Eliot Feld and the Extinct Metaphor
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Eliot Feld Ballet Schedules Three Concerts the Feld Ballet, Which Will Close out Its Highly Successful New York Season Oct
William and Mary NEWS Volume XI, Number 7 ' Noii-Profit Organization Tuesday, October 19,1982 U.S. Postage PAID at WflliaaMburg, Va. Permit No. 26 College to Honor Six Alumni at Homecoming Six members of the Society of the member and former secretary of the Alumni will receive the Alumni Medallion President's Council and a member of the at Homecoming on Nov. 5-6 in recogni¬ Lord Chamberlain Society of the Virginia tion of their service to the College, Shakespeare Festival. In 1976, she and community and nation. her husband established the Sheridan- The recipients are Dr. Edward E. Kinnamon Scholarship at the College. Brickell, Jr. '50, former rector of the Muscarelle, who is chairman of the College and superintendent of Virginia board of one of the nation's largest Beach, Va. Schools; Chester F. Giermak building firms, has been honored many '50, Erie, Pa.; president and chief execu¬ times for his charitable and civic contribu¬ tive officer, Eriez Magnetics Company; tions which include the Joseph L. Mus1- Jeanne S. Kinnamon '39, Williamsburg, a carelle Center for Building Construction member of the Board of Visitors and a Studies at Farleigh Dickinson University in generous benefactor of the College; New Jersey. Among his awards is the Joseph L. Muscarelle '27, Hackensack, Pope John Paul II Humanitarian Award N.J., chairman of the Board of Joseph L. from Seton Hall University. Muscarelle has Muscarelle, Inc., and the prime benefactor been a member of the Order of the White of the Joseph L. and Margaret Muscarelle Jacket since 1977. Museum of Art now under construction at Dr. -
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. -
Ballet Notes
Ballet Notes Mozartiana & Other Dances & In The Upper Room June 15 - 19, 2011 Aleksandar Antonijevic in In The Upper Room. Photo by Bruce Zinger. Orchestra Violins Bassoons Benjamin BoWman Stephen Mosher, Principal Concertmaster JerrY Robinson LYnn KUo, EliZabeth GoWen, Assistant Concertmaster Contra Bassoon DominiqUe Laplante, Horns Principal Second Violin Celia Franca, C.C., Founder GarY Pattison, Principal James AYlesWorth Vincent Barbee Jennie Baccante George Crum, Music Director Emeritus Derek Conrod Csaba KocZó Scott WeVers Karen Kain, C.C. Kevin Garland Sheldon Grabke Artistic Director Executive Director Xiao Grabke Trumpets David Briskin Rex Harrington, O.C. NancY KershaW Richard Sandals, Principal Music Director and Artist-in-Residence Sonia Klimasko-LeheniUk Mark Dharmaratnam Principal Conductor YakoV Lerner Rob WeYmoUth Magdalena Popa Lindsay Fischer JaYne Maddison Trombones Principal Artistic Coach Artistic Director, Ron Mah DaVid Archer, Principal YOU dance / Ballet Master AYa MiYagaWa Robert FergUson WendY Rogers Peter Ottmann Mandy-Jayne DaVid Pell, Bass Trombone Filip TomoV Senior Ballet Master Richardson Tuba Senior Ballet Mistress Joanna ZabroWarna PaUl ZeVenhUiZen Sasha Johnson Aleksandar AntonijeVic, GUillaUme Côté*, Violas Harp Greta Hodgkinson, Jiˇrí Jelinek, LUcie Parent, Principal Zdenek KonValina, Heather Ogden, Angela RUdden, Principal Sonia RodrigUeZ, Piotr StancZYk, Xiao Nan YU, Theresa RUdolph KocZó, Timpany Bridgett Zehr Assistant Principal Michael PerrY, Principal Valerie KUinka Kevin D. Bowles, Lorna Geddes, -
Feld Ballets/NY
THE UNIVERSITY MUSICAL SOCIETY OF THE UNIVERSITY OF MICHIGAN Feld Ballets/NY WEDNESDAY & THURSDAY, APRIL 4 & 5, 1990, AT 8:00 P.M. POWER CENTER FOR THE PERFORMING ARTS ANN ARBOR, MICHIGAN The Company Lynn Aaron Nina Goldman Scott Rink Mucuy Bolles Patrice Hemsworth Joseph Rodgers David M. Cohen Terace E. Jones Jennita Russo Allison Wade Cooper Joseph Marshall James Sewell Geralyn DelCorso Priscila Mesquita Elizabeth Simonson Judith Denman Buffy Miller Lisa Street Darren Gibson Jeffrey Neeck Joan Tsao PETER LONGIARU, Company Pianist ALLEN LEE HUGHES, Resident Lighting Designer CORA CAHAN, Executive Director PETER HAUSER, Production Manager Feld Ballets/NY wishes to thank the following supporters who have helped to make these performances possible: Lila Wallace Reader's Digest Fund Mary Flagler Gary Charitable Trust Live Music for Opera and Dance; Robert Sterling Clark Foundation Inc.; The Eleanor Naylor Dana Charitable Trust; The Horace W. Goldsmith Foundation; The Andrew W. Mellon Foundation; National Corporate Fund for Dance, Inc.; The Scherman Foundation, Inc.; Joan C. Schwartz Philanthropic Fund; the Emma A. Sheafer Charitable Trust; and The Shubert Organization. Cameras and recording devices are not allowed in the auditorium. This project is supported by the Michigan Council for the Arts, and by Arts Midwest members and friends in partnership with the National Endowment for the Arts. The University Musical Society is an Equal Opportunity Employer and provides services without regard to race, color, religion, national origin, age, sex, or handicap. 38th and 39th Concerts of the lllth Season Nineteenth Annual Choice Series PROGRAM Wednesday, April 4 CONTRA POSE (1990) Choreography: Eliot Feld Music: C. -
The Boston Conservatory Dance Ensemblepresents “Spring Works,” Free Performances April 13 and 14
FOR IMMEDIATE RELEASE CONTACT : Joyce Linehan 617-282-2510 x 1, [email protected] THE BOSTON CONSERVATORY DANCE ENSEMBLEPRESENTS “SPRING WORKS,” FREE PERFORMANCES APRIL 13 AND 14 High res images of previous Boston Conservatory Dance productions available on request (BOSTON—April 5, 2012) The Boston Conservatory Dance Ensemble presents Spring Works, a varied program featuring original choreography by students of the Dance Division and new works by Lorraine Chapman and Anna Myer. Performances take place Friday and Saturday, April 13 and 14 at 8 p.m. at The Boston Conservatory Theater, 31 Hemenway Street, in Boston’s Fenway neighborhood. Admission is FREE . For more information, call The Boston Conservatory event line at (617) 912-9240 or visit www.bostonconservatory.edu /perform. PROGRAM Breakdown of the Over-Educated (premiere) Choreography by Marlie Couto.Original composition by Max Judelson. Do You Have Any Space for My Valuables? (premiere) Choreography by Shannon McColl. Original composition by Kenny Rosenberg. Excerpts from All at Once (2004) Choreography by Anna Myer. Music by Jakov Jakoulov. Preventing Scurvy (premiere) Choreography by David Glista. Original composition by Will Piquette and Aaron Freid. I Think I Want a Divorce (premiere) Choreography by Elizabeth Cappabianca. Original composition by Forrest Gray. Within the Palm (premiere) Choreography by Coree McKee. Original composition by Joffrey Gaetz III. Flirting with Subtext (premiere) Choreography by Margot Gelber. Original composition by Evan Racynski. How ‘bout Now? (premiere) Choreography by Gina dePool. Original composition by Edgar dePool Jr. Sleeping on the Ceiling (premiere) Choreography by Margaret Foster. Original composition by Ethan Parcell. The Changing Room (premiere) Choreography by Lorraine Chapman. -
Jeffrey Stanton Release
MEDIA RELEASE OBT to round out its artistic team with a second ballet master, Jeffrey Stanton. July 15, 2013 - Portland, OR Jeffrey Stanton, former principal dancer with Pacific Northwest Ballet (1994-2011) and currently a faculty memBer at the PNB School will Be joining Oregon Ballet Theatre as Ballet master, alongside Rehearsal Director Lisa Kipp. He will arrive in August. “I think Jeffrey and Lisa’s skills complement each other well and I am excited for the dancers to have a chance to work with both of them in the studio” shared Artistic Director Kevin Irving. About Jeffrey Stanton Mr. Stanton trained at San Francisco Ballet School and the School of American Ballet. In addition to classical Ballet, he also studied Ballroom, jazz, and tap dancing. He joined San Francisco Ballet in 1989 and left to join Pacific Northwest Ballet as a memBer of the corps de Ballet in 1994. He was promoted to soloist in 1995 and was made a principal in 1996. “Jeff has Been a Brilliant dancer, great colleague and stalwart Company memBer for seventeen years – a lifetime in dance and a gift to his artistic directors. It is our hope that, when he retires from performing, he will pass on everything he knows to future generations of young dancers,” shared PNB Founding Artistic Directors Kent Stowell and Francia Russell, (who hired Mr. Stanton in 1994) upon his retirement in 2011. He originated leading roles in Susan Stroman’s TAKE FIVE…More or Less; Stephen Baynes' El Tango; Donald Byrd's Seven Deadly Sins; Val Caniparoli's The Bridge; Nicolo Fonte's Almost Tango and Within/Without; Kevin O'Day's Aract and [soundaroun(d)ance]; Kent Stowell's Carmen, Palacios Dances, and Silver Lining; and Christopher Stowell's Zaïs. -
Eliot Feld's American Ballet Company
ABRAHAM. ..."'=a J> c "' . SWLngy flingy little pants Cut on the bias, fiirty, swingy with capelet shoulders ... it's the little pants look that loves to slink after dark. APRIL-MAY 1971 I BROOKLYN ACADEMY OF MUSIC I 3 Brooklyn Festival of Danc-e 1970-71 The Brooklyn Academy of Music in association with The American Dance Foundation presents Eliot Feld's American Ballet Company ANNA LAERKESEN* ELIZABETH LEE CHRISTINE SARRY ELIOT FELD JOHN SOWINSKI EDWARD VERSO Dana Arey Marilyn D'Honau M'Liss Gary Olga Janke Karen Kelly Christine Kono Sherry Lowenthal Cristina Stirling Eve Walstrum A. J. Brothers Tom Fowler Edward Henkel Kenneth Hughes Charles Kennedy Daniel Levins James Lewis David Loring Richard Munro Musical Director CHRISTOPHER KEENE Associate Conductor ISAIAH JACKSON Ballet Mistress BARBARA FALLIS ~' Courtesy of The Royal Danish Ballet The American Ballet Company is a resident company of the Brooklyn Academy of Music. The 1970-71 Brooklyn Festival of Dance is made possible by grants from the National Endowment for the Arts. the New York State Council o n the Arts, the Kaplan Fund and individual donors. Baldwin is the official piano of the Brooklyn Academy of Music. The unauthorized use of cameras or recording equipment is strictly prohibited during performances 4 I BROOKLYN ACADEMY OF MUSIC I APRIL-MAY 1971 Th e Brooklyn Academy of Mu s 1c The S t. Felix Street Corpor a tio n Admin istra tive Staff Board of Directors: H arvey Lichtenstein, Directo r Seth S. Faison, Chairman Lewis L. Lloyd, General Manager Donald M. Bl inken, President C harles Hammock, Asst. -
Dance Brochure
Boosey & Hawkes Music Publishers Limited Dance 2006 Edition Also see www.boosey.com/downloads/dance06icolour.pdf Figure drawings for a relief mural by Ivor Abrahams (courtesy Bernard Jacobson Gallery) The Boosey & Hawkes catalogue contains many of the most significant and popular scores in the dance repertoire, including original ballets (see below) and concert works which have received highly successful choreographies (see page 9). To hear some of the music, a free CD sampler is available upon request. Works written as ballets composer work, duration and scoring background details Andriessen Odyssey 75’ Collaboration between Beppie Blankert and Louis Andriessen 4 female singers—kbd sampler based on Homer’s Odyssey and James Joyce’s Ulysses. Inspired by a fascination with sensuality and detachment, the ballet brings together the ancient, the old and the new. Original choreography performed with four singers, three dancers and one actress. Argento The Resurrection of Don Juan 45’ Ballet in one act to a scenario by Richard Hart, premiered in 1955. 2(II=picc).2.2.2—4.2.2.1—timp.perc:cyms/tgl/BD/SD/tamb— harp—strings Bernstein The Dybbuk 50’ First choreographed by Jerome Robbins for New York City Ballet 3.3.4.3—4.3.3.1—timp.perc(3)—harp—pft—strings—baritone in 1974. It is a ritualistic dancework drawing upon Shul Ansky’s and bass soli famous play, Jewish folk traditions in general and the mystical symbolism of the kabbalah. The Robbins Dybbuk invites revival, but new choreographies may be created using a different title. Bernstein Facsimile 19’ A ‘choreographic essay’ dedicated to Jerome Robbins and 2(II=picc).2.2(=Ebcl).2—4.2.crt.2.1—timp.perc(2)— first staged at the Broadway Theatre in New York in 1946. -
Eliot Feld Ballet
Presents Eliot Feld Ballet HELEN DOUGLAS MONA ELGH ELIOT FELD MICHAELA HUGHES BRIAN JAMESON KATE JOHNSON CHARLES KENNEDY EDMUND LAFoSSE BARRY LEON REMUS MAReu LINDA MILLER GREGORY MITCH ELL GEORGE MONTALBANO ELIZABETH NESI MARY RANDOLPH CHHISTINE SARRY JEFF SATINOFF GWYNN TAYLOR PETER LONGIARU, Pianist JOHN H . PAULL III, Production Stage Manag er CORA CAHAN, Administrator TUESDAY EVENING, FEBRUARY 21, 1978, AT 8 :.00 POWER CENTER FOR THE PERFORMING ARTS ANN ARBOR, MICHIGAN PROGRAM THE REAL McCOY (1974) Choreography by ELIOT F EW Settillg alld Costumes by ROUBEN TER-ARUTUNIAN Music by GEORGE GEnSHWIN Lightillg by THOMAS SKELTON Is it all earthquake or simply a shock? Is it the good turtle soup or merely the "//lo ck? It is a cocktail tltis fee lillg of joy or is what I feel the Real McCoy? Ha ve I the right hlllleh or have I the wrollg? Will it be Bach I shall hear or jll~t a Cole Porter sOllg ? A t Long Last Love by Cole Porter, 1938 Copyright by Chappel & Co., Inc., N.Y.C. ELIOT FELD MICHAEL HUGHES Charles Kennedy, Gregory Mitchell, George Montalbano, Jeff Satinoff, Brian Jameson Eighteenth Program Seventh Annual Choice Series, Power Center Complete Programs 4109 INTERMISSION MAZURKA (1975) Some dance with the heart, others with the heels. Choreography by ELIOT FELD Costumes b)' R OUDEN T ER-ARUTUNI AN l\Ii1lsic by F ilEDER1CK CHOPIN Lighting by THOMAS SKELTON This description of the Mazurka is found in Dr. E. W . Shallenberg's book, Frederic Chopin: It began with a pro cession in which the dancers made glidin g passes and stamped their fee t. -
Eva Evdokimova (Western Germany), Atilio Labis
i THE CUBAN BALLET: ITS RATIONALE, AESTHETICS AND ARTISTIC IDENTITY AS FORMULATED BY ALICIA ALONSO A Dissertation Submitted to the Temple University Graduate Board in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY by Lester Tomé January, 2011 Examining Committee Members: Joellen Meglin, Advisory Chair, Dance Karen Bond, Dance Michael Klein, Music Theory Heather Levi, External Member, Anthropology ii © Copyright 2011 by Lester Tomé All Rights Reserved iii ABSTRACT In the 1940s, Alicia Alonso became the first Latin American dancer to achieve international prominence in the field of ballet, until then dominated by Europeans. Promoted by Alonso, ballet took firm roots in Cuba in the following decades, particularly after the Cuban Revolution (1959). This dissertation integrates the methods of historical research, postcolonial critique and discourse analysis to explore the performative and discursive strategies through which Alonso defined her artistic identity and the collective identity of the Cuban ballet. The present study also examines the historical context of the development of ballet in Cuba, Alonso’s rationale for the practice of ballet on the Island, and the relationship between the Cuban ballet and the European ballet. Alonso defended the legitimacy of Cuban dancers to practice ballet and, in specific, perform European classics such as Giselle and Swan Lake. She opposed the notion that ballet was the exclusive patrimony of Europeans. She also insisted that the cultivation of this dance form on the Island was not an act of cultural colonialism. In her view, the development of ballet in Cuba consisted, instead, of an exploration of a distinctive Cuban voice within this dance form, a reformulation of a European legacy from a postcolonial perspective. -
Dorathi Bock Pierre Dance Collection, 1929-1996
http://oac.cdlib.org/findaid/ark:/13030/c8pc33q9 No online items Finding Aid for the Dorathi Bock Pierre dance collection, 1929-1996 Processed by Megan Hahn Fraser and Jesse Erickson, March 2012, with assistance from Lindsay Chaney, May 2013; machine-readable finding aid created by Caroline Cubé. UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 Email: [email protected] URL: http://www.library.ucla.edu/libraries/special/scweb/ ©2013 The Regents of the University of California. All rights reserved. Finding Aid for the Dorathi Bock 1937 1 Pierre dance collection, 1929-1996 Descriptive Summary Title: Dorathi Bock Pierre dance collection Date (inclusive): 1929-1996 Collection number: 1937 Creator: Pierre, Dorathi Bock. Extent: 27 linear ft.(67 boxes) Abstract: Collection of photographs, performance programs, publicity information, and clippings related to dance, gathered by Dorathi Bock Pierre, a dance writer and publicist. Language: Finding aid is written in English. Language of the Material: Materials are in English. Repository: University of California, Los Angeles. Library Special Collections. Los Angeles, California 90095-1575 Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact UCLA Library Special Collections for paging information. Restrictions on Access Open for research. STORED OFF-SITE AT SRLF. Advance notice is required for access to the collection. Please contact UCLA Library Special Collections for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UC Regents. Literary rights, including copyright, are retained by the creators and their heirs. -
Untitled, Is a Group Subscriptions for the Series of Five Con- Dance for the Entire Company
MOM Nr111111 9.. 2 / BROOKLYN ACADEMY OF MUSIC / OCTOBER 1970 'c 7 0, s ' BROOKLYN ACADEMY OF MUSIC / OCTOBER 1970 / 3 Brooklyn Festival of Dance 1970-71 The Brooklyn Academy of Music in association with The American Dance Foundation presents The American Ballet Company Director ELIOT FELD OLGA JANKE ELIZABETH LEE CHRISTINE SARRY ELIOT FELD JOHN SOWINSKI Marilyn D'Honau Karen Kelly Christine Kono Cristina Stirling Eve Walstrum Kerry Williams Larry Grenier Edward Henkel Kenneth Hughes Daniel Levins James Lewis Richard Munro Musical Director CHRISTOPHER KEENE Associate Conductor ISAIAH JACKSON Ballet Mistress BARBARA FALLIS The is a resident company Am"icahBFriMaresithe Brooklyn yofrMusic. of the ade possible Re72,1:4F,31.1'11.21de,miireW,Pea'Lt:, ThThe Ford Foundation, the ilgf`YtrIc on the Arts and individual donors. Baldwin is the official piano of the Brooklyn Academy of Music. The unauthorized use of cameras or recording equipment is strictly prohibited during performan 4 / BROOKLYN ACADEMY OF MUSIC / OCTOBER 1970 The Brooklyn Academy of Music The Brooklyn Academy of Music Is a department of the Brooklyn Institute of Arts and Sciences. Brooklyn Academy of Music Administrative Staff Management Company, Inc. Harvey Lichtenstein, Director Lewis L. Lloyd, General Manager Board of Directors: Charles Hammock, Asst. General Manager Seth S. Faison, President Jane Yockel, Asst. General Manager Donald M. Blinken Barry Moore, Comptroller Martin P. Carter Thomas Kerrigan, Assistant to the Director Richard M. Hester Michele Goldman Brustin, Assistant to the Director Peter C. R. Huang Anne Goodrich, Associate Press Representative Gilbert Kaplan Linda Fosburg, Manager of Harvey Lichtenstein Audience and Community Development Alan J.