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Kathleen O'Connell

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About Kathleen O'Connell

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    Member of the Audience
  • City**
    New York

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  1. From NYCB's New York Choreographic Institute, three new dances on film choreographed by NYCB Dancers Eliza Blutt, Preston Chamblee, and Claire Kretzschmar: "For 20 years, the New York Choreographic Institute has cultivated a global community of choreographers committed to evolving classical ballet for the 21st Century. Responding to the challenges of this unprecedented year, this past Fall Session focused on talent from within NYCB - bringing together 22 dancers to work collaboratively over a two-week bubble residency at Martha's Vineyard. With strict Covid-mitigation protocols in pl
  2. The Baryshnikov Arts Center has several months of free digital presentations lined up for Spring 2021. Each presentation will be available for two weeks. Up first is Bijayini Satpathy, a leading exponent of classical South Asian dance. "Classical Indian dancer Bijayini Satpathy’s first choreographic endeavor, Vibhanga, is a non-narrative solo set to a reimagined traditional South Indian music score. Drawing from the curvilinear tendencies of the Odissi dance form and influenced by explorations of rhythm, the work reveals the layered complexities of the classical movement technique."
  3. It is! Here's the link: https://vimeo.com/494232574 It will be available until Wednesday, December 30 at 10pm. Here's the program: The Moor’s Pavane (1949) by José Limón Suite Donuts (2020) by Chafin Seym (Co-commissioned by the American Dance Festival with support from the Doris Duke/SHS Foundations Award for New Works.) There is a Time (1956) by José Limón
  4. ABT did get a grant in the $100,000+ category. Search under Ballet Theatre Foundation, Inc., which is the legal name of the non-profit via which ABT operates. NYCB is a member of New York City's Cultural Institutions Group (CIG) and therefore likely receives NYC/Department of Cultural Affairs funding through a different channel. There are 33 CIG members; NYCB is the only performing arts company among the group now that New York City Opera is defunct. (The Theater Formerly Known as State was home to both, as was, prior to that, New York City Center.) Here's a link to the CIG website.
  5. Not a performance, but ... an online exhibit mounted by the New York Public Library for the Performing Arts - Winter Wonderland: George Balanchine’s The Nutcracker From the intro: The exhibition Winter Wonderland: George Balanchine’s The Nutcracker® charts the early years of the ballet’s life, from its premiere in February 1954 to the success of the remounted production in 1964. Through treasures from the archives of the Jerome Robbins Dance Division, including photographs, set models, and costume designs, the story of the work emerges, as do the thematic qualities that make Balanchi
  6. The Brothers Grimm are grim indeed. My father used to read the Grimm originals to me when I was little, and loved them—the scarier the better. I came away duly wary of stepmothers, that's for sure!
  7. In The Nutcracker and the Mouse King, the E. T. A. Hoffman story upon which the ballet is based (loosely based, I should add) Marie (not Clara) must prevail against dark forces ranging from the seven-headed Mouse King to the more mundane but no less distressing parental dismissal of her night time adventures as mere dreams and fantasies. She gets wounded in the battle with the Mouse King, who later proceeds to extort sweets and toys from her in exchange for his not chewing up the Nutcracker. It's she who must procure the sword the Nutcracker will use to dispatch the Mouse King, and it's she wh
  8. Thanks for starting this thread, Helene. I've started working my way through the essays in order, although I'm not sure they need to be read that way. Here are the links to all of the articles in "The Offending Classic" series that have been posted thus far: Tanya Jayani Fernando, "Introduction: The Classic and the Offending Classic" Deborah Jowitt, "Sex and Death" Juan Ignacio Vallejos, "On the Intolerable in Dance" Joellen A. Meglin, "Against Orthodoxies" Nicole Duffy Robertson, "Classic Sin: Ballet, Sex, and Dancing Outside the Canon" Mark Franko, "The Offending Classic"
  9. I thought I'd kick of a new Covid-19 topic with a bit of good news from yesterday's New York Times: New York City Cultural Groups Awarded More Than $47 Million in Grants "In a year filled with layoffs and budget cuts, New York City’s cultural institutions got some good news on Tuesday: The Department of Cultural Affairs announced that it would award $47.1 million in its newest round of grants, which this year will go to more than 1,000 of the city’s nonprofit organizations." Here's a link to the list of arts organizations that have received funding: NYC Department of Cultural Affairs
  10. Artists have messy lives, just like the rest of us! And, like the rest of us, they also grapple with concerns about the trajectory of their careers and their relationships with their colleagues, mentors, and employers/patrons. I think what annoys me about so many depictions of artists and art-making is the degree to which the messy lives, career anxieties, drivenness, and seriousness of purpose are pathologized. Pathology makes for sensational drama, though, so that's what we get.
  11. Dancer derangement is a subcategory of the tortured artist trope, isn't it? It's hard to think of a film, play, or TV series that doesn't depict artists of any variety as damaged, disordered, tortured, or miserable in some way or other. (We can probably add "Making the people who love them miserable" to the list, too.) A life of art-making is rarely depicted as joyful. Nor are artists allowed to have the kind of day-to-day stresses and concerns that we mere normies have: their miseries must be as extraordinary as their talents. The more lurid the crazy, the bigger the award-season buzz. (Remem
  12. There's a Black Friday special on today — you can get a one year subscription for $38.70. I'd be a lot more enthusiastic about their service if it were easier to watch their content on an actual TV. "Aircasting" from an internet-connected computer, phone, or tablet is OK, but kinda fiddly and less than the ideal. Marquee TV does offer the full menu of TV apps.
  13. There doesn't appear to be anything on Netflix other than the Hot Chocolate Nutcracker doc California referenced above. Disney+, Hulu, and HBO don't appear to have Nutcrackers on offer either. But Amazon Video has quite a few, including some that are available for free if you are a Prime member.
  14. Netflix, for instance, has very rigorous production standards for the content provided by its various partners, whether that content is in-licensed or produced for Netflix. For instance, a partner producing content for Netflix must use one of the cameras that Netflix has authorized for video capture and further must use the settings Netflix has specified for that camera. (Note that Netflix will make some exceptions for documentary footage.) It was a big deal in the camera world when Netflix authorized the Panasonic S1H—a mirrorless camera that can be used for either stills or video that is che
  15. I'm delighted to see that NYCB has been able to pull off a program of new works during a lockdown. PS: I don't know the work of Jamar Roberts, but I do know the work of Bell, Miller, and Tanowitz, and I'm eager to see what they've been able to do given the constraints they've had to work under.
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