Narrative Aspects of Kenneth Macmillan's Ballet the Invitation
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Radio 3 Listings for 10 – 16 January 2015 Page
Radio 3 Listings for 10 – 16 January 2015 Page 1 of 10 SATURDAY 10 JANUARY 2015 5:01 AM SAT 14:00 Saturday Classics (b04xrnhb) Brahms, Johannes (1833-1897) Simon Heffer: Best of British Playlist SAT 01:00 Through the Night (b04wmy50) Academic Festival Overture, Op.80 Casals Quartet BBC National Orchestra of Wales, Grant Llewellyn Episode 2 (Conductor) The Casals Quartet play Mozart, Ligeti and Brahms. Presented Inspired by Radio 3 Breakfast's "Best of British" playlist which by Jonathan Swain. 5:12 AM ran throughout 2014, journalist Simon Heffer continues the Vivaldi, Antonio (1678-1741) choice of his favourite music by British composers, including 1:01 AM Concerto in D minor for strings and basso continuo (RV.128) works by Frank Bridge, Gerald Finzi, Herbert Howells, Eric Mozart, Wolfgang Amadeus (1756-1791) Arte dei Suonatori, Eduardo Lopez (conductor) Coates and George Lloyd. String Quartet in C major (K.465) "Dissonance" Casals Quartet: Vera Martínez-Mehner and Abel Tomàs 5:18 AM (violins), Jonathan Brown (viola), Arnau Tomàs (cello) Strauss, Richard (1864-1949) SAT 16:00 Sound of Cinema (b04xrnhd) Der Abend (Op.34 No.1) for 16 part choir Film Musicals - The Last 50 Years 1:29 AM Danish National Radio Choir, Stefan Parkman (conductor) Ligeti, Gyorgy (1923-2009) The Sound of Music with Julie Andrews is 50 years old - in the Quartet no. 1 (Metamorphoses nocturnes) for strings 5:27 AM week of the release of Sondheim's screen version of Into The Casals Quartet Chopin, Fryderyk [1810-1849] Woods, Matthew Sweet looks back on the last half century of Krakowiak - rondo for piano and orchestra (Op.14) in F major the screen musical. -
UNITEL PROUDLY REPRESENTS the INTERNATIONAL TV DISTRIBUTION of Browse Through the Complete Unitel Catalogue of More Than 2,000 Titles At
UNITEL PROUDLY REPRESENTS THE INTERNATIONAL TV DISTRIBUTION OF Browse through the complete Unitel catalogue of more than 2,000 titles at www.unitel.de Date: March 2018 FOR CO-PRODUCTION & PRESALES INQUIRIES PLEASE CONTACT: Unitel GmbH & Co. KG Gruenwalder Weg 28D · 82041 Oberhaching/Munich, Germany Tel: +49.89.673469-613 · Fax: +49.89.673469-610 · [email protected] Ernst Buchrucker Dr. Thomas Hieber Dr. Magdalena Herbst Managing Director Head of Business and Legal Affairs Head of Production [email protected] [email protected] [email protected] Tel: +49.89.673469-19 Tel: +49.89.673469-611 Tel: +49.89.673469-862 WORLD SALES C Major Entertainment GmbH Meerscheidtstr. 8 · 14057 Berlin, Germany Tel.: +49.30.303064-64 · [email protected] Elmar Kruse Niklas Arens Nishrin Schacherbauer Managing Director Sales Manager, Director Sales Sales Manager [email protected] & Marketing [email protected] [email protected] Nadja Joost Ira Rost Sales Manager, Director Live Events Sales Manager, Assistant to & Popular Music Managing Director [email protected] [email protected] CONTENT BRITTEN: GLORIANA Susan Bullock/Toby Spence/Kate Royal/Peter Coleman-Wright Conducted by: Paul Daniel OPERAS 3 Staged by: Richard Jones BALLETS 8 Cat. No. A02050015 | Length: 164' | Year: 2016 DONIZETTI: LA FILLE DU RÉGIMENT Natalie Dessay/Juan Diego Flórez/Felicity Palmer Conducted by: Bruno Campanella Staged by: Laurent Pelly Cat. No. A02050065 | Length: 131' | Year: 2016 OPERAS BELLINI: NORMA Sonya Yoncheva/Joseph Calleja/Sonia Ganassi/ Brindley Sherratt/La Fura dels Baus Conducted by: Antonio Pappano Staged by: Àlex Ollé Cat. -
Autori / Contributors
Studi irlandesi. A Journal of Irish Studies, n. 2 (2012), pp. 505-510 http://www.fupress.com/bsfm-sijis Autori / Contributors Arianna Antonielli (<[email protected]>) earned her PhD in English and American Studies at the University of Florence. She is currently edi- tor in chief of the Open Access Publishing Workshop (Dept. Comparative Languages, Literatures and Cultures), journal manager of the OA journals «LEA», «Studi irlandesi. A Journal of Irish Studies», and «Journal of Early Modern Studies», as well as editorial secretary of the OA series “Biblioteca di Studi di Filologia Moderna” and web master of their websites. She is the author of William Blake e William Butler Yeats. Sistemi simbolici e costruzioni poetiche (2009) and W.B. Yeats’s and J.E. Ellis’s manuscript version of The Works of William Blake: Poetic, Symbolic and Critical. A Manuscript Edition with Critical Analysis (forthcoming 2013). She has written essays on T.S. Eliot, W. Blake, W.B. Yeats, A. Gyles, A. France, and C.A. Smith. Davide Barbuscia (<[email protected]>) holds a PhD in Anglo- American Studies. Among his interests: the 18th century English novel, Mikhail Bakhtin, Samuel Beckett, Don DeLillo, post-modern theory, the philosophy of time, the relationship between cinema and literature. His PhD dissertation on DeLillo and Beckett was awarded the Firenze University Press Prize 2012 and is due to be published in 2013. Matteo Binasco (<[email protected]>) is research fellow at the Institute of History of Mediterranean Europe of Italy’s National Research Council (CNR). He is the author of Viaggiatori e missionari nel Seicento (2006), editor of Little Do We Know. -
The Theatre of the Real Yeats, Beckett, and Sondheim
The Theatre of the Real MMackenzie_final4print.indbackenzie_final4print.indb i 99/16/2008/16/2008 55:40:32:40:32 PPMM MMackenzie_final4print.indbackenzie_final4print.indb iiii 99/16/2008/16/2008 55:40:50:40:50 PPMM The Theatre of the Real Yeats, Beckett, and Sondheim G INA MASUCCI MACK ENZIE THE OHIO STATE UNIVERSITY PRESS • COLUMBUS MMackenzie_final4print.indbackenzie_final4print.indb iiiiii 99/16/2008/16/2008 55:40:50:40:50 PPMM Copyright © 2008 by Th e Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data MacKenzie, Gina Masucci. Th e theatre of the real : Yeats, Beckett, and Sondheim / Gina Masucci MacKenzie. p. cm. Includes bibliographical references and index. ISBN 978–0–8142–1096–3 (cloth : alk. paper)—ISBN 978–0–8142–9176–4 (cd-rom) 1. English drama—Irish authors—History and criticism—Th eory, etc. 2. Yeats, W. B. (William Butler), 1865–1939—Dramatic works. 3. Beckett, Samuel, 1906–1989—Dramatic works. 4. Sondheim, Stephen—Criticism and interpretation. 5. Th eater—United States—History— 20th century. 6. Th eater—Great Britain—History—20th century. 7. Ireland—Intellectual life—20th century. 8. United States—Intellectual life—20th century. I. Title. PR8789.M35 2008 822.009—dc22 2008024450 Th is book is available in the following editions: Cloth (ISBN 978–0–8142–1096–3) CD-ROM (ISBN 978–0–8142–9176–4) Cover design by Jason Moore. Text design by Jennifer Forsythe. Typeset in Adobe Minion Pro. Printed by Th omson-Shore, Inc. Th e paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. -
A Mixed Blessing at the Ballet 01
Daily Telegraph July 28 2001 A mixed blessing at the ballet Photo Sheila Rock As Anthony Dowell leaves the Royal Ballet, dance critic Ismene Brown assesses his 15-year regime as director - and stars pay tribute below AT THE Royal Ballet the countdown has begun to the end of an era. A week tonight, amid flowers, Champagne and tears, Sir Anthony Dowell, the longest-serving ballet director since the company’s founder, Ninette de Valois, will end his 15-year regime. He was undoubtedly one of the great world stars of dancing, and the “Celebration Programme” will mark his achievements as such. But about his success as director of the company, opinion is far from unanimous. What makes a good director? The question has never been more of a poser than during Dowell\s captaincy of the ballet, in the most turbulent years of the Royal Opera House’s history. There are many pluses on Dowell’s account sheet - his maintenance of high classical technical standards, his welcoming of key foreign artists into the Royal (particularly Sylvie Guillem and Irek Mukhamedov), his inspiring coaching, to which leading guest stars attest opposite. The rise of Darcey Bussell to world acclaim, the forging of a superb partnership between Mukhamedov and Viviana Durante, this final, nostalgic and beautiful 2000-01 season - these are positive memories. He will be noted as a conservative, and many welcomed this after an insecure period of modernising under his predecessor, Norman Morrice. Whether conservatism has served the company well for the future, though, is debatable. In the shifting landscape of ballet, conservatism is not enough to hold steady. -
Leanne Benjamin Built for Ballet
October 2021 M October 2021 Melbourne Books LEANNE BENJAMIN An Autobiography BUILT FOR BALLET LEANNE BENJAMIN WITH SARAH CROMPTON This autobiography by Leanne Benjamin with Sarah Crompton reveals the extraordinary life and career of one of the world’s most important ballet dancers of the past 50 years. Leanne was born and raised in the central Queensland town of Rockhampton in a tightly knit hard-working Catholic family. At the age of 3 she attended her first ballet class and at 16 she was accepted into the Royal Ballet School in London and at 18 danced her first leading role on the Royal Opera House stage in the school’s performance of Giselle that catapulted her to a stellar career. The book takes you behind the scenes to find a real understanding of the pleasure and the pain, the demands and the intense commitment it requires to become a ballet dancer. It’s a book for ballet-lovers which will explain from Benjamin’s personal point of view, how ballet has changed and is changing. It’s a book of history: she was first taught by the people who created ballet in its modern form and now she works with the dancers of today, handing on all she has known and learnt. But it’s also a book for people who are just interested in the psychology of achievement, how you go from being a child in small town Rockhampton in the centre of Australia to being a power on the world’s biggest stages — and how an individual copes with the ups and downs of that kind of career. -
Leopoldo Torre Nilssons F I M
Leopoldo Torre Nilssons f i m a f Edgardo Cozarinsky Leopoldo Torre Nilssons position i argentinsk definitionen af den nationale eller kontinentale film er højst mærkværdig. Hans film har vakt personlighed, en definition, som forventes at en international opmærksomhed, som ingen an bekræfte allerede eksisterende ideologiske eller dre argentinske film kan prale af; i sit hjem følelsesmæssige synspunkter. Som følge heraf lands intellektuelle cirkler betragtes han som er den individuelle kunstner, som ikke hen den mest fremtrædende nationale filmpersonlig giver sig til sublimeret folklore eller politisk hed, måske den eneste. Og dog rejser hans film inspirerede temoignages, udsat for anklagen for megen diskussion, en diskussion, hvori man al at dyrke kunsten for kunstens skyld. Når man tid er rede til at rejse spørgsmålet om instruk betragter Argentina, et land uden nogen in tørens kunstneriske indstilling. diansk kulturarv, præget af en stærk europæisk Det er en kedelig vane i latinamerikansk kul immigration siden firserne, er situationen noget turliv, at kunstnere sjældent vurderes i kraft anderledes - kunstneren føler sig nærmere Eu af deres skabende evner eller æstetiske resulta ropa end sin mexikanske eller peruvianske ter, men efter det omfang, i hvilket de af kollega. Ikke desto mindre er det betegnende, spejler en bestemt sydamerikansk virkelighed. at f. eks. Torre Nilsson har påkaldt sig større Manglen på en dybt rodfæstet kulturel tradi opmærksomhed i sit eget land med det åben tion indebærer, at man af kunsten forlanger lyst nationale emne i hans mindre betydelige Leopoldo Torre Nilsson (til højre) sammen med Alf redo Alcon under indspilningen af „Un Guapo del 900“ „Un Guapo del 900“ (1960) end med hans støj, spøgte i denne metaforiske beretning om inspirerede „La Caida“ (1958). -
Film, Photojournalism, and the Public Sphere in Brazil and Argentina, 1955-1980
ABSTRACT Title of Document: MODERNIZATION AND VISUAL ECONOMY: FILM, PHOTOJOURNALISM, AND THE PUBLIC SPHERE IN BRAZIL AND ARGENTINA, 1955-1980 Paula Halperin, Doctor of Philosophy, 2010 Directed By: Professor Barbara Weinstein Department of History University of Maryland, College Park My dissertation explores the relationship among visual culture, nationalism, and modernization in Argentina and Brazil in a period of extreme political instability, marked by an alternation of weak civilian governments and dictatorships. I argue that motion pictures and photojournalism were constitutive elements of a modern public sphere that did not conform to the classic formulation advanced by Jürgen Habermas. Rather than treating the public sphere as progressively degraded by the mass media and cultural industries, I trace how, in postwar Argentina and Brazil, the increased production and circulation of mass media images contributed to active public debate and civic participation. With the progressive internationalization of entertainment markets that began in the 1950s in the modern cities of São Paulo, Rio de Janeiro, and Buenos Aires there was a dramatic growth in the number of film spectators and production, movie theaters and critics, popular magazines and academic journals that focused on film. Through close analysis of images distributed widely in international media circuits I reconstruct and analyze Brazilian and Argentine postwar visual economies from a transnational perspective to understand the constitution of the public sphere and how modernization, Latin American identity, nationhood, and socio-cultural change and conflict were represented and debated in those media. Cinema and the visual after World War II became a worldwide locus of production and circulation of discourses about history, national identity, and social mores, and a space of contention and discussion of modernization. -
Copyright Marilyn J. La Vine © 2007 New York –
Copyright Marilyn J. La Vine © 2007 New York - Tous droits réservés - # Symbol denotes creation of role Commencing with the year 1963, only the first performance of each new work to his repertoire is listed. London March 2,1970 THE ROPES OF TIME # The Traveler The Royal Ballet; Royal Opera House With: Monica Mason, Diana Vere C: van Dantzig M: Boerman London July 24,1970 'Tribute to Sir Frederick Ashton' Farewell Gala. The Royal LES RENDEZ-VOUS Ballet,- Royal Opera House Variation and Adagio of Lovers With: Merle Park Double debut evening. C: Ashton M: Auber London July 24,1970 APPARITIONS Ballroom Scene The Royal Ballet; Royal Opera House The Poet Danced at this Ashton Farewell Gala only. With: Margot Fonteyn C: Ashton M: Liszt London October 19, 1970 DANCES AT A GATHERING Lead Man in Brown The Royal Ballet; Royal Opera House With: Anthony Dowell, Antoinette Sibley C: Robbins M: Chopin Marseille October 30, 1970 SLEEPING BEAUTY Prince Desire Ballet de L'Opera de Morseille; Opera Municipal de Marseille With: Margot Fonteyn C: Hightower after Petipa M: Tchaikovsky Berlin Berlin Ballet of the Germon Opera; Deutsche Opera House November 21, 1970 Copyright Marilyn J. La Vine © 2007 New York – www.nureyev.org Copyright Marilyn J. La Vine © 2007 New York - Tous droits réservés - # Symbol denotes creation of role SWAN LAKE Prince Siegfried With: Marcia Haydee C: MacMillan M: Tchaikovsky Brussels March 11, 1971 SONGS OF A WAYFARER (Leider Eines Fahrenden Gesellen) # Ballet of the 20#, Century; Forest National Arena The Wanderer With: Paolo Bortoluzzi C: Bejart M: Mahler Double debut evening. -
The Royal Ballet Announces Promotions, Leavers and Joiners for the 2019/20 Season
July 2019 The Royal Ballet announces promotions, leavers and joiners for the 2019/20 Season. Director of The Royal Ballet Kevin O’Hare today announces promotions, leavers and joiners for The Royal Ballet’s 2019/20 Season. Kevin O’Hare comments: “This is always a special moment in the Season to celebrate the extraordinary talents of our dancers at the varying stages of their careers with The Royal Ballet. My congratulations to those promoted and sincere thanks to those leaving or taking up new positions within the Company for their wonderful commitment and artistry. I am delighted to welcome our new joiners and wish them every happiness dancing with The Royal Ballet.” As previously announced, Marcelino Sambé has been promoted to Principal. His first performance as a Principal of The Royal Ballet will be as Lescaut in Kenneth MacMillan’s Manon. Kevin O’Hare has also made the following promotions within the Company: Anna Rose O’Sullivan and Luca Acri have been promoted to First Soloist. Romany Pajdak, Isabella Gasparini, Tomas Mock and David Yudes have been promoted to Soloist. Annette Buvoli, Mica Bradbury, Ashley Dean, Chisato Katsura, Leo Dixon and Lukas Bjørneboe Brændsrød have been promoted to First Artist. For all Royal Opera House press releases visit www.roh.org.uk/for/press-and-media Katharina Nikelski, Amelia Townsend, Yu Hang, Harris Bell, Harrison Lee and Taisuke Nakao from the 2018/19 Aud Jebsen Young Dancers Programme, and formerly graduates of The Royal Ballet School, become Artists in the new Season. Sophie Allnatt, also a graduate of The Royal Ballet School, becomes an Artist following a one-year contract with the Company this Season. -
(With) Shakespeare (/783437/Show) (Pdf) Elizabeth (/783437/Pdf) Klett
11/19/2019 Borrowers and Lenders: The Journal of Shakespeare and Appropriation ISSN 1554-6985 V O L U M E X · N U M B E R 2 (/current) S P R I N G 2 0 1 7 (/previous) S h a k e s p e a r e a n d D a n c e E D I T E D B Y (/about) E l i z a b e t h K l e t t (/archive) C O N T E N T S Introduction: Dancing (With) Shakespeare (/783437/show) (pdf) Elizabeth (/783437/pdf) Klett "We'll measure them a measure, and be gone": Renaissance Dance Emily Practices and Shakespeare’s Romeo and Juliet (/783478/show) (pdf) Winerock (/783478/pdf) Creation Myths: Inspiration, Collaboration, and the Genesis of Amy Romeo and Juliet (/783458/show) (pdf) (/783458/pdf) Rodgers "A hall, a hall! Give room, and foot it, girls": Realizing the Dance Linda Scene in Romeo and Juliet on Film (/783440/show) (pdf) McJannet (/783440/pdf) Prokofiev’s Romeo and Juliet: Some Consequences of the “Happy Nona Ending” (/783442/show) (pdf) (/783442/pdf) Monahin Scotch Jig or Rope Dance? Choreographic Dramaturgy and Much Emma Ado About Nothing (/783439/show) (pdf) (/783439/pdf) Atwood A "Merry War": Synetic's Much Ado About Nothing and American Sheila T. Post-war Iconography (/783480/show) (pdf) (/783480/pdf) Cavanagh "Light your Cigarette with my Heart's Fire, My Love": Raunchy Madhavi Dances and a Golden-hearted Prostitute in Bhardwaj's Omkara Biswas (2006) (/783482/show) (pdf) (/783482/pdf) www.borrowers.uga.edu/7165/toc 1/2 11/19/2019 Borrowers and Lenders: The Journal of Shakespeare and Appropriation The Concord of This Discord: Adapting the Late Romances for Elizabeth the -
93 the Cleopatra Ballerina Who Stays
SUNDAY TELEGRAPH March 21 1993 The Cleopatra ballerina who stays out in the cold Photo: Matthew Ford In a rare interview the great ballerina Lynn Seymour tells Ismene Brown why she's so wary of public attention A LOT of typewriter ribbon has frayed on the subject of Lynn Seymour. She is 'the greatest dramatic dancer of the era', according to Dame Ninette de Valois. Yet when she joined English National Ballet in 1989, one dancer told a newspaper contemptuously, 'She teaches with a beer can in one hand and a cigarette in the other. Who needs that?' Her image has see-sawed wildly between genius and Bad Girl. Both sides of the image are fed with plenty of material: consistently awestruck reviews of her dancing - and a considerable amount of backstage bitchery about her weight problems. Or drink problems. Or temper problems. Or man problems. Or money problems. These in turn were said to explain her absences from the stage. Where Fonteyn and Sibley sailed through their careers like galleons - in public, at least - Seymour's ship was always taking in water. It is unsurprising, then, that over the years she has avoided the press like the plague. I hadn't realised quite how scarred she is by publicity - or at least by her own view of what her public image is - until I met her last week. She had refused interview requests for her own recent appearances with Scottish Ballet as Lady Capulet, and with Northern Ballet Theatre in A Simple Man, but she agreed to 'do it for Derek's thing' - Derek being the film director Derek Jarman, who asked her to play the Russian ballerina Lydia Lopokova in his new film, Wittgenstein.