketing isn’t important. But one shouldn’t forget what it’s actually about – the art. The danger for the young people these days is that they only think about pirouettes and beautiful lines and how high they jump. Our juniors aren’t like that, because we’re very careful with that. Ernst comes from The Royal Ballet; I come from Stuttgart Ballet; we’re imprinted with the works of MacMillan, Ashton, Cranko and Neumeier. Caroline worked a lot with Rudi van Dantzig and Toer van Schayk. They all place emphasis on what comes from the inside.

 

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