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Thursday, June 6

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A story on San Francisco Ballet's new executive director.

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Tweeddale succeeds Glenn McCoy, who retires at the end of this month after a 32-year career with the dance company. 

 

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A review of the new Rudolf Nureyev documentary.

The New York Times

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But “Nureyev,” directed by the brother-and-sister team of Jacqui Morris and David Morris, suffers from a common documentary-film problem: great story, not-so-great storytelling. How do you do justice to such a complicated person, and what do you focus on? Politics? Ballet? The specifics of one man’s life? AIDS?

CNN interview with the makers of the film.

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Director David Morris and Dame Sian Phillips speak to Christiane Amanpour about the greatest male dancer of the late 20th century, Rudolf Nureyev.

 

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A review of American Ballet Theatre in 'Jane Eyre' by Marina Harss for DanceTabs.

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But more than the literalness of the storytelling, what is disappointing is the pedestrian quality of the movement ideas. In scene after scene, most of the action happens through stylized gesture, repetitive and relentless. Teaching and learning is shown by pointing into the air, as if writing on a blackboard. An arm in front of the torso is the signifier of Jane’s self-abnegation. Edward Rochester – the dashing employer with whom she falls in love – expresses himself through a stiffly outstretched leg, foot rigorously pointed. (It was unclear to me what this gesture was supposed to mean.) Upright Mr. St. John (Aran Bell), a curate who offers Jane a life of devotion and respectability, repeatedly frames her torso with his arms, as if imprisoning her in church walls. Beyond that, the dancing lacks defining features; it’s bland and spare.

 

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Terrence Orr will retire from Pittsburgh Ballet Theatre next year.

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“I have made Pittsburgh my home and certainly my life ever since,” said Mr. Orr in a statement. He has lived in Sewickley with his wife, PBT Ballet Mistress Marianna Tcherkassky, since becoming PBT artistic director in 1997. “It has been exciting to watch the company grow and rise to incredible heights.”

 

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Oregon Ballet Theatre devotes a program to American choreographers.

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Irving selected Ailey’s 1974 piece “Night Creature,” which though not strictly a ballet piece includes “all this ballet vocabulary, done with so much sass and verve,” he said. Set to and named for a 1956 Duke Ellington composition for jazz band and orchestra, “it’s a great piece (that) allows us to talk more about what ballet can be and to remove some of the stereotypes.”

 

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