New York Cjty Ballet
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Dance Photograph Collection
http://oac.cdlib.org/findaid/ark:/13030/tf8q2nb58d No online items Guide to the Dance Photograph Collection Processed by Emma Kheradyar. Special Collections and Archives The UCI Libraries P.O. Box 19557 University of California Irvine, California 92623-9557 Phone: (949) 824-3947 Fax: (949) 824-2472 Email: [email protected] URL: http://www.lib.uci.edu/rrsc/speccoll.html © 1997 The Regents of the University of California. All rights reserved. Guide to the Dance Photograph MS-P021 1 Collection Guide to the Dance Photograph Collection Collection number: MS-P021 Special Collections and Archives The UCI Libraries University of California Irvine, California Contact Information Special Collections and Archives The UCI Libraries P.O. Box 19557 University of California Irvine, California 92623-9557 Phone: (949) 824-3947 Fax: (949) 824-2472 Email: [email protected] URL: http://www.lib.uci.edu/rrsc/speccoll.html Processed by: Emma Kheradyar Date Completed: July 1997 Encoded by: James Ryan © 1997 The Regents of the University of California. All rights reserved. Descriptive Summary Title: Dance Photograph Collection, Date (inclusive): 1906-1970 Collection number: MS-P021 Extent: Number of containers: 5 document boxes Linear feet: 2 Repository: University of California, Irvine. Library. Dept. of Special Collections Irvine, California 92623-9557 Abstract: The Dance Photograph Collection is comprised of publicity images, taken by commercial photographers and stamped with credit lines. Items date from 1906 to 1970. The images, all silver gelatin, document the repertoires of six major companies; choreographers' original works, primarily in modern and post-modern dance; and individual, internationally known dancers in some of their significant roles. -
Todd Bolender and Janet Reed Were Dancing in Pied Piper When It Hap- Pened, One of Those Unforeseen Stage Mishaps That Can Wreck a Performance Completely
1 Todd Bolender and Janet Reed were dancing in Pied Piper when it hap- pened, one of those unforeseen stage mishaps that can wreck a performance completely. Set to Aaron Copland’s jazzy Concerto for Clarinet and String Orchestra, Pied Piper was Jerome Robbins’s fourth work for New York City Ballet. Its vocabulary was in the same vein as Fancy Free and Interplay, a blend of classical steps, modern dance, and social dancing. For the finale, he included a jitterbug move, in which Bolender had to swing Reed over his head and around his neck, her legs in a wide second position, and from there to the floor directly in front of him. In the early 1950s, when this per- formance took place, Bolender had begun wearing a wig over his thinning hair that fit over his scalp like a hat. At this particular performance, all was going well, until Bolender, after swinging Reed down to the floor, looked down and thought, “My God, has she lost her tights” at the same moment that Reed looked in the same direction. They both broke into uncontrol- lable laughter, fortunately just as the corps came rushing onto the stage and covered their hasty exit, Bolender’s much-loathed wig (“it had curls and things,” he told Deborah Jowitt) restored to his head.1 By 1952, when it’s likely this performance took place,2 Bolender and Reed had been friends since Reed arrived in New York in January 1942. They had been dancing together in Robbins’s and Balanchine’s work since 1949, when Reed joined City Ballet. -
Dancin' in the Rain
Dancin’ in the Rain A Bit of Portland Dance History – 1900 to 1954 By Carol Shults and Martha Ullman West hen Bill Christensen arrived in Portland in 1932 he created an atmosphere that had not existed before here. Until then, dancing, except for ballroom dance, was an almost exclusively “ladies only” territory. W It was long since respectable, but the energy, channeled into the “artistic” recitals presented by various teachers and their students was distinctly feminine. Portland had seen the American Ted Shawn and the Russian Mikhail Mordkin on the stage, but a local equivalent just didn’t exist. Bill Christensen filled that gap. By 1934, after just two years of attracting supporters and training dancers, he was able to present a spectacle including portions of The Nutcracker at the Rose Festival in collaboration with the Portland Junior Symphony (the original incarnation of today’s Youth Philharmonic). Bill was just 30 years old when he came here after years of touring with his brothers and several partners on the Orpheum vaudeville circuit. Dancing of all kinds, but with a serious emphasis on the classical, was his heritage from the Danish progenitor Lars Christensen who had emigrated to Utah in 1854. Bill was married and the Depression was on. “Nobody had a dime.” Mary Tooze, one of Bill’s students, describes how her mother Ada Ausplund threw herself into supporting Christensen because “here was this wonderful, positive thing for young Pictured left to right in The Nutcracker (1934) people to do.” The effort it took to transport 70 Standing: Norma Nielsen, Willam Christensen, Geraldine Brown, dancers to Seattle for performances there gives an Jacques Gershkovitch (conductor), Hinemoa Cloninger, Betty Dodson idea of the motivating force Bill provided. -
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 -
Christensen Brothers by Sheryl Flatow
Christensen Brothers by Sheryl Flatow “Ballet west of the Mississippi is pretty much By the time he was in his early twenties, Willam the creation of the Christensen brothers – was a highly regarded teacher at the school in Willam, Harold, and Lew,” wrote Arlene Croce Ogden. He really wanted to dance ballet, not in 1980 (“Going to the Dance,” p. 311). teach it, but in the early part of the twentieth Separately and together, with passion and century there were no professional ballet ingenuity, tenacity and perseverance, companies in the United States. So, in 1927, he imagination and talent, the Christensen and Lew hit the vaudeville circuit, and a year brothers helped ballet take root in this country, later they were in New York. They swiftly made and their influence reverberates today. it to the prestigious Orpheum circuit with an act for two couples; one of the women, Mignon Willam (1902-2001), as artistic director, Lee, would become Willam’s wife. Despite the choreographer, and teacher, transformed the inclusion of women, the act was really a fledgling San Francisco Ballet from an showcase for male dancing. “Lew and I had to appendage of San Francisco Opera to an be virtuosos,” Willam said. “We had to turn and independent company, and introduced leap like sons-of-guns, and dance fast to keep countless numbers to classical dance in San audiences interested. Because at that time not Francisco and beyond. He then went on to many people knew what we were doing. Were found the ballet department at the University of we gymnasts? Were we acrobats? But Utah – the first of its kind in the country – and 1 audiences liked us.” to establish Ballet West. -
Bates College Financial Statistics Indicate Sound
Bates College SCARAB The aB tes Student Archives and Special Collections 10-6-1978 The aB tes Student - volume 105 number 14 - October 6, 1978 Bates College Follow this and additional works at: http://scarab.bates.edu/bates_student Recommended Citation Bates College, "The aB tes Student - volume 105 number 14 - October 6, 1978" (1978). The Bates Student. 1780. http://scarab.bates.edu/bates_student/1780 This Newspaper is brought to you for free and open access by the Archives and Special Collections at SCARAB. It has been accepted for inclusion in The aB tes Student by an authorized administrator of SCARAB. For more information, please contact [email protected]. VOLUME 105, NUMBER 14 ESTABLISHED 1873 OCTOBER 6, 1978 ,n,*N <r °u % &w BATES COLLEGE FINANCIAL \ *f V X%^ STATISTICS INDICATE SOUND PRACTICE by Jon Marcus are found in other securities. come of $973,637 was noted, with Senior Reporter Railroad bonds represent over $1 "auxiliary enterprises" earning million of the invested funds; and $1,991,419. Thus. 1977-1978 total foreign bonds comprise $239,515 revenues were $9,450,889. Although this past year's of the assets. The remaining Expenditures totaled annual financial report is $3,574,110 of the endowment $8,104,175. They included an currently in preparation and will funds is invested in public utility educational and general in- not be available until the end of bonds, preferred stocks, bank structional and research budged this month at the earliest, and insurance stocks, real estate, (which contains most professors' comparisons can be made with and separately held investments. -
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. -
Elec Press Kit 10.09.Indd
��������������� ��������� About NDI “They say you can see the universe in a fl ower. In one hour, teaching a jig to a motley crew of students of all ages, Jacques d’Amboise lays bare the essence of all good education: discipline, eff ort, beauty, struggle, joy. In the process, he opens up a universe of possibilities for all who participate and reveals why an education in the arts must be the birthright of every human being.” – Howard Gardner, Director, Harvard University Graduate School of Education, Project Zero National Dance Institute (NDI) was founded in the belief that the arts have a unique power to engage children and motivate them toward excellence. Since it was founded in 1976 by New York City Ballet principal dancer Jacques d’Amboise, NDI has impacted the lives of over 2 million children. Under the artistic direction of Ellen Weinstein and a staff of professional dancer/choreographers and musician/composers, NDI strives to reach every child, transcending barriers of language, culture, and physical challenges. Not one child pays a penny for these programs. • Each year, NDI reaches over 35,000 New York City public elementary school students and their communities through classes, residencies and performances. • All NDI programs are off ered to children free of charge. • Through classes led by professional teaching artists, we provide a full-year program for 4,000 children in our 30 partner schools. • NDI works with mainstream, bilingual, and special education classes. • The majority of NDI dancers come from low-income communities. • Through our Advanced Scholarship Programs, exceptionally motivated children may extend their NDI experience up to the age of 15. -
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. -
DOCTORAL THESIS the Dancer's Contribution: Performing Plotless
DOCTORAL THESIS The Dancer's Contribution: Performing Plotless Choreography in the Leotard Ballets of George Balanchine and William Forsythe Tomic-Vajagic, Tamara Award date: 2013 General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 02. Oct. 2021 THE DANCER’S CONTRIBUTION: PERFORMING PLOTLESS CHOREOGRAPHY IN THE LEOTARD BALLETS OF GEORGE BALANCHINE AND WILLIAM FORSYTHE BY TAMARA TOMIC-VAJAGIC A THESIS IS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF PHD DEPARTMENT OF DANCE UNIVERSITY OF ROEHAMPTON 2012 ABSTRACT This thesis explores the contributions of dancers in performances of selected roles in the ballet repertoires of George Balanchine and William Forsythe. The research focuses on “leotard ballets”, which are viewed as a distinct sub-genre of plotless dance. The investigation centres on four paradigmatic ballets: Balanchine’s The Four Temperaments (1951/1946) and Agon (1957); Forsythe’s Steptext (1985) and the second detail (1991). -
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. -
Emergence at Pacific Northwest Ballet Encore Arts Seattle
September 2018 September 2018 Volume 32, No. 1 Paul Heppner President Mike Hathaway Vice President Kajsa Puckett Vice President, Marketing & Business Development Genay Genereux Accounting & Office Manager SEATTLE THEATRE GROUP® 2018 / 2019 Production Susan Peterson PERFORMING ARTS SEASON Design & Production Director Jennifer Sugden SEPT. 11 - 16 JAN. 23 - FEB. 2 APR. 15 Assistant Production Manager WAITRESS DEAR EVAN HANSEN SMM - CITY WITHOUT JEWS/ DIE STADT OHNE JUDEN (1924) OCT. 2 JAN. 26 Ana Alvira, Stevie VanBronkhorst MAX RICHTER WITH THE AMERICAN ÓLAFUR ARNALDS APR. 20 Production Artists and Graphic Designers CONTEMPORARY MUSIC ENSEMBLE RADIOLAB’S JAD ABUMRAD FEB. 4 THE MIRACLE OF INDOOR PLUMBING Sales OCT. 13 SMM - VARIETY/VARIETÉ (1925) SNAP JUDGMENT LIVE! APR. 27 & 28 Amelia Heppner, Marilyn Kallins, Terri Reed FEB. 8 - 10 DANCE THEATRE OF HARLEM San Francisco/Bay Area Account Executives OCT. 19 ROGER GUENVEUR SMITH 50TH ANNIVERSARY CELEBRATION SOWETO GOSPEL CHOIR FREDERICK DOUGLASS NOW Joey Chapman, Brieanna Hansen, SONGS OF THE FREE MAY 11 & 12 FEB. 11 SEATTLE ROCK ORCHESTRA Ann Manning, Wendy Pedersen OCT. 20 SMM - A MAN THERE WAS/ THE BEATLES Seattle Area Account Executives GORAN BREGOVIĆ TERJE VIGEN (1917) THREE LETTERS FROM SARAJEVO MAY 14 - 19 Carol Yip FEB. 16 SCHOOL OF ROCK Sales Coordinator OCT. 23 - 28 SOLILOQUIES OF ROBERTA FLACK ON YOUR FEET! AND DONNY HATHAWAY JUN. 12 - JUL. 7 WICKED Marketing OCT. 29 FEB. 22 Shaun Swick SILENT MOVIE MONDAYS (SMM) COMPANY WAYNE MCGREGOR JUL. 12 THE CAT AND THE CANARY (1927) AUTOBIOGRAPHY DANCE THIS! Senior Designer & Digital Lead NOV. 1 - 3 FEB. 25 JUL. 31 - AUG. 11 Ciara Caya BARBER SHOP CHRONICLES SMM - LAILA (1929) CHARLIE AND THE CHOCOLATE FACTORY Marketing Coordinator NOV.