2018 MCDA Spring Concert Costume Information DANCER NAME:______DANCER’S CLASS:______

Total Page:16

File Type:pdf, Size:1020Kb

2018 MCDA Spring Concert Costume Information DANCER NAME:______DANCER’S CLASS:______ 2018 MCDA Spring Concert Costume Information DANCER NAME:__________________________________ DANCER’S CLASS:____________________________________ Included in this bag is your class costume. Instructors have checked for desired fit. Please be aware that a safety pin may be needed to tighten straps or waist bands. When you receive your costume please hang it up to allow it to settle into place. For stiffer ballet skirts or tutus it's recommended to hang in a steamy bathroom to help the skirt relax. Please do not allow your dancer to wear the costume until after the performance is complete. We are unable to fix or reorder costumes if something happens to them prior to the performance. Included with this note, and in the MCDA hallway is a complete list of costume items for each class. Items provided by the dancer (such as ballet shoes, undergarments and tights) are labeled with a star * Your concert tickets and your concert t-shirt will be available to pick up at the front desk. Dancers are invited to wear their concert t-shirt anytime. Concert Hair: Unless specified otherwise with instructor performers hair should be in a mid ​ height ponytail. Hair should be slicked back with gel and/or hairspray. Blond, brown or black hair elastics, clips and bobby pins are encouraged. Dancers with short hair should pull or clip hair away from the face. Concert Makeup: A light application of blush and tinted chapstick is encouraged for our ​ younger dancers. This accentuates their features and prevents their faces from being “washed out” by the stage lights. Older dancers (8+) are encouraged to wear blush, lipstick, eyeshadow and mascara. Please remove jewelry and nail polish for the performance. Concert Shoes: Pink ballet slippers (black for boys) with elastics tucked in or in a double knotted bow -We recommend the Bloch full sole leather slipper available at BBW for quality and fit Black tap shoes (including laces/ribbons) Black jazz shoes (slip on or lace up are both fine) Hip Hop Sneakers should be neutral in tone (ideally in the color scheme of the costume) Concert Tights: If tights are required for your costume please wear the Bloch brand. These professional tights, as well as dance shoes, can be purchased at local dancewear store Boulder Body Wear at a discount. Mention MCDA at the time of purchase. * A reminder that individual portraits with our professional photography will take place Friday, May 11th. Sign up for a slot at the front desk. Space is limited. Thank you, Mimi and the Mountain Contemporary Dance Arts Staff SPRING COSTUME SPECIFICS FOR EACH CLASS NOTE- *item provided by dancer MONDAY CLASSES Monday 9:15am/9:45am Creative Ballet/Gym Combo (Vanessa) Pink dress, pink tights, *pink ballet shoes ​ Boys: Pant/shirt set, *black ballet shoes ​ Monday 11:00am Storybook Ballet/Tap (Vanessa) Orchid Dress, pink tights, *pink ballet shoes ​ Monday 3:45pm Creative Ballet/Gym Combo (Jill) White dress, white footed tights, *pink ballet shoes ​ Monday 4:00 Sunflower Hip Hop I (Christine) Red jacket/white tank/black leggings, *sneakers (ideally white, black or red tones) ​ Monday 5:15pm Daisy Ballet (Christine) Rose dress, pink tights, *pink ballet shoes ​ Monday 5:00 Sunflower Jazz II (Jill) Shiny leotard/shorts, cape, mask *black jazz shoes ​ Monday 6:00pm Sunflower Jazz 1 (Jill) Yellow/black dress, *black ankle length leggings, *black jazz shoes ​ Monday 6:00pm Sunflower II/Lilac Hip Hop (Sarah) Red jacket, tops and pants, *sneakers (ideally white, black or red) ​ Boys-black pant and shirt set *sneakers (ideally white, black, or red) ​ Monday 7:00 Violet/Rose Hip Hop (Sarah) Shiny pant, baseball t-shirt, *sneakers (ideally black and/or white tones) ​ TUESDAY CLASSES Tuesday 4:00pm Daisy Ballet/Tap II (Vanessa) Turquoise dress, *lt pink tights, *pink ballet shoes ​ Tuesday 4:00pm Daisy Ballet/Tap (Mimi) Green dress, white gloves, tan tights *black tap shoes ​ Tuesday 5:00pm Sunflower Contemporary Mocha dress, bare feet Tuesday 5:15pm Daisy Contemporary Ballet (Vanessa) Yellow dress, bare feet Tuesday 6:00pm Violet/Rose Ballet (Vanessa) Black Degas leotard, black tutu, *Lt. pink tights *pink ballet shoes ​ Tuesday 6:00pm Lilac Ballet (Mimi) Burnt orange dress, *Lt. pink tights, *pink ballet shoes ​ Tuesday 7:00pm Lilac Jazz (Vanessa) Red leotard, orange skirt, bare feet Tuesday 7:00pm Lilac/Violet Jazz II (Kaitlyn) Burgundy dress, bare feet WEDNESDAY CLASSES Wednesday 9:30am Little Movers (Mimi) Rainbow dress, pink tights, *pink ballet shoes ​ Wednesday 10:15am Creative Hip Hop/Gym Combo (Mimi) School dress, *sneakers (ideally white, black or red tones) ​ Wednesday 11:15am Storybook Hip Hop/Jazz (Mimi) Color block dress *Converse style sneakers ​ Boys-shirt, vest and pant, *Converse style sneakers ​ Wednesday 4:00pm Sunflower Ballet (Summer) Turquoise dress,*Lt. pink tights, *pink ballet shoes ​ Wednesday 4:15pm Daisy Contemporary/Ballet (Mimi) Purple floral dress, bare feet Wednesday 5:00 MADE JR Contemporary student choreography- Colored dress, bare feet MADE Production *Pinks/oranges/yellows (solid or print colors tops, dresses, skirts, pants) *Black jazz ​ ​ shoes Wednesday 5:30pm Storybook Ballet/Tap (Summer) Purple/pink dress, pink tights *pink ballet shoes ​ Wednesday 6:00pm Sunflower/Lilac Musical Theatre (Mimi) Circus leotard, black footed tights *black jazz shoes ​ Boys-white button up shirt, vest, bowtie, *black slacks *black jazz shoes ​ THURSDAY CLASSES Thursday 9:15am Creative Ballet/Gym Combo (Summer) Dress, pink tights, *pink ballet shoes ​ Thursday 10:15am Storybook Ballet/Tap (Summer) Dress, pink tights, *pink ballet shoes ​ Thursday 4:00pm Sunflower Tap/Lilac I Tap (Leslie) Pink dress, nude or black no show sock if needed, *black tap shoes ​ ​ ​ Thursday 4:00pm Daisy Jazz/HH (Kaitlyn) Purple/pink top/pant set, *hip hop sneakers (ideally in costume tones) ​ Thursday 5:00pm Lilac II/Violet Tap (Leslie) Black jump suit *black tap shoes (nude no show socks if needed) ​ Thursday 5:00pm Violet II/Rose Tap (Kaitlyn) Black leotard suit, nude tights, *black tap shoes ​ Thursday 6:00pm Violet II/Rose Contemporary (Leslie) White blouse leotard, blue or tan skirt, bare feet Thursday 6:00pm Lilac Contemporary (Leah) Gold dress, bare feet Thursday 6:30pm MADE Sr/Elite Student choreography- black/gold dress, bare feet MADE Production *Royal Blue, Yellow, White (solid or print in these tones) Tops, skirts, dresses, pants, ​ skirts *black jazz shoes FRIDAY CLASSES Friday 9:30am Storybook Ballet/Tap (Vanessa) Bumble bee dress, *Lt pink footed tights, *black tap shoes ​ SATURDAY CLASSES Saturday 9:00am Creative Ballet/Gym Combo (Sami) Dress, pink tights, *pink ballet shoes ​ Saturday 10:00am Storybook Ballet/Tap (Sami) 1950s dress, pink tights, *black tap shoes ​ Saturday 10:45am Daisy Ballet/Tap (Sami) Cream dress, pink tights, *pink ballet shoes ​ .
Recommended publications
  • Ballet Technique Demi Pointe- High on the Balls of the Feet
    Ballet Unit Guide Name:_________________ Pd. ____ ​ ​ Ballet Technique Demi Pointe- High on the balls of the feet. Demi Plie- Half bend of the knees. ​ ​ Port de Bras- Carriage of the arms. ​ Tendu- Stretched, to point. ​ En Bas- Low (arms). ​ Degage- To disengage. En Haut- High (arms). ​ ​ Devant- Front. Rond de Jambe- Round of the leg, circular ​ ​ movement. A la Seconde- To the second (side). ​ Derriere- Behind, back. Fondu- To melt. ​ ​ In a cross (front, side, back, side). En Croix- Developpe- To develop, developing movement. ​ ​ Reverence- Curtsey. ​ Grand Battement- Large beat. ​ Passe- To pass, passed. ​ Releve- To rise to the balls of the feet from plie. Pirouette- Spin or whirl. ​ ​ Cou de pied- “Neck” of the foot, wrapped. ● En dedans- Inside. ​ ​ Sous Sous- Over, under. ● En dehors- Outside. ​ ​ Saute- to jump, jumped. Chaines- Series of rapid turns, chain, link. ​ ​ Attitude- Position on one leg, other lifted in back, Chasse- Chased. ​ ​ the knee bent at an angle of 90 degrees so that the Tombe- To fall, falling down. knee is higher than the foot. ​ Pas de Bourre- Back, side, front. Bourre step. ​ Arabesque- The position of the body supported on ​ Grand Jete- Large throw. one leg with the opposite leg extended (straight) ​ behind the body. Pas de Chat- Step of the cat. ​ Saut de Chat- Jump of the cat. ​ ​ A series of slow, fluid exercises to develop the dancer’s balance, strength and grace. *Adagio- ​ ​ ​ Support of the skeletal system. Moving in a safe and healthy way Dynamic Alignment- ​ for your body. ​ ​ Turn Out- Rotation of the leg which comes from the hips, causing the knee and foot to ​ ​ turn outward​ , away from the center of the body.
    [Show full text]
  • Guide to Dance 2018-2019 Study Guide
    GUIDE TO DANCE 2018-2019 STUDY GUIDE Learn about the art of dance and go behind-the-scenes with a professional dance company. Written and compiled by Ambre Emory-Maier, Director of Education, and other contributors l ©2018 BalletMet Columbus TABLE OF CONTENTS Behind the Scenes ............................................................................................................................................. 2 Brief History of BalletMet ................................................................................................................................. 3 BalletMet Offerings ........................................................................................................................................... 4 The Five W’s and H of Dance .......................................................................................................................... 5 Brief History of Ballet ..................................................................................................................................... 6-7 Important Tutu Facts ......................................................................................................................................... 8 Important Pointe Shoe Facts .......................................................................................................................... 9 Glossary of Dance Terms ......................................................................................................................... 10-12 Ballet Terminology..........................................................................................................................................
    [Show full text]
  • Chapter 9 Ballet Edited.Ppt.Pdf
    C H A P T E R 9 Ballet Chapter ?? Chapter 9 Ballet Enduring understanding: Ballet is a classic, Western dance genre and a performing art. Essential question: How does ballet help me express myself as a dancer? Learning Objectives •Recognize major ballet works, styles, and ballet artists in history. •Execute basic ballet technique, use ballet vocabulary, and perform barre exercises and center combinations. •Apply ballet etiquette and dance safety while dancing. •Evaluate and respond to classical and contemporary ballet performances. Introduction Ballet began as a Western classical dance genre 400 years ago and has evolved into an international performing art form. The word ballet comes from the Italian term ballare, meaning to dance. Chapter 9 Vocabulary Terms adagio allegro à la seconde à terre ballet ballet technique barre center derrière stage directions Devant turnout en l’air Ballet Beginnings Ballet moved from Italy to France when Catherine de’ Medici married the heir to the French throne, King Henry II. She produced what has become known as the first ballet, La Comique de la Reine, in 1588. Ballet at the French Court Louis XIV performed as a dancer and gained the title The Sun King after one of his most famous dancing roles. A patron of the arts, Louis XIV established the Academy of Music and Dance. In the next century the Academy would become the Paris Opéra. Court Ballets • During the 17th century, court ballets were dance interludes between dramatic or vocal performances or entire performances. • Sometimes ballets were part of themed balls such as pastoral or masquerade balls.
    [Show full text]
  • Storytelling in Contemporary Ballet Abbey Lutts Western Kentucky University, [email protected]
    Western Kentucky University TopSCHOLAR® Honors College Capstone Experience/Thesis Honors College at WKU Projects Spring 2019 Storytelling in Contemporary Ballet Abbey Lutts Western Kentucky University, [email protected] Follow this and additional works at: https://digitalcommons.wku.edu/stu_hon_theses Part of the Dance Commons Recommended Citation Lutts, Abbey, "Storytelling in Contemporary Ballet" (2019). Honors College Capstone Experience/Thesis Projects. Paper 789. https://digitalcommons.wku.edu/stu_hon_theses/789 This Thesis is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Honors College Capstone Experience/ Thesis Projects by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. STORYTELLING IN CONTEMPORARY BALLET A Capstone Project Presented in Partial Fulfillment of the Requirements for the Degree Bachelor of Dance with Honors College Graduate Distinction at Western Kentucky University By Abbey N. Lutts May 2019 ***** CE/T Committee: Professor Anna Patsfall, Chair Professor Amanda Clark Professor Dr. Christopher Keller Copyright by Abbey N. Lutts 2019 ACKNOWLEDGEMENTS I would like to thank my CE/T advisor Anna Patsfall for supporting me and always giving me insightful and helpful critiques and advice throughout the entire research process. I am also grateful to my committee, Amanda Clark and Dr. Christopher Keller for giving me their time and effort to see this research process through. I would also like to thank FUSE for the grant that I received to start this research. The FUSE grant provided me with the opportunity to travel and conduct my research, which allowed me to gather the research material to complete my thesis.
    [Show full text]
  • About the School of Mcb
    ABOUT THE SCHOOL OF MCB The not-for-profit School of Missouri Contemporary Ballet, in advancement of the Company’s Mission, cultivates the artistic & personal development of its students by providing a supportive PAID environment of dance study to motivate & inspire. US POSTAGE COLUMBIA, MO PERMIT NO. 5678 PERMIT NONPROFIT ORG NONPROFIT The School of Missouri Contemporary Ballet’s Vision is to develop the skills of the student professionally & artistically by introducing both traditional & innovative dance techniques. This Vision is supported by two fundamental principles which provide our Return Service Requested foundation: continual growth & the pursuit of excellence. At the School of MCB we are guided by the strategic ideals of Missouri Contemporary Ballet: to provide education, promote involvement in the arts & enrich our community. These goals require hiring only the highest caliber instructors, developing a competitive yet supportive class structure & retaining students dedicated to the study of dance. We stand alone as the only dance institution in the area to provide instruction exclusively from professional dancers. Attaining our vision requires diligence, creativity, confidence & fortitude from our staff, instructors, students & supporters. We look forward to the exciting year ahead & invite you to become part of the School of MCB! SCHOOL OF OF SCHOOL BALLET MISSOURI CONTEMPORARY 102 Suite Street, 110 Orr MO 65201 Columbia, 110 Orr Street, Suite 102 & 106 Columbia, MO 65201 573.825.0095 B C WWW. SCHOOLOFMCB.ORG SCHOOL OF [email protected] M OPEN CLASS DIVISION PRE-PROFESSIONAL DIVISION DANCEABILITY FOR TEENS &ADULTS Ages 8 & up. Students are required to take two ballet classes per week.
    [Show full text]
  • The Hometown Advantage Seven Local Studios That Are Cultivating Top Talent by Ashley Rivers
    Your Training The Hometown Advantage Seven local studios that are cultivating top talent By Ashley Rivers It’s the American dream, ballet- style: A small-town girl works hard, turns heads in the big city and wins her way to the top of a world-class com- pany. Teresa Reichlen is one such story: Before joining New York City Ballet, she studied at The Russell School of Ballet in Chantilly, VA. “It’s nice to be a big fish in a small pond to start out,” she says. Instead of always dancing in the corps, “you get to perform the challenging parts.” Several small studios around the country are producing professional- caliber dancers. These schools may not receive the same publicity as their counterparts with companies or board- ing schools attached, but they prove that you don’t need high-profile training to make it as a dancer. In fact, the extra at- tention, performance opportunities and lower-stress environment might be what you need to grow—not just as a dancer, but as an artist. GREENWICH BALLET ACADEMY International Ballet Competition in Jackson, MS. Number of students: 200 (no audition required) Greenwich, CT, and Port Chester, NY Alexandra Ballet also keeps up a connection Performances per year: Up to 12 GBA has only been around since 2006, but its with Cincinnati Ballet, whose dancers often give Competitions: The school doesn’t emphasize strong Vaganova training (modeled after the master classes and perform with students. competitions, but supports students who compete. Vaganova and Bolshoi academies’ eight-year pro- Classes: Ballet, modern, character, pointe, pas de Alumni: Louise Nadeau (former PNB principal), gram) is unique in the region.
    [Show full text]
  • Ballet Fundamentals Study Guide
    River City Youth Ballet Ensemble Educational Work Packet for Teachers & Students Table of Contents Mission Statement............................................................................................ 2 What is Dance/Ballet........................................................................................3 Some Ballet Terms……………………………………………………………………………5 Who is Behind the Scenes..............................................................................8 Attending a Live Performance (Theater Etiquette) ................................9 Preshow Activities………………………………………………………………….…………10 Postshow Activities…………….…….………………………………………………………15 Fun Facts and Activities……………………………………………………………………18 References………………….………………………….…………………………………………21 1 River City Youth Ballet Ensemble Providing West Virginia youth with a high-quality dance education while giving our communities access to the live arts. The River City Youth Ballet Ensemble, the Official Youth Ballet of WV, is a pre-professional performing company for dancers ages 12-21. It was founded in 1995 in Charleston with the mission of giving talented dancers the opportunity to learn and grow in the performing arts. RCYBE prides itself on providing members a sound, quality dance education that includes valuable performance opportunities. It also gives dancers a forum to share their talent and education in the arts throughout the community by way of outreach and collaboration. RCYBE is a registered non-profit organization with the WV Secretary of State. Audition and Class Information
    [Show full text]
  • Educator Guide
    PBT Digital Spotlight Virtual Student Matinee Educator Guide PBT Education Department Principal Author: Victoria LaFave, PhD Student, University of Pittsburgh PBT Digital Spotlight student matinee is supported by the Jack Buncher Foundation. Artists: Hannah Carter, Lucius Kirst, The Sleeping Beauty Wedding Pas de Deux Photo: Kelly Perkovich Table of Contents Digital Spotlight Virtual Student Matinee 3 Information Pennsylvania State Standards 4 Sleeping Beauty History 5 Don Quixote History 7 Ave Maria History 9 Classical vs Contemporary Ballet 10 Breaking Down a Pas de Deux 11 Sleeping Beauty Pas de Deux 12 Don Quixote P as de Deux 13 Writing About Dance 14 Writing a Performance Review 15 Additional Resources 16 2 The PBT Digital Spotlight Virtual Student Matinee is a video featuring three different pas de deux (dances for two): T he Sleeping Beauty W edding Pas de Deux, the D on Quixote G rand Pas de Deux, and Ave Maria. These ballets range from classical to contemporary and have their own unique style of dance. The video includes brief comments by PBT Artistic Director Susan Jaffe. Educators can elect to show the video in its entirety (approximately 30 minutes) or to show just one or two of the ballets. Note that Ave Maria includes contemporary choreography, themes and costumes. Included within this P BT Digital Spotlight Educator Guide is historical and contextual information on each ballet, a breakdown of the structure of pas de deux dances, and tips for writing about dance. Below and on the P BT website there are lesson plans and a PowerPoint (pdf) instructional aid meant to be utilized along with the Pittsburgh Ballet Theatre’s (PBT) Digital Spotlight Virtual Student Matinee and this Educator Guide.
    [Show full text]
  • Spring Performance 2021 Program New England Academy of Dance & New England Dance Theater Present Swan Lake Featuring
    Spring Performance 2021 Program New England Academy of Dance & New England Dance Theater Present Swan Lake featuring The Company Anaya Agard 4 Alexondra Banford 4 Avery Baumel Abby Bouton 4 Addie Cannon 4 Charlotte Cape Katie Cota 4 Ava Fonss 4 Olivia Golden Madison Grenauer 4 Anna Grzymski 4 Alison LaForce Jamie Leahy 4 Morgan LeBlanc 4 Olivia Licata Samantha Markey 4 Julia Paine 4 Paige Phillips Julia Sarda 4 Evelyn Slatoff 4 Katie Stute Emily Twitchell 4 Maeson Wagner 4 Ella Grace Woraker The Enrichment Chloe Bortel 4 Annabelle Bristol 4 Elizabeth Cheng Alexandra Cota 4 Page Fields 4 Alessandra Gass Noa Gottlieb 4 Maddie Iulo 4 Zoe Jones Meredith Knauf 4 Ella Konrad 4 Ella Kurtz Sierra Lowell 4 Zara Maggard 4 Sadie Murphy Anna Paterson 4 Elly Patterson 4 Simone Snow Margaret Turner 4 Addison Welling Guest Artists Kenny Corrigan 4 Marc LaPierre 4 Charles Scheland Founder Doris Driver Directors Frances Ortiz Ginna Ortiz Ted Thomas Assitant Director Danielle Presar Lighting Design Kevin Gleason Credits Rehearsal Directors Ginna Ortiz Frances Ortiz Ted Thomas Benefit Show Jeanne Collins Booster Ads Samantha Goldman Amedee Maggard Costume Chair France Ortiz Costume Mistress Nicole Roque Costume Volunteers Mimi Leahy Tina Phillips Peggy Twitchell Anne Wagner Dance Physical Therapist Samara DiMattia Flowers Carriage Barn Flower Chair Anne Wagner Hair and Makeup Robyn Jones Headpieces Kristin Ruggieri Lighting Designer Kevin Gleason Music Editing Ted Thomas Photography Sarah Starling Poster Chairs Amedee Maggard Ginna Ortiz Poster Design Samantha
    [Show full text]
  • Dance History Session 2 Ballet
    BALLET HISTORY Ballet history is commonly divided by historians in chronological periods. Each one of them is recognized because some of the dance features or values prevail over others. Sometimes we get information about aesthetic or choreographic values but it is common to find all kind of related facts mixed within the data. That’s why the ballet general history we find in most books is a mixture of biographies, institutional records, different functions that dancing has accomplished for society: political, social, ritual, ornamental, and other kind of odds and ends… The following is a synthesized, rough list of those chronological periods from the XV century (AD) till the present time: XV - XVI centuries : court dances or pre-classical dance. XVI - XVII centuries : court ballet and baroque dance. XVIII century : ballet of action. End of XVIII century - XIX century : romantic ballet. Second half of XIX century : classical, academic and/or imperial ballet. XX century - present time : modern, neoclassical and/or contemporary ballet. XV-XVI centuries : court dances or pre-classical dance. This story occurs in the city of Florence (Italy), at the time called the Renaissance (or beginning of the ‘western modern era’). Society reacts to important political and cosmological changes. From a ‘dark era’ called the ‘Middle Age’, humans are reborn to a bright period, illuminated by science and knowledge. Scientific experiments prove that the earth turns around the sun, opposing to what was commonly thought for centuries. People start believing that they are responsible for their lives and that they can improve their existence by their own means (instead of expecting God to do it).
    [Show full text]
  • Missouri Contemporary Ballet Presents ‘Intersections’
    Karen Mareck Grundy, Artistic/Executive Director FOR IMMEDIATE RELEASE MEDIA CONTACTS: Caitlin Sloan: 573.825.0095; [email protected] Chelsea Dodds: 573.219.7134; [email protected] ​ For tickets: 573.882.3781 or https://concertseries.missouri.edu/. ​ ​ MISSOURI CONTEMPORARY BALLET PRESENTS ‘INTERSECTIONS’ A PROGRAM FEATURING SIX UNIQUE WORKS BY FIVE CHOREOGRAPHERS NOVEMBER 16 & 17, 2018 Missouri Theatre 203 S. 9th St. Columbia, MO 65201 October 30, 2018 (COLUMBIA, MO) – Missouri Contemporary Ballet’s 2018-2019 season opens with ‘Intersections’, a repertoire performance featuring six unique works by five choreographers. Columbia audiences will be blown away by the caliber of choreographers and dancers that have been assembled by Artistic/Executive director Karen Grundy. In addition to world premieres by Grundy and Resident Choreographer Fernando Rodriguez, ‘Intersections’ features original works by guest choreographers Sean Carmon (New York), Alice Bloch (St. Louis), and Joshua Blake Carter (Chicago). Presented by the University of Missouri Concert Series, ‘Intersections’ th th will be performed November 16 ​ and 17 ​ at the historic Missouri Theatre. ​ ​ The full company of nine professional dancers will take the stage in ‘Intersections’. Dancers travel from all across the country and internationally to perform full-time with Missouri Contemporary Ballet. Current company dancers hail from Michigan, Kansas, Missouri, Ohio, North Dakota, West Virginia and Brazil. The performance features returning audience favorites Nicole Bell, Elise Mosbacher, Anthony Sigler, Jose Soares, Meredith Green Soares, Kay Whitney & Alice Wells as well as debuting two new apprentices for the 2019-2020 season: Maria Hall and Joshua Velazquez. 1000 Details (2012) ​ Choreographer: Karen Mareck Grundy The industrial 1000 Details premiered in MCB’s 2012 performance of ‘Thirst’.
    [Show full text]
  • 2018 Taiwan Grand Prix International Ballet Competition 1
    2018 Taiwan Grand Prix International Ballet Competition 1 2018 Taiwan Grand Prix International Ballet Competition • Schedule & Location P1 • Registration P9 • TGPIBC scholarship presenter P2 • Payment P10 • Rules and Regulations P3 • Awards P10 • Evaluation Criteria P6 • Admission P11 • Music P7 • Repertoire P12-15 • Fees P8 • Contact Us P15 【 Competition Schedule & Location】 07.29 Open Class (For Ages 9 ~ graduate school Ballet sun students) 07.30 Mon- TGPIBC Workshop (Participant-only classes) 7F., No.56, Sec.2, Keelung 07.31 Tue *Not a part of the competition Rd., Xinyi Dist., Taipei Pre-Competitive 7/30 & 7/31 10:00-12:00 City 110, Junior 7/30 & 7/31 12:30-14:30 Senior 7/30 & 7/31 14:45-16:45 08.01 wed Preliminary Classes TBD Pre-competitive, Junior, Senior, Contemporary-Judge Mr.Toru will personally coach the piece he specifically designed for TGPIBC participants. 08.02 Thu Preliminary Stage Pre-competitive, Junior, Senior TBD Final Stage Contemporary, Ensemble 08.03 Fri Finalist classes, Final Competition 08.04 Sat 9:30-11:00 Awards ceremony 13:00-14:00 Lecture Gala performance 08.05 Sun 14:00-16:30 Gala performance 2018 Taiwan Grand Prix International Ballet Competition 2 【 TGPIBC Scholarship Presenters】 7 international judges and 11 partner schools will be providing entries/scholarships at their summer or year-round programs for 2018 TGPIBC. 「 The Ailey School ,USA」 -Founded by the legend of contemporary ballet Alvin Ailey 「San Francisco Ballet School, USA」 -San Francisco Ballet was the first professional ballet company in United
    [Show full text]