DOCSLIB.ORG

Orchestra Magazin Broj 28

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Orchestra Magazin Broj 28 Orchestra 28Januar / Maj 2004. Osnivaå, glavni i odgovorni urednik: Ivana Milovanoviñ, CID member, [email protected] Sadræaj: Mirjana Zdravkoviñ, kritiåar, [email protected] Jubilej 2 Nadeæda Mosusova, urednik podlistka Orchestra plus - Konci vremena sto godina od roðenja Balanãina Ålanovi redakcije: Juåe, danas, sutra (011) 10 Mr Vesna Kråmar, teatrolog balet Pesnik Åajkovski Minja Katiñ-Šerban, novinar-saradnik [email protected] Attachment 13 Ivana Milanoviñ, novinar-saradnik [email protected] Boris Ejfman o Åajkovskom Milica Ceroviñ, teoretiåar igre [email protected] Intervju 14 D. Dragiåeviñ, primabalerina Narodnog pozoriãta Juåe, danas, sutra (011) 17 Stalni saradnici: predstava Mammame Nela Antonoviñ, Dalija Añin, Dobrila Došen, Višnja Ðorðeviñ, Milica Intervju 18 Jovanoviñ, Aja Jung, Jelena Kajgo, Sofija Košniåar, Marijana Komljenoviñ, Jeane Claude Gallota Ksenija Šukuljeviñ-Markoviñ, Anika Radoševiñ, Isidora Stanišiñ, Teodora Sujiñ, Juåe, danas, sutra (011) 20 Vesna Vukajloviñ, Gabriela Tegleši Velimiroviñ, Milica Zajcev… San zimske noñi, Dæozefin, Body shop III Intervju 26 Katsura Kan Fotografi: Forum nezavisnih teatara 29 Miša Mustapiñ, Srðan Mihiñ, Goran Micevski, Milovan Kneæeviñ, Branko Juåe, danas, sutra (021) 31 Ignjatoviñ, Martina Ristiñ, Milan Radovanoviñ, Stevan Cvikiñ, Branko Luåiñ, Forum za novi ples Miomir Polzoviñ… Pogled u nepoznato 35 Dopisnici iz inostranstva: Info 36 Xenia Rakic/NEWYORK, Biserka Iliñ /BERLIN, Résumé Serbia and Montenegro 37 Helen Ciolkoviå/PARIS/Dragoslava Koprivica/PARIS, Francuska (Pariz) 40 Tamara Tomiñ-Vajagiñ/TORONTO, Breda Pretnar/LJUBLJANA Attachment 43 Neja Kos/LJUBLJANA, Maja Bezjak/ZAGREB, Tero Saarinen Mladen Mordej Vuåkoviñ/ZAGREB, Emilija Dæipunova/SKOPLJE, Gråka (Solun) 44 Tihomir Titizov/ SKOPLJE, Marija Softsi/SOLUN predstava Winterreise Marko Jobst/LONDON, Jenny Veldhuis/AMSTERDAM Hrvatska (Zagreb) 46 Labudovo jezero, Don Kihot, ZPA, Kaputt, Liberdance Grafiåki uredila: Tea Nikoliñ Kanada (Toronto) 53 Tehniåki savetnik: Dušan Ševiñ Nacionalni balet Kanade, World Moves Korice: Nenad Bañanoviñ Makedonija (Skoplje) 58 balet Ana Karenjina Adresa redakcije/Address: Nemaåka (Ãtudgart) 60 Ñirila i Metodija 2a/III, Beograd, predstava Lulu-åudoviãna tragedija Fax/tel. 00381 11 403-443 (posle 16h) Rumunija (Bukureãt) 62 Fax/tel. 00381 11 2606-630 Slovenija (Ljubljana) 63 Koncept Koncepta, Privlaåna protivnost Kompjuterski unos teksta: Gordana Krivokuña SAD (Njujork) 66 Ãvajcarska (Lozana) 71 Ãtampa: Prix de Lausanne 2004 GRAFONIN Baletska ãkola 74 Francuska 3, Beograd Akademija «Agripina VaganovaŸ Tel: 011 625 984 Orchestra mail 77 Jubilej 78 pedeset godina stvaralaãtva Mersa Kaningama Rukopisi se ne vrañaju. Orchestra cathedra 79 Kaningam tehnika Señanja 82 Societe Generale Yugoslav Bank AD - ekspozitura Genex D. Trniniñ, A. Ãurev Dinarski raåun: 908-0000000027501-22 (poziv na br. 05, rå. 302-310-32499) Résumé International Selection 85 Devizni raåun: 5475-978-32499 SWIFT: SOGYYUBG (na ime Ivana Milovanoviñ) ili Societe Generale, FFM SWIFT: SOGEDEFF; Societe Generale Paris 002012328000 SWIFT: SOGEFRPP; Commerzbank AG Frankfurt SWIFT: COBADEFF ISSN 0354-7922 CENA 400,00 DINARA Godiãnja pretplata: 1.000,00 din EU: 40E, USA 40$, Kanada etc: 45$ Naslovna strana/Cover page: The logo for Balanchine 100: The Centennial Celebration at New York City Ballet was inspired by a 1959 photograph by Henri Cartier-Bresson. It was designed and developed by Oberlander Design, Albany, New York, and is used courtesy of New York City Ballet. 1 Orchestra () 2004. Jubilej STO GODINA OD ROÐENJA KOREOGRAFA, IGRAÅA I PEDAGOGA ÆORÆA BALANÃINA (1904-1983) Opijen muzikom Georgij Melitonovi~ Balan~ivadze, poznatiji u baletskom svetu kao @or` ili D`ord` Balanšin, svakako nije jedini kore- ograf koji je voleo i razumeo muziku, ali je jedini koji je plesne vizije u svojim postavkama zasnivao koliko na rit- movima i melodijama, toliko i na unutrašnjoj strukturi muzi~kih partitura. Preko sto pedeset Balanšinovih dela, koja su postavljana i na muziku starih majstora i na savremena elektronska sazvu~ja poseduju jedan zajedni~ki imenitelj: bilo da su pisana specijalno za igru ili su prvobitno namenjena kon- certnom podijumu, uvek je muzika njegovo nadahnu}e i osnova na kojoj stvara svoje prekrasne plesne komade.Stil njegovih koreografija je, mo`da, i neadekvatno nazvan ‘’neoklasika’’, ali su one uvek bravurozno, do tan~ina pre- cizno i logi~no, do savršenstva lepo aran`irane s namerom da pokreti izvo|a~a budu fizi~ka ekstenzija muzike. Stoga nije preterano zaklju~iti da je Balanšin (na izvestan na~in) uvek bio ‘’opijen’’ muzikom na koju je koreografisao svoje balete. O tome svedo~i slede}a anegdota. Posle velikog uspeha baleta Igra~ke spirale ili Karakol na muziku Mocartovog Divertimenta br.15, dobar prijatelj je potra`io Balanšina da mu ~estita na izvanrednoj predstavi. Našao ga je u uglu mra~ne pozornice, samog i zanesenog. Neprestano je tiho ponavljao: Kakva divna muzika – slep i gluv za ~estitanja koja su `eleli da izraze zahvalni ljubitelji umetni~ke igre. I u drugim svojim delima Balanšin je ispoljavao izuzetnu sposobnost vizualizacije muzike na originalan na~in. On je smatrao da balet nije samo ples, ve} spoj muzike i igre i to nikako doslovan. Jer, po njemu, ne radi se o preciznoj Æoræ Balanãin, 1939 interpretaciji (notu po notu), niti ritmi~koj slici muzike od lestvice do lestvice. Njegove postavke su stoga dopuna muzici, nešto što joj koreograf dodaje polaze}i od raspolo`enja i duha odre|ene partiture. U svom poznatom bale- tu Kon~erto baroko, postavljenom na muziku Koncerta za dve violine i orkestar u d-mollu J.S. Baha, striktno se poš- tuje akademski stil igre, koji je u potpunoj saglasnosti s Bahovom pratiturom. Tako neoklasi~ne igra~ke forme svo- jom vizuelnom lepotom i jednostavnom strogoš}u u potpunosti odr`avaju ritam, emocionalni intenzitet i obojenost ove Bahove partiture. Tako se kvaliteti dva solo instrumenta (violine) suptilno reprodukuju na dva tela igra~ica - jedno je svetlo, visoko, sjajno, a drugo je tamno obojenih tonova, ~vrš}e u pokretu, bli`e zemlji. dobri baleti su kao planete Uz izuzetnu maštovitost, besprekorno poznavanje zakona klasi~ne igra~ke tehnike i njenih savremenih transpozi- cija, kristalna ~istota plesnih oblika, koji izviru iz emocionalnih i misaonih asocijacija velikih muzi~kih dela – uvek su bili Balanšinovo nadahnu}e i preokupacija. U svojim razmišljanjima o suštini umetni~ke igre on je napisao: Dobri baleti se kre}u u prostoru i vremenu kao ~vrsta tela, kao planete. U toj svojoj kompaktnosti igra ne sledi muziku, ve} sa njom ravnopravno sara|uje. U svojoj postavci baleta Serenada na muzuku Serenade za guda~e u C-duru P.I. ^ajkovskog on nastoji i uspeva da postigne jedinstvo igre i muzike, pa da misao kompozitora nadgradi svojim plesnim vizijama. Pri tome isti~e sadr`ajnost, dinami~an tok, figuralnu raznovrsnost, i više od svega, skladnost i lepotu igra~kih kompozicija. Objašnjavaju}i svoj odnos prema muzici, Balanšin je pisao: Svi mi imamo odre|ena ose}anja kada ~ujemo neki muzi~ki komad. Sopstvene emocije ima, naravno, i koreograf. On ta svoja ose}anja izra`ava postaljanjem ljudi na pozornicu na odre|en na~in, pa aran`ira njhove pokrete tako da oni imaju odre|eni kvalitet. Taj kvalitet vedrog raspo- lo`enja i raskošnosti neoklasi~nog igra~kog jezika Balanšin je postigao, na primer, u svom baletu Kristalna palata na muziku Simfonije C-dur @or`a Bizea. Teme s varijacijama za klavir i guda~e Pola Hindemita pod nazivom ^etiri temperamenta, komponovane su speci- jalno za Balanšinov ansambl – Njujork Siti Balet. Ovo je apstraktan balet, ali poseduje (umesto klasi~ne, narativne radnje) odre|eni sadr`aj. A njega sugeriše muzika. On se iskazuje akademskim plesnim formama oboga}enim iskustvima modernog baletskog izraza. Na taj na~in Balanšin posti`e uzbudljiviju i raznovrsniju sadr`ajnost u svo- jim delima, nego što to pru`aju tradicionalni klasi~ni baleti, koji imaju odre|enu ‘’pri~u’’. Tako je na Hindemitova ^etiri temperamenta Balanšin postavio ~etiri razli~ite varijacije: prva je setno pateti~na i predstavlja igra~ku trans- poziciju osnovne trodelne teme s aspekta melanholi~nog temperamenta; u slede}oj varijaciji sangvinik izra`ava Smaragdi, Æ. Balanãin & Merrill Ashley NYCB, 1977 svoja raspolo`enja poletnom igriom u ritmu valcera; tre}u varijaciju ostvaruje flegmatik u blagom, humornom raspolo`enju, dok `estoki i vatreni temperament kolerika, u poslednjoj, ~etvrtoj varijaciji, biva predstavljen burno uz teatralni patos. Serenada, Kyra Nichols, Kipling Hauston i Helene Alexopoulos Orchestra () 2004. 2 PAUL KOLNIK 3 Orchestra () 2004. 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 1. Chaconne, J. Fugate & P. Boal/ 2. Harlequinade, E. Stiefel/ 3. Davidsbundlertanze / 4.Violin Concerto,J.Soto & W.Whelan/ 5. Emeralds (Jewels), S.Lavery & K.von Aroldingen 6. Violin Concerto, A.Evans & W.Whelan/ 7. Orpheus, N.Martins/ 8. Apollo, P. Boal/ 9. The Nutcracker, K. Nichols / 10. Firebird, J. Soto & K. Tracey 11. Diamonds (Jewls). L.Fischer & K.Nichols/ 12. Divertimento No. 15, P.Neal & C.Körbes/ 13. The Nutcracker, M.Weese/14. Tchaikovsky Pas de Deux, P.McBride 15. Wester Simphony, A. Evans/ 16. Kammermusic No. 2/ 17. Rubies (Jewels) * PHOTOS BY COSTAS Orchestra () 2004. 4 inovacije su transformacija starog U svom koreografskom opusu Balanšin je predstavljao na svoj na~in, klasi~ne balete kao što su Labudovo jezero, Uspavana lepotica, Krcko Oraš~i} P.I. ^ajkovskog, Kopelija Deliba i druge. Smatrao je da svojim ino- vacijama transformiše staro na savremeniji na~in, lišavaju}i ga svake pantomime, stavljaju}i u prvi plan barvuroznu tehniku i perfekciju u izvo|enju najslo`enijih igra~kih virtuoznosti iz re~nika klasi~ne baletske tradicije. Njegov ^ajkovski Pas de deux je primer na koji na~in Balanšin uslo`njava plesnu tehniku, tako da ovaj duet mogu izvesti samo balerine i igra~i koji poseduju besprekornu klasi~nu tehniku. Stoga je taj duet ~esto jedan od va`nih zadataka na me|unarodnim baletskim takmi~enjima za mlade baletske umetnike. sve što je napisao Stravinski moglo bi da se igra Veliki deo svog koreografskog stvaralaštva Balanšin je zasnovao na partiturama Igora Stravinskog.
Load more

Recommended publications
  • Jacob's Pillow Dance Festival 2018 Runs June 20-August 26 with 350+ Performances, Talks, Events, Exhibits, Classes & Works
    NATIONAL MEDAL OF ARTS | NATIONAL HISTORIC LANDMARK ​ FOR IMAGES AND MORE INFORMATION CONTACT: Nicole Tomasofsky, Public Relations and Publications Coordinator 413.243.9919 x132 [email protected] JACOB’S PILLOW DANCE FESTIVAL 2018 RUNS JUNE 20-AUGUST 26 WITH 350+ PERFORMANCES, TALKS, EVENTS, EXHIBITS, CLASSES & WORKSHOPS April 26, 2018 (Becket, MA)—Jacob’s Pillow announces the Festival 2018 complete schedule, encompassing over ten weeks packed with ticketed and free performances, pop-up performances, exhibits, talks, classes, films, and dance parties on its 220-acre site in the Berkshire Hills of Western Massachusetts. Jacob’s Pillow is the longest-running dance festival in the United States, a National Historic Landmark, and a National Meal of Arts recipient. Founded in 1933, the Pillow has recently added to its rich history by expanding into a year-round center for dance research and development. 2018 Season highlights include U.S. company debuts, world premieres, international artists, newly commissioned work, historic Festival connections, and the formal presentation of work developed through the organization’s growing residency program at the Pillow Lab. International artists will travel to Becket, Massachusetts, from Denmark, Israel, Belgium, Australia, France, Spain, and Scotland. Notably, representation from across the United States includes New York City, Minneapolis, Houston, Philadelphia, San Francisco, and Chicago, among others. “It has been such a thrill to invite artists to the Pillow Lab, welcome community members to our social dances, and have this sacred space for dance animated year-round. Now, we look forward to Festival 2018 where we invite audiences to experience the full spectrum of dance while delighting in the ​ magical and historic place that is Jacob’s Pillow.
    [Show full text]
  • The Caramel Variations by Ian Spencer Bell from Ballet Review Spring 2012 Cover Photograph by Stephanie Berger, BAM : Silas Riener in Merce Cunningham’S Split Sides
    Spring 2012 Ball et Review The Caramel Variations by Ian Spencer Bell from Ballet Review Spring 2012 Cover Photograph by Stephanie Berger, BAM : Silas Riener in Merce Cunningham’s Split Sides . © 2012 Dance Research Foundation, Inc. All rights reserved. 4 Moscow – Clement Crisp 5 Chicago – Joseph Houseal 6 Oslo – Peter Sparling 9 Washington, D. C. – George Jackson 10 Boston – Jeffrey Gantz 12 Toronto – Gary Smith 13 Ann Arbor – Peter Sparling 16 Toronto – Gary Smith 17 New York – George Jackson Ian Spencer Bell 31 18 The Caramel Variations Darrell Wilkins 31 Malakhov’s La Péri Francis Mason 38 Armgard von Bardeleben on Graham Don Daniels 41 The Iron Shoe Joel Lobenthal 64 46 A Conversation with Nicolai Hansen Ballet Review 40.1 Leigh Witchel Spring 2012 51 A Parisian Spring Editor and Designer: Marvin Hoshino Francis Mason Managing Editor: 55 Erick Hawkins on Graham Roberta Hellman Joseph Houseal Senior Editor: 59 The Ecstatic Flight of Lin Hwa-min Don Daniels Associate Editor: Emily Hite Joel Lobenthal 64 Yvonne Mounsey: Encounters with Mr B 46 Associate Editor: Nicole Dekle Collins Larry Kaplan 71 Psyché and Phèdre Copy Editor: Barbara Palfy Sandra Genter Photographers: 74 Next Wave Tom Brazil Costas 82 London Reporter – Clement Crisp 89 More Balanchine Variations – Jay Rogoff Associates: Peter Anastos 90 Pina – Jeffrey Gantz Robert Gres kovic 92 Body of a Dancer – Jay Rogoff George Jackson 93 Music on Disc – George Dorris Elizabeth Kendall 71 100 Check It Out Paul Parish Nancy Reynolds James Sutton David Vaughan Edward Willinger Cover Photograph by Stephanie Berger, BAM : Silas Riener Sarah C.
    [Show full text]
  • A STAR SPANGLED OFFICERS Harvey Lichtenstein President and Chief Executive Officer SALUTE to BROOKLYN Judith E
    L(30 '11 II. BROOKLYN ACADEMY OF MUSIC BOARD OF TRUSTEES Hon. Edward I. Koch, Hon. Howard Golden, Seth Faison, Paul Lepercq, Honorary Chairmen; Neil D. Chrisman, Chairman; Rita Hillman, I. Stanley Kriegel, Ame Vennema, Franklin R. Weissberg, Vice Chairmen; Harvey Lichtenstein, President and Chief Executive Officer; Harry W. Albright, Jr., Henry Bing, Jr., Warren B. Coburn, Charles M. Diker, Jeffrey K. Endervelt, Mallory Factor, Harold L. Fisher, Leonard Garment, Elisabeth Gotbaum, Judah Gribetz, Sidney Kantor, Eugene H. Luntey, Hamish Maxwell, Evelyn Ortner, John R. Price, Jr., Richard M. Rosan, Mrs. Marion Scotto, William Tobey, Curtis A. Wood, John E. Zuccotti; Hon. Henry Geldzahler, Member ex-officio. A STAR SPANGLED OFFICERS Harvey Lichtenstein President and Chief Executive Officer SALUTE TO BROOKLYN Judith E. Daykin Executive Vice President and General Manager Richard Balzano Vice President and Treasurer Karen Brooks Hopkins Vice President for Planning and Development IN HONOR OF THE 100th ANNIVERSARY Micheal House Vice President for Marketing and Promotion ADMINISTRATIVE OFFICE STAFF OF THE Ruth Goldblatt Assistant to President Sally Morgan Assistant to General Manager David Perry Mail Clerk BROOKLYN BRIDGE FINANCE Perry Singer Accountant Tuesday, November 30, 1982 Jack C. Nulsen Business Manager Pearl Light Payroll Manager MARKETING AND PROMOTION Marketing Nancy Rossell Assistant to Vice President Susan Levy Director of Audience Development Jerrilyn Brown Executive Assistant Jon Crow Graphics Margo Abbruscato Information Resource Coordinator Press Ellen Lampert General Press Representative Susan Hood Spier Associate Press Representative Diana Robinson Press Assistant PLANNING AND DEVELOPMENT Jacques Brunswick Director of Membership Denis Azaro Development Officer Philip Bither Development Officer Sharon Lea Lee Office Manager Aaron Frazier Administrative Assistant MANAGEMENT INFORMATION Jack L.
    [Show full text]
  • FOR IMMEDIATE RELEASE CONTACT Mary Lugo 770-623
    FOR IMMEDIATE RELEASE CONTACT Mary Lugo 770-623-8190 [email protected] Cara White 843-881-1480 [email protected] Voleine Amilcar, ITVS 415-356-8383 [email protected] For downloadable images, visit itvs.org/pressroom/photos For the program companion website, visit pbs.org/independentlens/waterflowingtogether/ GWENDOLEN CATES’S “WATER FLOWING TOGETHER,” AN INTIMATE PORTRAIT OF DANCER JOCK SOTO, TO HAVE ITS BROADCAST PREMIERE ON THE EMMY AWARD–WINNING PBS SERIES INDEPENDENT LENS ON TUESDAY, APRIL 8, 2008, AT 10:00 PM (San Francisco, CA)—Poignant and revealing, WATER FLOWING TOGETHER tells the story of one of the most influential modern ballet dancers—New York City Ballet’s Jock Soto. The debut film by acclaimed photographer Gwendolen Cates, WATER FLOWING TOGETHER will have its broadcast premiere on the Emmy Award–winning PBS series Independent Lens, hosted by Terrence Howard, on Tuesday, April 8, 2008, at 10:00 PM (check local listings). Called “one of ballet’s most creative personalities” by New York Times dance critic Anna Kisselgoff, Soto graced the stage of the New York State Theater for an amazing 24 years, partnering with such great ballerinas as Heather Watts, Darci Kistler and Wendy Whelan. When we meet Soto in WATER FLOWING TOGETHER, he is 40 and facing the daunting prospect of retiring from the only life he has ever known or desired. Soto was born on the Navajo Indian reservation in 1965, to a Navajo mother and a Puerto Rican father. And at that time and in that place, ballet dancing for boys was virtually unheard of.
    [Show full text]
  • Dance Theatre of Harlem
    François Rousseau François DANCE THEATRE OF HARLEM Founders Arthur Mitchell and Karel Shook Artistic Director Virginia Johnson Executive Director Anna Glass Ballet Master Kellye A. Saunders Interim General Manager Melinda Bloom Dance Artists Lindsey Croop, Yinet Fernandez, Alicia Mae Holloway, Alexandra Hutchinson, Daphne Lee, Crystal Serrano, Ingrid Silva, Amanda Smith, Stephanie Rae Williams, Derek Brockington, Da’Von Doane, Dustin James, Choong Hoon Lee, Christopher Charles McDaniel, Anthony Santos, Dylan Santos, Anthony V. Spaulding II Artistic Director Emeritus Arthur Mitchell PROGRAM There will be two intermissions. Friday, March 1 @ 8 PM Saturday, March 2 @ 2 PM Saturday, March 2 @ 8 PM Zellerbach Theatre The 18/19 dance series is presented by Annenberg Center Live and NextMove Dance. Support for Dance Theatre of Harlem’s 2018/2019 professional Company and National Tour activities made possible in part by: Anonymous; The Arnhold Foundation; Bloomberg Philanthropies; The Dauray Fund; Doris Duke Charitable Foundation; Elephant Rock Foundation; Ford Foundation; Ann & Gordon Getty Foundation; Harkness Foundation for Dance; Howard Gilman Foundation; The Dubose & Dorothy Heyward Memorial Fund; The Klein Family Foundation; John L. McHugh Foundation; Margaret T. Morris Foundation; National Endowment for the Arts; New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature; New England Foundation for the Arts, National Dance Project; Tatiana Piankova Foundation; May and Samuel Rudin
    [Show full text]
  • 2Nd Annual Some Enchanted Evening ~ a Night of Broadway Song & Dance ~
    FOR IMMEDIATE RELEASE Contact: Susan Gordon, [email protected], (310) 871-0621 Annette Johnson, [email protected], (909) 525-0515 Inland Pacific Ballet presents 2nd Annual Some Enchanted Evening ~ A Night of Broadway Song & Dance ~ With Special Guest Patrick Cassidy ~ One Night Only! Saturday, September 22, 2018 Actor Patrick Cassidy, best known for his roles in musical theatre and television, headlines Some Enchanted Evening ~ A Night of Broadway Song & Dance to benefit Inland Pacific Ballet, the professional ballet company based in the Inland Empire. This 2nd annual intimate cabaret evening features song and dance by Inland Pacific Ballet dancers and Academy students, cocktails, hor d’oeuvres, dessert, silent/live auction, and is hosted by IPB Associate Director Jonathan Sharp (The Red Shoes, Carousel, The Rocky Horror Show Live, The Dance of the Vampires, Fiddler on the Roof). Some Enchanted Evening takes place on Saturday, September 22 at 6 p.m., at Inland Pacific Ballet located at 9061 Central Avenue, Montclair, 91763. All proceeds benefit Inland Pacific Ballet’s 2018-2019 season of performances and educational outreach programs. If you are unable to attend, please consider making a tax-deductible donation. "For the second year in a row, I’m honored to produce Some Enchanted Evening, a chic, festive fundraising event to benefit Inland Pacific Ballet,” exclaims Sharp. “This year we are thrilled to have as our special guest from the Broadway stage, Patrick Cassidy. Patrick and I along with members of the Ballet Company have put together a fabulous, fun show with songs like Pure Imagination from Willy Wonka and the Chocolate Factory, Agony from Into the Woods, Lily’s Eyes from The Secret Garden, Cell Block Tango from Chicago, and more.
    [Show full text]
  • Vidéos Danse Documentaire (2012)
    Vidéos Danse Documentaire 2012 2 MÉDIATHÈQUE DE LA MEINAU La Médiathèque de la Meinau vous propose un espace consacré aux Arts du spectacle vivant et développe un fonds important de documents sur la danse, le cirque, le théâtre, l'humour, les comédies musicales, le cinéma et la musique. Vous y trouverez des DVD, des VHS, des CD, des livres, des magazines et des CD-ROM. Nos documents recouvrent tous les types de danse : contemporaine, classique, urbaine, du monde. Dépositaire à sa création du fonds Images de la Culture/danse , la Médiathèque complète ce fonds par des documents du catalogue du Centre National de la Culture, et de l'ensemble de la production actuelle. Plus de 500 vidéos constituent aujourd'hui le fonds, proposées en consultation sur place et/ou à emprunter. La majorité des vidéos est empruntable. Vous trouverez une indication supplémentaire pour les documents consultables sur place. A ce fonds audiovisuel s’ajoutent des magazines spécialisés empruntables, des CD de musique chorégraphique, ainsi que 200 livres pour un public adulte et jeune : histoires de la danse, biographies de danseurs et chorégraphes, ouvrages théoriques sur les pratiques de la danse. Deux espaces de consultation sont mis à votre disposition pour visionner sur place les vidéos du fonds. Les groupes et les classes peuvent réserver la salle d'animation pour une projection collective. Les Samedis de la danse Depuis septembre 2006, l'équipe de la Médiathèque a mis en place un rendez-vous mensuel pour les amoureux ou curieux de la danse. Chaque troisième samedi du mois, à 15h, une projection est organisée pour vous faire découvrir un artiste, un spectacle ou un genre particulier.
    [Show full text]
  • Michael Langlois
    Winter 2 017-2018 B allet Review From the Winter 2017-1 8 issue of Ballet Review A Conversation with Heather Watts by Michael Langlois © 2017 Dance Research Foundation, Inc. 4 New York – Elizabeth McPherson 6 Washington, D.C. – Jay Rogoff 7 Miami – Michael Langlois 8 Toronto – Gary Smith 9 New York – Karen Greenspan 11 Paris – Vincent Le Baron 12 New York – Susanna Sloat 13 San Francisco – Rachel Howard 15 Hong Kong – Kevin Ng 17 New York – Karen Greenspan 19 Havana – Susanna Sloat 46 20 Paris – Vincent Le Baron 22 Jacob’s Pillow – Jay Rogoff 24 Letter to the Editor Ballet Review 45.4 Winter 2017-2018 Lauren Grant 25 Mark Morris: Student Editor and Designer: Marvin Hoshino and Teacher Managing Editor: Joel Lobenthal Roberta Hellman 28 Baranovsky’s Opus Senior Editor: Don Daniels 41 Karen Greenspan Associate Editors: 34 Two English Operas Joel Lobenthal Larry Kaplan Claudia Roth Pierpont Alice Helpern 39 Agon at Sixty Webmaster: Joseph Houseal David S. Weiss 41 Hong Kong Identity Crisis Copy Editor: Naomi Mindlin Michael Langlois Photographers: 46 A Conversation with Tom Brazil 25 Heather Watts Costas Associates: Joseph Houseal Peter Anastos 58 Merce Cunningham: Robert Gres kovic Common Time George Jackson Elizabeth Kendall Daniel Jacobson Paul Parish 70 At New York City Ballet Nancy Reynolds James Sutton Francis Mason David Vaughan Edward Willinger 22 86 Jane Dudley on Graham Sarah C. Woodcock 89 London Reporter – Clement Crisp 94 Music on Disc – George Dorris Cover photograph by Tom Brazil: Merce Cunningham in Grand Central Dances, Dancing in the Streets, Grand Central Terminal, NYC, October 9-10, 1987.
    [Show full text]
  • Gp 3.Qxt 7/14/17 12:16 PM Page 1
    07-22 Jewels (Eve).qxp_Gp 3.qxt 7/14/17 12:16 PM Page 1 Lincoln Center Festival lead support is provided by American Express July 22 David H. Koch Theater Bolshoi Ballet Ballet Director Makhar Vaziev New York City Ballet Ballet Master in Chief Peter Martins Paris Opera Ballet Director of Dance Aurélie Dupont Jewels Choreography George Balanchine © The George Balanchine Trust Set Design Peter Harvey Lighting Design Mark Stanley New York City Ballet Orchestra Music Director Andrew Litton Approximate running time: 2 hours and 10 minutes, with two intermissions This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Made possible in part by members of the Producers Circle Major support is provided by LuEsther T. Mertz Charitable Trust. Additional support is provided by Jennie L. and Richard K. DeScherer, the Lepercq Charitable Foundation in Memory of Paul Lepercq, The Harkness Foundation for Dance, and The Joelson Foundation. Endowment support for the Lincoln Center Festival 2017 presentation of Jewels is provided by Blavatnik Family Foundation Fund for Dance. Public support for Festival 2017 is provided by the New York City Department of Cultural Affairs and New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. The Bolshoi Theatre gratefully acknowledges the support of its General Sponsor, Credit Suisse. Travelers is the Global Sponsor of New York City Ballet. 07-22 Jewels (Eve).qxp_Gp 3.qxt 7/14/17 12:16 PM Page 2 LINCOLN CENTER FESTIVAL 2017 JEWELS July 22, 2017, at 7:30 p.m.
    [Show full text]
  • VAI 2005 Fall Catalog.Pmd
    2005 FALL CATALOGUE THE LEADER IN RECORDINGS OF HISTORIC PERFORMANCES AND RARE REPERTOIRE A-18 GEN TWO NEW DVDS IN ALICIA ALONSO ON VVVAI’sss BROADWAAAY SERIES Listing on page 2 Listings on page 3 New Compact Disc Releases on Page 22 These and other recent VAI DVD releases pp. 2-8! New Hardy & Kicco Classics DVDs on Page 21 A Tribute to the “Voice of an Angel” Listing on page 3 Listing on page 3 February 1, 1922 ••• December 20, 2004 Details of this 2-DVD retrospective on page 3 Listing on page 7 Listing on page 6 From the President of VAI Recently Released Dance & Orchestral DVDs from VAI Dear Friends, Our current listings feature some of HARDY CLASSICS DVD Broadway’s brightest stars. Most of this material derives from the rich archives of the Bell Telephone Hour which has provided us with performances by some of the greatest artists from the worlds of opera, dance and the concert stage. The Broadway offerings were no less luminous with star turns from such legendary greats as Ethel Merman, Barbara Cook, Robert Goulet, Alfred Drake, Carol Lawrence, Larry Kert, Dolores Gray John Raitt, Howard Keel and Gretchen Wyler. Highlighting our new releases are TWO NEW DANCE DVDS FROM VAI DVDs devoted to the art of Barbara Cook and Carol Lawrence. Both ladies ALICIA ALONSO – PRIMA BALLERINA ASSOLUTA This GISELLE are still very much in the public eye. compilation from 1958 to 1985 includes extracts from many of Alicia Miss Cook, a cabaret favorite, is about NUREYEV • FRACCI Alonso’s most celebrated roles.
    [Show full text]
  • Ballet Basics an Educational Booklet for Teachers and Students
    Ballet Basics An Educational Booklet for Teachers and Students Prepared by BALLET BASICS BALLET HISTORY Ballet began in Italy and France 400 years ago. The “Sun King”, King Louis XIV of France, began the first school of dance. This is why the official language of ballet is French. WHO DOES BALLET? In the beginning, ballet was only performed by royalty in the courts of kings and queens. Now, people of all ages and backgrounds learn ballet. Boys and girls around the world take ballet classes and dream of becoming famous dancers. DanceChance Level II students in the 33rd Annual Former PNB dancers Kaori Nakamura and Lucien Postelwaite School Performance in Kent Stowell’s Swan Lake It takes ten years or more to become a professional dancer. Most dancers start training when they are seven or eight years old. Dancers typically start auditioning for jobs in ballet companies when they graduate from high school or college. BALLET AND SPORTS There are many similarities between ballet and sports. Both dance and sports require strength, speed, balance, flexibility, and endurance. Male dancers have to be strong to lift women above their head and do big jumps and turns. Lesley Rausch and Karel Cruz with PNB Company dancers and PNB School students in Ronald Hynd’s The Sleeping Beauty PNB Company dancers in Jerome Robbins’ Glass Pieces Women must have strong ankles and feet to wear pointe shoes. Often, dancers use exercise machinesIn ballet, andone liftof theweights most to common build their strength and endurance. PNB Principal dancer Lindsi Dec BALLET VOCABULARY In ballet, one of the most common movements is called a plié [plee-AY].
    [Show full text]
  • Dance Theatre of Harlem Comes Full Circle in Returning to Jacob’S Pillow This Summer Celebrating Their 50Th Annual Gifts of $10,000 and Above
    PILLOWNOTES JACOB’S PILLOW EXTENDS SPECIAL THANKS by Theresa Ruth Howard TO OUR VISIONARY LEADERS The PillowNotes series comprises essays commissioned from our Scholars-in-Residence to provide audiences with a broader context for viewing dance. VISIONARY LEADERS form an important foundation of support and demonstrate their passion for and commitment to Jacob’s Pillow through Dance Theatre of Harlem comes full circle in returning to Jacob’s Pillow this summer celebrating their 50th annual gifts of $10,000 and above. anniversary, as the company made its debut here in 1970. Half a century later, though much in the world has moved rapidly forward, ironically the state of blacks in ballet has waxed as much as it has waned. Founded by pedagogue Their deep affliliation ensures the success and longevity of the Karel Shook and former New York City Ballet Principal dancer Arthur Mitchell, DTH’s mission was to prove that Pillow’s annual offerings, including educational initiatives, free public blacks could do ballet, and provide a place for them to do so, not to diversify ballet. programs, The School, the Archives, and more. Standing in the midst of ballet’s frenetic efforts to diversify, we see that even as DTH was proving the veracity of black ballet talent, this was not an incentive for white directors to hire them into their companies. It actually had PRESENTS $25,000+ quite the opposite effect, with DTH becoming the default, or catch all. Directors regularly suggested, “Why don’t you go to Dance Theatre of Harlem?” to rejected brown ballet dancers. As a result, DTH became a beautiful oasis DANCE THEATRE OF HARLEM Carole* & Dan Burack Christopher Jones* & Deb McAlister for brown dancers, often unique one-of-a-kinds, who didn’t fit into ballet’s status quo but whom Mitchell knew just The Barrington Foundation Wendy McCain how to use and draw the best out of.
    [Show full text]