dirac Posted April 7 Share Posted April 7 Louisville Ballet announces its 2024-25 season. Quote The 2024-25 season is also the first under the full direction and vision of artistic directors Harald Uwe Kern and Mikelle Bruzina, who took over following the departure of Robert Curran in July 2023. Link to comment
dirac Posted April 8 Author Share Posted April 8 An article taking us through the legal steps required to get a ballet on stage by Jeremy Reynolds in The Pittsburgh Post-Gazette. Quote But ballet rehearsal isn’t all memorizing and perfecting steps and leaps. Oh no. There are legal matters to attend to. According to the dancers’ union contract, the temperature must be just so to reduce injuries. The floor must be have the correct level of springiness. Breaks are mandatory, and the length of rehearsals are carefully capped. Link to comment
dirac Posted April 8 Author Share Posted April 8 An entertainment news "Whatever Happened To...." story on Alexander Godunov. Quote Godunov went to work his friend, Mikhail Baryshnikov, however the two soon had a falling out. Godunov would later say that his lifelong friend threw him away "like a potato peel." Godunov had some acting experiences in the Soviet Union and was eager to try his hand in American films. In 1985, Godunov was cast as Daniel Hochleitner in Peter Weir's noir drama, Witness. The Soviet actor portrayed an Amish farmer who was enamoured with Kelly McGinnis; the role won Godunov rave reviews for his debut English-language performance. Link to comment
dirac Posted April 8 Author Share Posted April 8 Richmond Ballet concludes its season with a double bill. Quote Featuring George Balanchine’s beautiful 'Mozartiana' and a world premiere ballet by Ma Cong, Studio Three will be an unforgettable program celebrating the past, present, and future of Richmond Ballet. Link to comment
dirac Posted April 10 Author Share Posted April 10 A review of Nederlands Dans Theater by Gia Kourlas in The New York Times. Quote Still, gimmicky Forsythe is better than nothing. The other works on the program were created by duos — which really goes to show that two choreographers aren’t better than one. In “The Point Being,” the Dutch choreographic pair of Imre and Marne van Opstal — they are siblings and former members of the Nederlands company — collaborated with Lonneke Gordijn and DRIFT, an Amsterdam studio, to create a light installation that interacted with dancing bodies. Link to comment
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