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Wednesday, September 22


dirac

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Gia Kourlas writes on the new documentary "In Balanchine's Classroom" for the Critic's Notebook in The New York Times.

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What happens when there is no one left to correct the myths? Ashley is not alone in worrying about his legacy as a teacher and about misconceptions surrounding some of his ideas: He wanted the hand to be rounded with the fingers separated like petals, but sometimes it ends up looking like a claw. And there’s a the notion that he didn’t want his dancers to put down any weight in their heels when they danced. What Balanchine actually wanted was for dancers to feel as though there was nothing more than a piece of onion skin between the heel and the floor. “A piece of paper, that’s it,” Ashley said. “Your heel can touch the floor, but your weight can’t be in the heel.”

Kourlas reviews NYCB for the Times.

 

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West Australian Ballet expands the company.

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With the support of the WAB Board of Directors, the seven Young Artists for 2021 – former WAAPA students Brent Carson, Madeline Gill, Beatrice Manser and Sarah Ross, and graduates of The Australian Ballet School Ziggy Debrincat, Rab Flanigan and Izaak Westhead – have been offered a full-time positions in the corps de ballet for 2022. Seven new Young Artists will also join the Company in 2022.

 

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