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American Masters 200 List Finaljan2014
Premiere Date # American Masters Program Title (Month-YY) Subject Name 1 ARTHUR MILLER: PRIVATE CONVERSATIONS On the Set of "Death of a Salesman" June-86 Arthur Miller 2 PHILIP JOHNSON: A SELF PORTRAIT June-86 Philip Johnson 3 KATHERINE ANNE PORTER: THE EYE OF MEMORY July-86 Katherine Anne Porter 4 UNKNOWN CHAPLIN (Part 1) July-86 Charlie Chaplin 5 UNKNOWN CHAPLIN (Part 2) July-86 Charlie Chaplin 6 UNKNOWN CHAPLIN (Part 3) July-86 Charlie Chaplin 7 BILLIE HOLIDAY: THE LONG NIGHT OF LADY DAY August-86 Billie Holiday 8 JAMES LEVINE: THE LIFE IN MUSIC August-86 James Levine 9 AARON COPLAND: A SELF PORTRAIT August-86 Aaron Copland 10 THOMAS EAKINS: A MOTION PORTRAIT August-86 Thomas Eakins 11 GEORGIA O'KEEFFE September-86 Georgia O'Keeffe 12 EUGENE O'NEILL: A GLORY OF GHOSTS September-86 Eugene O'Neill 13 ISAAC IN AMERICA: A JOURNEY WITH ISAAC BASHEVIS SINGER July-87 Isaac Bashevis Singer 14 DIRECTED BY WILLIAM WYLER July-87 William Wyler 15 ARTHUR RUBENSTEIN: RUBENSTEIN REMEMBERED July-87 Arthur Rubinstein 16 ALWIN NIKOLAIS AND MURRAY LOUIS: NIK AND MURRAY July-87 Alwin Nikolais/Murray Louis 17 GEORGE GERSHWIN REMEMBERED August-87 George Gershwin 18 MAURICE SENDAK: MON CHER PAPA August-87 Maurice Sendak 19 THE NEGRO ENSEMBLE COMPANY September-87 Negro Ensemble Co. 20 UNANSWERED PRAYERS: THE LIFE AND TIMES OF TRUMAN CAPOTE September-87 Truman Capote 21 THE TEN YEAR LUNCH: THE WIT AND LEGEND OF THE ALGONQUIN ROUND TABLE September-87 Algonquin Round Table 22 BUSTER KEATON: A HARD ACT TO FOLLOW (Part 1) November-87 Buster Keaton 23 BUSTER KEATON: -
PRESS CONTACT National Press
HONORARY CHAIRPERSONS Mrs. Laura Bush Mrs. Hillary Rodham Clinton Mrs. George Bush (1925-2018) Mrs. Nancy Reagan (1921-2016) Mrs. Rosalynn Carter Mrs. Be y Ford (1918–2011) BOARD OF DIRECTORS Curt C. Myers, Chairman Jodee Nimerichter, President PRESS CONTACT Russell Savre, Treasurer Nancy Carver McKaig, Secretary National Press Representative: Lisa Labrado Charles L. Reinhart, Director Emeritus [email protected] Bernard E. Bell Susan M. Carson Direct: 646-214-5812/Mobile: 917-399-5120 Nancy P. Carstens Natalie W. Dunn Rebecca B. Elvin North Carolina Press Representative: Sarah Tondu Richard E. Feldman, Esq. [email protected] James Frazier, Ed.D. omas R. Galloway Office: 919-684-6402/Mobile: 919-270-9100 Susan T. Hall, Ph.D. Carlton Midye e Adam Reinhart, Ph.D. FOR IMMEDIATE RELEASE Arthur H. Rogers III Judith Sagan THE AMERICAN DANCE FESTIVAL’S 85TH SEASON CONTINUES INTO WEEK #2 Week #2 Features the Return of Paul Taylor Dance Company and Ronald K. Brown/EVIDENCE, the Debut of Anne Plamondon, the Presentation of the 2018 Samuel H. Scripps/ADF Award to Ronald K. Brown, and a Special Children’s Matinee Performance Durham, NC, June 12, 2018—The American Dance Festival (ADF) kicks off week #2 with stunning, ADVISORY COMMITTEE classic works by Paul Taylor Dance Company on June 26 and June 27 at Durham Performing Arts Robby Barne Center. Ronald K. Brown/EVIDENCE returns with an evening of soul stirring dances June 28-30 at Brenda Brodie Ronald K. Brown Reynolds Industries Theater. Ronald K. Brown will receive the Samuel H. Scripps/ADF Award prior Martha Clarke to the performance on June 28. -
Welcome Letter 2013 Samuel H. Scripps American Dance Festival
Welcome Letter 2013 Samuel H. Scripps American Dance Festival Award Lin Hwai-min The ADF wishes to thank the late Samuel H. Scripps, whose generosity made possible the annual $50,000 Samuel H. Scripps American Dance Festival Award. The Award was established in 1981 as the first of its kind and honors chorographers who have dedicated their lives and talent to the creation of modern dance. The continuation of the award is made possible through the SHS Foundation and its President, Richard E. Feldman. Celebrated choreographer, director, and educator Lin Hwai-min will be presented with the 2013 Award by Joseph V. Melillo in a special ceremony on Saturday, July 27th at 8:00 pm, prior to the Forces of Dance performance at the Durham Performing Arts Center. The program will also include a performance of the solo from Lin Hwai-min’s 1998 work Moon Water, performed by Cloud Gate Dance Theatre dancer Chou Chang-ning. Mr. Lin’s fearless zeal for the art form has established him as one of the most dynamic and innovative choreographers today. His illustrious career as a choreographer has spanned over four decades and has earned him international praise for his impact on Chinese modern dance. He is the founder, choreographer, and artistic director of both Cloud Gate Dance Theatre of Taiwan (founded in 1973) and Cloud Gate 2 (founded in 1992), and his choreography continues to be presented throughout the United States, Europe, and Asia. While his works often draw inspiration from traditional elements of Asian culture and aesthetics, his choreographic brilliance continues to push boundaries and redefine the art form. -
17-PR-Taylor
! FOR IMMEDIATE RELEASE October 6, 2017 Media Contact: NextMove Dance Anne-Marie Mulgrew, Director of EducaAon & Special Projects 215-636-9000 ext. 110, [email protected] Editors: Images are available upon request. Paul Taylor Dance Company performs three of Mr. Taylor’s Master Works November 2-5 (Philadelphia, PA) The legendary Paul Taylor Dance Company brings a rare program featuring three of Taylor’s classic works for NextMove Dance’s 2017-2018 Season with five performances November 2-5, at the Prince Theater, 1412 Chestnut Street, Philadelphia, PA. The program includes Arden Court (1981), Company B (1991) and Esplanade (1975) Performances take place Thursday, November 2 at 7:30pm; Friday, November 3 at 8:00pm; Saturday, November 4 at 2:00pm and 8:00 pm; and Sunday November 5 at 3pm. Tickets are $20-$62 and can be purchased in person at the Prince Theater Box Office, by phone 215-422-4580 or online h`p://princetheater.org/next-move. Opening the program is the romanAc and uplibing Arden Court for nine dancers set to music by 18th century Baroque English composer William Boyce. This 23-minute work showcases the virtuosity of the six male dancers in effortless yet weighted jumps and changes in speed and dynamic level. Interspersing the ensemble secAons are tender yet whimsical duets. Bare- torso male dancers are in Aghts with colored spots and women are in matching chiffon dresses designed by Gene Moore. Clive Barnes of the New York Post noted “One of the few great art works created in [the 20th] century… exploring a new movement field of love and relaAonship. -
The Key Reporter
reporter volume xxxi number four summer 1966 NEW PROGRAMS FOR THE HUMANITIES The National Foundation on the Arts and the Humanities aspects of the program. Panels for review of proposals are celebrates its first birthday next month. One of the youngest also set up in selected fields. The Councils are obliged to make federal agencies, the Foundation was established last year by annual reports to the President for transmittal to Congress. the 89th Congress on September 16. Although legislation in Federal Council on the Arts and the Humanities support of cultural undertakings, particularly the arts, had been before Congress for some 88 years, last year was the first In order to avoid duplication of programs and with an eye to time that legislation had been introduced to benefit both the assuring maximum opportunity for cooperative activities humanities and the arts means of one independent national by the among federal government agencies, a Federal Council on foundation. That Congress voted to enact this legislative pro Arts and the Humanities was also established by Congress. gram the first time it was introduced can be attributed to strong There are nine members on the Federal Council, including the Administration backing of the proposed Foundation, biparti Secretary of the Smithsonian Institution, who serves as chair san support and sponsorship of the legislation in Congress, man. The Federal Council is authorized to assist in co and general public recognition and agreement that the national ordinating programs between the two Endowments and with government should support and encourage the humanities and related Federal bureaus and agencies; to plan and coordinate the arts. -
Mythological Intertextuality in Nineteenth Century Ballet Repertory
Skidmore College Creative Matter MALS Final Projects, 1995-2019 MALS 5-20-2006 Mythological Intertextuality in Nineteenth Century Ballet Repertory Liane Fisher Skidmore College Follow this and additional works at: https://creativematter.skidmore.edu/mals_stu_schol Part of the Dance Commons, and the History of Art, Architecture, and Archaeology Commons Recommended Citation Fisher, Liane, "Mythological Intertextuality in Nineteenth Century Ballet Repertory" (2006). MALS Final Projects, 1995-2019. 41. https://creativematter.skidmore.edu/mals_stu_schol/41 This Thesis is brought to you for free and open access by the MALS at Creative Matter. It has been accepted for inclusion in MALS Final Projects, 1995-2019 by an authorized administrator of Creative Matter. For more information, please contact [email protected]. Mythological Intertextuality in Nineteenth Century Ballet Repertory Master of Arts in Liberal Studies Thesis Skidmore College Liane Fisher March 2006 Advisor: Isabel Brown Reader: Marc Andre Wiesmann Table of Contents Abstract .............................. ... .... .......................................... .......... ............................ ...................... 1 Chapter 1 : Introduction .. .................................................... ........... ..... ............ ..... ......... ............. 2 My thologyand Ballet ... ....... ... ........... ................... ....... ................... ....... ...... .................. 7 The Labyrinth My thologies .. ......................... .... ................. .......................................... -
Informance 2008
INFORMANCE - MARCH 26, 2008 How can we know the dancer from the dance?” – Martha Graham, Murray Louis, and Bill T. Jones I begin this Informance talk by thanking Linda Roberts and Lori Katterhenry. In early November (the 9th, to be exact), Lori asked me if -- in view of my “obvious enthusiasm and expertise” -- I would be interested in writing study guides for the three guest artist works of the 2007-08 MSU Dance Program: Steps in the Street, by Martha Graham; Four Brubeck Pieces, by Murray Louis; and D-Man in the Waters by Bill T. Jones. “We have never done this before,” Lori said, “and I know it is quite common in theater.” …“Great idea,” Linda Roberts declared the next day, “This information would be very useful for the Informance. I know the students are interested in discussing the movement philosophies and stylistic differences of the three choreographers, and the challenges these elements present in performing and bringing to life the reconstructed dances we are rehearsing.” A few days thereafter, Lori , Linda and I were brainstorming in Lori’s spacious executive office suite and I cautioned them that I was not a dance critic by training; I am an historian and biographer. They were well aware, and that was precisely the reason they asked me to become involved. They were looking for insights about the “historical” side to each work, the social and cultural circumstances that engendered them, the aesthetic contexts against which they were created. I then said that I was not sure I would end up doing actual “study guides,” per se. -
New York City Center Announces Re‐Opening for In‐Person Performances with Full Calendar of Programs for 2021 – 2022 Season
FOR IMMEDIATE RELEASE: New York City Center announces re‐opening for in‐person performances with full calendar of programs for 2021 – 2022 season Dance programming highlights include Fall for Dance Festival, TWYLA NOW, and the launch of two new annual dance series Additional artistic team members for Encores! 2022 season include choreographers Camille A. Brown for The Life and Jamal Sims for Into the Woods Tickets start at $35 or less and go on sale for most performances Sep 8 for members; Sep 21 for general public July 13, 2021 (New York, NY) – New York City Center President & CEO Arlene Shuler today announced a full calendar of programming for the 2021 – 2022 season, reopening the landmark theater to the public in October 2021. This momentous return to in‐person live performances includes the popular dance and musical theater series audiences have loved throughout the years and new programs featuring iconic artists of today. Manhattan’s first performing arts center, New York City Center has presented the best in music, theater, and dance to generations of New Yorkers for over seventy‐five years. “I am delighted to announce a robust schedule of performances for our 2021 – 2022 season and once again welcome audiences to our historic theater on 55th Street,” said Arlene Shuler, President & CEO. “We have all been through so much in the past sixteen months, but with the support of the entire City Center community of artists, staff, and supporters, we have upheld our legacy of resilience and innovation, and we continue to be here for our loyal audience and the city for which we are proudly named. -
The Chronicle
The Chronicle 76th Year, No. 46 Duke University, Durham, North Carolina Friday, October 31, 1980 GSBA receives major gift Largest funding since endowment By Scott McCartney including who the donor is and construction, but rather to University President Terry how much the donation is for, endow the operating costs ofthe Sanford will announce a major will be announced today. school. He said the money could gift to the Graduate School of The Graduate School of be used, among other things, to Business Administration today Business Administration is a add professorships and — a gift which may amount to relatively young school that fellowships to the faculty ofthe the largest donation to the received accreditation about a school. University since James year and a half ago. The During his sabbatical last Buchanan Duke's original donation will establish an year, Sanford said he endowment. endowment for the 10-year-old "attempted to identify people The donation, Sanford said school. who could do substantial things yesterday, is of a "substantial Currently the school is for Duke." amount. This is one ofthe most raising funds for the construction Sanford said the donor is a significant endowment gifts in of a new building on Science "vast friend of Duke," and he the history of the University." Drive. doubted that the University Sanford would not comment Sanford said he hopes the gift competed with other schools for further on the donation. Details, would not go to finance the the gift. Sanford holds class in Page By Kelly Walker Duke must recommit itself to getting involved, pointed out University President Terry academic excellence: "This that Ernestine Freidl, dean of Sanford supported Chancellor excellence depends on the arts and sciences, is currently in A. -
Qurrat Ann Kadwani: Still Calling Her Q!
1 More Next Blog» Create Blog Sign In InfiniteBody art and creative consciousness by Eva Yaa Asantewaa Tuesday, May 6, 2014 Your Host Qurrat Ann Kadwani: Still calling her Q! Eva Yaa Asantewaa Follow View my complete profile My Pages Home About Eva Yaa Asantewaa Getting to know Eva (interview) Qurrat Ann Kadwani Eva's Tarot site (photo Bolti Studios) Interview on Tarot Talk Contact Eva Name Email * Message * Send Contribute to InfiniteBody Subscribe to IB's feed Click to subscribe to InfiniteBody RSS Get InfiniteBody by Email Talented and personable Qurrat Ann Kadwani (whose solo show, They Call Me Q!, I wrote about Email address... Submit here) is back and, I hope, every bit as "wicked smart and genuinely funny" as I observed back in September. Now she's bringing the show to the Off Broadway St. Luke's Theatre , May 19-June 4, Mondays at 7pm and Wednesdays at 8pm. THEY CALL ME Q is the story of an Indian girl growing up in the Boogie Down Bronx who gracefully seeks balance between the cultural pressures brought forth by her traditional InfiniteBody Archive parents and wanting acceptance into her new culture. Along the journey, Qurrat Ann Kadwani transforms into 13 characters that have shaped her life including her parents, ► 2015 (222) Caucasian teachers, Puerto Rican classmates, and African-American friends. Laden with ▼ 2014 (648) heart and abundant humor, THEY CALL ME Q speaks to the universal search for identity ► December (55) experienced by immigrants of all nationalities. ► November (55) Program, schedule and ticket information ► October (56) ► September (42) St. -
Finding Aid for Bolender Collection
KANSAS CITY BALLET ARCHIVES BOLENDER COLLECTION Bolender, Todd (1914-2006) Personal Collection, 1924-2006 44 linear feet 32 document boxes 9 oversize boxes (15”x19”x3”) 2 oversize boxes (17”x21”x3”) 1 oversize box (32”x19”x4”) 1 oversize box (32”x19”x6”) 8 storage boxes 2 storage tubes; 1 trunk lid; 1 garment bag Scope and Contents The Bolender Collection contains personal papers and artifacts of Todd Bolender, dancer, choreographer, teacher and ballet director. Bolender spent the final third of his 70-year career in Kansas City, as Artistic Director of the Kansas City Ballet 1981-1995 (Missouri State Ballet 1986- 2000) and Director Emeritus, 1996-2006. Bolender’s records constitute the first processed collection of the Kansas City Ballet Archives. The collection spans Bolender’s lifetime with the bulk of records dating after 1960. The Bolender material consists of the following: Artifacts and memorabilia Artwork Books Choreography Correspondence General files Kansas City Ballet (KCB) / State Ballet of Missouri (SBM) files Music scores Notebooks, calendars, address books Photographs Postcard collection Press clippings and articles Publications – dance journals, art catalogs, publicity materials Programs – dance and theatre Video and audio tapes LK/January 2018 Bolender Collection, KCB Archives (continued) Chronology 1914 Born February 27 in Canton, Ohio, son of Charles and Hazel Humphries Bolender 1931 Studied theatrical dance in New York City 1933 Moved to New York City 1936-44 Performed with American Ballet, founded by -
Feminist Scholarship Review: Women in Theater and Dance
Trinity College Trinity College Digital Repository Feminist Scholarship Review Women and Gender Resource Action Center Spring 1998 Feminist Scholarship Review: Women in Theater and Dance Katharine Power Trinity College Joshua Karter Trinity College Patricia Bunker Trinity College Susan Erickson Trinity College Marjorie Smith Trinity College Follow this and additional works at: https://digitalrepository.trincoll.edu/femreview Part of the Feminist, Gender, and Sexuality Studies Commons, and the Theatre and Performance Studies Commons Recommended Citation Power, Katharine; Karter, Joshua; Bunker, Patricia; Erickson, Susan; and Smith, Marjorie, "Feminist Scholarship Review: Women in Theater and Dance" (1998). Feminist Scholarship Review. 10. https://digitalrepository.trincoll.edu/femreview/10 Peminist Scfiofarsliip CR§view Women in rrlieater ana(])ance Hartford, CT, Spring 1998 Peminist ScfioCarsfiip CJ?.§view Creator: Deborah Rose O'Neal Visiting Lecturer in the Writing Center Trinity College, Hartford, Connecticut Editor: Kimberly Niadna Class of2000 Contributers: Katharine Power, Senior Lecturer ofTheater and Dance Joshua Kaner, Associate Professor of Theater and Dance Patricia Bunker, Reference Librarian Susan Erickson, Assistant to the Music and Media Services Librarian Marjorie Smith, Class of2000 Peminist Scfzo{a:rsnip 9.?eview is a project of the Trinity College Women's Center. For more information, call 1-860-297-2408 rr'a6fe of Contents Le.t ter Prom. the Editor . .. .. .... .. .... ....... pg. 1 Women Performing Women: The Body as Text ••.•....••..••••• 2 by Katharine Powe.r Only Trying to Move One Step Forward • •.•••.• • • ••• .• .• • ••• 5 by Marjorie Smith Approaches to the Gender Gap in Russian Theater .••••••••• 8 by Joshua Karter A Bibliography on Women in Theater and Dance ••••••••.••• 12 by Patricia Bunker Women in Dance: A Selected Videography .••• .•...