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The BALLET RUSSE De Monte Carlo
The RECORD SHOP Phil Hart, Mgr. presents The BALLET RUSSE de Monte Carlo IN THE PORTLAND AUDITORIUM Thursday, November 16,1944 AT 8:30 P. M. * PLEASE NOTE the following cast changes, due to a leg injury sustained by MR. FRANKLIN. In Le Bourgeois Gentilhornrne Cleonte M. Nicholas MAGALLANES In Gaite Parisienne Tbe Baron M. Nihita TALIN In Danses Concertantes Leon DANIELIAN in place of Frederic FRANKLIN In Rodeo Tbe Champion Roper Mr. Herbert BLISS PROGRAM II. A • "*j 3 • ,. y LE BOURGEOIS GENTILHOMME Choreography by George Balanchine Music by Richard Strauss Scenery and costumes by Eugene Berman Scenery executed by E. B. Dunkel Studios Costumes executed by Karinska, Inc. SERENADE This ballet depicts one episode from Moliere's immortal farce, "Le Bourgeois Gentilhomme." A young man, Cleonte, is in love with M. Jourdain's daughter, Luetic M. Jourdain disapproves of the match, as Cleonte is not of noble birth and it is M. Choreography by George BALANCHINE Music by P. I. Tschaikowsky Jourdain's lifetime ambition to shed his middle-class status and rise to aristocracy. Cleonte and his valet, Coviel, impersonate respectively the son of the Great Turk and his ambassador, and under this disguise Cleonte asks for the hand of Lucile. Lucile, at first, unaware of Cleonte's disguise, bitterly resents the wedlock and not Costumes by Jean LURCAT Costumes executed by H. MAHIEU, Inc. until Cleonte raises his mask does she willingly consent. In exchange for the hand of his bride, Cleonte makes M. Jourdain a Mamamouchi—a great dignitary of Turkey—"than which there is nothing more noble in the world," by means of an imposing ceremony. -
Press Kit for Ballets Russes, Presented by Capri Releasing
PRESENTS BALLETS RUSSES A film by Dan Geller and Dayna Goldfine. A fifty-year journey through the lives of the revolutionary artists who transformed dance. Running Time: 120 Minutes Media Contact: Anna Maria Muccilli AM Public Relations 1200 Bay St., Suite 900 Toronto, Ontario, M5R 2A5 416.969.9930 x 231 [email protected] For photography, please visit: http://www.caprifilms.com/capri_pressmaterial.html Geller/Goldfine P R O D U C T I O N S Ballets Russes Synopsis Ego, politics, war, money, fame, glamour, love, betrayal, grace… and dance. Ballets Russes is a feature-length documentary covering more than fifty years in the lives of a group of revolutionary artists. It tells the story of the extraordinary blend of Russian, American, European and Latin American dancers who, in collaboration with the greatest choreographers, composers and designers of the first half of the 20th century, transformed ballet from mere music hall divertissement to a true art form. From 1909, when Russian impresario Serge Diaghilev premiered his legendary Ballet Russe company in Paris, to 1962 when Serge Denham’s Ballet Russe de Monte Carlo performed for the last time in Brooklyn, Ballets Russes companies brought their popular, groundbreaking and often controversial choreographies to big cities and small towns around the world. Along the way, these artistic visionaries left their mark on virtually every other area of art and culture – from stage design, painting and music to Hollywood and Broadway. Through their inclusive cosmopolitanism, they also put the first African-American and Native American ballerinas on the stage. Using intimate interviews with surviving members of the Ballets Russes companies (now in their 70s, 80s and 90s) as well as rare archival materials and motion picture footage, Ballets Russes is both an ensemble character film and an historical portrait of the birth of an art form. -
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 -
Cran Ballet De Montecarlo Compañía, Del Marques De Cuev As Medjcamentos Con La
GRAN TEATRO DEL LICEO TERPORADA DE PRIBA 't'Jo;RA 1950 EMPRESA : JOSE F . ARQUER BABC¡¡;LONA CRAN BALLET DE MONTECARLO COMPAÑÍA, DEL MARQUES DE CUEV AS MEDJCAMENTOS CON LA I.A -~CA Of CONFIANZA LA QUÍMICA COMERCIAL Y FARMACÉUTICA, S. A. BARCELONA lo'AOJIO - ti\IAO - SEVIllA - v¡.UNCIA - VIGO Nombre• y Morc'ot reghttodot I GRAN TEATRO DFL UCEO El tono de Elegancia B & R CELOIW& EMPRBSA : DESU DISTINCION PE~SONAL JOSÉ F. ARQUER EXTIENDALO AL HOG~ EMBE DIRECCIÓ~ ARTÍSTICA : LLECIENDO SU AMBIENTE CON tA NAPOLEONE ANNOVAZZI Lencerla Arltslica Bordada TEMPORADA CALASANZ DE PRIMAV ERA DE 1950 q_UIEN LE OF&ECB DESDEt.ADE USO COR,&IENTE HASTA LAS GRAN BAL L ET MAS SELfCTAS CREA CI ONES PR.ESENTADAS EN EL MARCO DE MONTECA RLO UN ICO DESUS NUEVOSSA.l.ONES ~ RAMBLA DE CATALUÑA 1~1•Tet 27 9078 COMPAÑÍA DEL BAR e E L.,QNA MARQUÉS DE CUEVAS ORQUESTA SINFÓN1CA DEL GRAN TEATRO DEL LICE.O GRAN BALLET DE MUNIECARLD CDMPARIA DEL MARQUÉS llf CUEVAS Como el ba· llet es un arte expresivo <:n el que no existen obstaou)os d e i di om a, su aprcciación e s universal, y por ello es un arte de gt·an acepta. oión en estos mementos. La significación del ballet consiste en que no es un pretexto pa ' u bttilar, si no que la danza en un bulkt es el medio para ex pre:;ur una ides, o lo que es lo mismo, un arte rítmico y plas tico a la vez, nn movirniento en simbiosis completa con el rit mo, y con la música, y t·esultado o sumn de tres clementos: la música, la coreografia y PI dt>corado a través del movirniento y de la plastica. -
Henri Matisse, Textile Artist by Susanna Marie Kuehl
HENRI MATISSE, TEXTILE ARTIST COSTUMES DESIGNED FOR THE BALLETS RUSSES PRODUCTION OF LE CHANT DU ROSSIGNOL, 1919–1920 Susanna Marie Kuehl Submitted in partial fulfillment of the requirements for the degree Master of Arts in the History of Decorative Arts Masters Program in the History of Decorative Arts The Smithsonian Associates and Corcoran College of Art + Design 2011 ©2011 Susanna Marie Kuehl All Rights Reserved To Marie Muelle and the anonymous fabricators of Le Chant du Rossignol TABLE OF CONTENTS Page Acknowledgements . ii List of Figures . iv Chapter One: Introduction: The Costumes as Matisse’s ‘Best Spokesman . 1 Chapter Two: Where Matisse’s Art Meets Textiles, Dance, Music, and Theater . 15 Chapter Three: Expression through Color, Movement in a Line, and Abstraction as Decoration . 41 Chapter Four: Matisse’s Interpretation of the Orient . 65 Chapter Five: Conclusion: The Textile Continuum . 92 Appendices . 106 Notes . 113 Bibliography . 134 Figures . 142 i ACKNOWLEDGEMENTS As in all scholarly projects, it is the work of not just one person, but the support of many. Just as Matisse created alongside Diaghilev, Stravinsky, Massine, and Muelle, there are numerous players that contributed to this thesis. First and foremost, I want to thank my thesis advisor Dr. Heidi Näsström Evans for her continual commitment to this project and her knowledgeable guidance from its conception to completion. Julia Burke, Textile Conservator at the National Gallery of Art in Washington DC, was instrumental to gaining not only access to the costumes for observation and photography, but her energetic devotion and expertise in the subject of textiles within the realm of fine arts served as an immeasurable inspiration. -
Student Ballet 4 PLUS! This Link Contains All of the Information You Need to Register for 2016–2017 at Princeton Ballet School
301 North Harrison Street, Princeton, N.J. 08540 phone: (609)921-7758 fax: (609)921-3249 Photo: Horst Frankenberger Horst Photo: From the Director’s Desk Welcome to Student Ballet 4 PLUS! This link contains all of the information you need to register for 2016–2017 at Princeton Ballet School. Please be sure to read through each of these elements as you prepare to register; there is new information you will want to be aware of. Table of contents: • Student Ballet 4 PLUS information • Class schedule • Fees and registration information • Registration form • Student uniform order form (Giselle of Princeton) » Orders received after July 15 may not be available in time for the start of classes (more detailed information can be found on the order form) • Princeton Ballet School Handbook » Includes uniform requirements » Includes school calendar • Directions to our studios • Link to 2016 Summer Adult Open Enrollment brochure (located at the end of class schedules) • American Repertory Ballet Juniors audition (June 22) and membership information 301 North Harrison Street, Princeton, N.J. 08540 phone: (609)921-7758 fax: (609)921-3249 ARBW Junior Audition Information Dear dancer, If you’ve ever wondered how we get our thrilling productions up on the stage in such a way as to keep everyone talking about them for days; if you’ve ever wondered why people keep saying “it’s so professional”; if you’ve ever wondered how our dancers get this done — come and try for a chance to find out! We haven’t time to bask in the glow of our school show, Swan Lake: the American Repertory Ballet Workshop Juniors audition is just around the corner! We invite you to come audition for the opportunity to join this special group of dancers who comprise ARBW Jr, our entry level performing company. -
2018 Alumni Performance 45Th Anniversary Show Program
A Message from Josefa Villanueva-Reyes, Artistic Director and Founder: I welcome you with great joy and happiness to celebrate the Santa Clara Ballet’s 45th Anniversary of the Nutcracker Ballet. The Santa Clara Ballet continues the legacy left to us by our late Director and choreographer, Benjamin Reyes, by sharing this favorite family Christmas Ballet with our community, our student and professional dancers and our loyal supporters. The Company’s roots started right here in Santa Clara, and has continued despite the usual problems of obtaining funding and support. We can continue because of all of you who are present in our performances, and through your generous donations and volunteer work. The Company continues its work in spreading the awareness and the love of dance to warm families and contribute to the quality of life of the community. For this Sunday’s performance of our 45th Annual Nutcracker, the stage will be graced by our Alumni who serve as a testament to the success of the company’s influence to the community and the world beyond. Thank you for your presence today and please continue to join us on our journey. Josefa Reyes JOSEFA VILLANUEVA-REYES started her training in the Philippines with Roberta and Ricardo Cassell (a student of Vincenzo Celli). She was formerly a member of the San Francisco Ballet Company and the San Francisco Opera Ballet. Previous to that, she performed as a principal dancer with the San Francisco Ballet Celeste for four years. Her performing experience included multiple lead roles from the classical repertory. Villanueva-Reyes taught at the San Francisco Conservatory of Ballet and Theatre Arts as well as San Jose City College. -
Ballets Russes Press
A ZEITGEIST FILMS RELEASE THEY CAME. THEY DANCED. OUR WORLD WAS NEVER THE SAME. BALLETS RUSSES a film by Dayna Goldfine and Dan Geller Unearthing a treasure trove of archival footage, filmmakers Dan Geller and Dayna Goldfine have fashioned a dazzlingly entrancing ode to the rev- olutionary twentieth-century dance troupe known as the Ballets Russes. What began as a group of Russian refugees who never danced in Russia became not one but two rival dance troupes who fought the infamous “ballet battles” that consumed London society before World War II. BALLETS RUSSES maps the company’s Diaghilev-era beginnings in turn- of-the-century Paris—when artists such as Nijinsky, Balanchine, Picasso, Miró, Matisse, and Stravinsky united in an unparalleled collaboration—to its halcyon days of the 1930s and ’40s, when the Ballets Russes toured America, astonishing audiences schooled in vaudeville with artistry never before seen, to its demise in the 1950s and ’60s when rising costs, rock- eting egos, outside competition, and internal mismanagement ultimately brought this revered company to its knees. Directed with consummate invention and infused with juicy anecdotal interviews from many of the company’s glamorous stars, BALLETS RUSSES treats modern audiences to a rare glimpse of the singularly remarkable merger of Russian, American, European, and Latin American dancers, choreographers, composers, and designers that transformed the face of ballet for generations to come. — Sundance Film Festival 2005 FILMMAKERS’ STATEMENT AND PRODUCTION NOTES In January 2000, our Co-Producers, Robert Hawk and Douglas Blair Turnbaugh, came to us with the idea of filming what they described as a once-in-a-lifetime event. -
Curriculum Vitae Anjali Austin
Curriculum Vitae Anjali Austin Last Revised: December 13, 2013 General Information University address: School of Dance College of Visual Arts, Theatre and Dance 201 Montgomery Hall Florida State University Tallahassee, Florida 32306-2120 Phone: (850) 644-1024; Fax: (850) 644-1277 E-mail address: [email protected] Postdegree Education and Training 1996 Ballet Teachers Seminar, National Ballet School. Toronto, Canada. 1986–1995 Vocal Training, New York, NY. Studies: Musical Theatre. Instructors: Arabella Hong Young (1990-1995); Phyliss Grandy (1986-1989). 1990 Acting, Herbert Berghof Studios, New York, New York. Studies: Basic Acting Technique; Instructor: Salem Ludwig. 1978–1990 During this period I was a member of Dance Theatre of Harlem and worked with the following critically acclaimed ballet and contemporary teachers and choreographers. My experiences with these individuals included being cast in the restaging of classical and neo-classical ballets, new choreographic pieces, vocal roles and being coached, taught and mentored. Instructors: Geoffrey Holder, Louis Johnson, Frederick Franklin, Arthur Mitchell, Ruth Page, Glen Tetley, Valerie Bettis, John Taras, Terri Orr, Irina Nijinska, Alexandra Danilova, Agnes de Mille, Billy Wilson, John McFall. 1977–1975 Dance Theatre of Harlem - New York, New York. Major Studies: Classical and Contemporary Ballet, Pointe, Variations and Pas de Deux. Minor Studies: Contemporary, Modern, Graham, Jazz, Tap, West African Haitian, Character. 1975-1977 Instructors: Mary Barnett, Carmen de Lavallade, Alice Elliot, Vicki Fedine, William Glassman, Kathleen S. Grant, Mary Hinkson, Tanaquil Le Clercq, Arthur Mitchell, Melvin Purnell, Walter Raines, Victoria Simon, Karel Shook, Carol Sumner, Mel Tomlinson, DRAFT Vita for Anjali Austin Ann Tyus, Patricia Wilde. 1965–1973 Piano Training, San Francisco, California. -
Ballets Russes
CINEMIEN Film & Video Distribution ABC Distribution Amsteldijk 10 Kaasstraat 4 1074 HP Amsterdam 2000 Antwerpen t. 020 – 577 6010 t. 03 – 231 0931 www.cinemien.nl www.abc-distribution.be [email protected] [email protected] presenteren / présentent: BALLETS RUSSES EEN FILM VAN / UN FILM DE DAYNA GOLDFINE & DAN GELLER Persmappen en beeldmateriaal van al onze actuele titels kunnen gedownload van onze site: www.cinemien.nl of www.abc-distribution.be Link door naar PERS en vul in; gebruikersnaam: ‘pers’, wachtwoord: ‘cinemien’ BALLETS RUSSES– synopsis (NL) Een schitterende documentaire over een revolutionaire dansgroep die bekend staat als het Ballet Russe. De groep is ontstaan uit een groep Russische vluchtelingen die nooit in Rusland hebben gedanst en splitste zich later op in twee rivaliserende dansgroepen: de ‘Original Ballet Russe’ en de ‘Ballet Russe de Monte Carlo’. De documentaire begint bij de oprichting in 1909 door de befaamde Serge Diaghilev, beschrijft de oprichting van de Ballet Russe de Monte Carlo na de dood van Diaghilev in 1929, het ontstaan van een tweede Ballets Russes groep, de voorspoedige jaren ’30 en ’40 toen het Ballet Russe door Amerika toerde, tot de ondergang in de jaren ’50 en ’60 door stijgende kosten, groeiende ego’s, competitie van buiten en intern wanbeleid. Niet alleen choreografen als Balanchine en Massine, maar ook schilders als Matisse, Dali en Picasso werkten voor de revolutionaire Ballets Russes. Om over componisten als Claude Debussy en Igor Stravinsky nog maar te zwijgen. Wereldsterren als Alicia Markova, Irina Baranova en Marc Platt halen herinneringen op. Velen van de Ballets Russes dansers van weleer zijn nu tachtig of negentig, maar zijn nog steeds actief in de balletwereld. -
News from the Jerome Robbins Foundation Vol
NEWS FROM THE JEROME ROBBINS FOUNDATION VOL. 6, NO. 1 (2019) The Jerome Robbins Dance Division: 75 Years of Innovation and Advocacy for Dance by Arlene Yu, Collections Manager, Jerome Robbins Dance Division Scenario for Salvatore Taglioni's Atlanta ed Ippomene in Balli di Salvatore Taglioni, 1814–65. Isadora Duncan, 1915–18. Photo by Arnold Genthe. Black Fiddler: Prejudice and the Negro, aired on ABC-TV on August 7, 1969. New York Public Library for the Performing Arts, Jerome Robbins Dance Division, “backstage.” With this issue, we celebrate the 75th anniversary of the Jerome Robbins History Dance Division of the New York Public Library for the Performing Arts. In 1944, an enterprising young librarian at The New York Public Library named One of New York City’s great cultural treasures, it is the largest and Genevieve Oswald was asked to manage a small collection of dance materials most diverse dance archive in the world. It offers the public free access in the Music Division. By 1947, her title had officially changed to Curator and the to dance history through its letters, manuscripts, books, periodicals, Jerome Robbins Dance Division, known simply as the Dance Collection for many prints, photographs, videos, films, oral history recordings, programs and years, has since grown to include tens of thousands of books; tens of thousands clippings. It offers a wide variety of programs and exhibitions through- of reels of moving image materials, original performance documentations, audio, out the year. Additionally, through its Dance Education Coordinator, it and oral histories; hundreds of thousands of loose photographs and negatives; reaches many in public and private schools and the branch libraries.