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Pirmin Treku
REVISTA DE LA CASA DE LA DANZA ÁNGEL CORELLA / Nº 13 Julio, Agosto y Septiembre de 2006 DANen escenaZA PIRMIN TREKU MIKHAIL BARYSHNIKOV TAMARA ROJO ÁNGEL CORELLA II Encuentro de Crítica y Danza SUMARIO 4 Editorial Iratxe de Arantzibia 5 10 años de l'Aula de Dansa de la Universitat Autònoma de Barcelona Nèlida Monés i Mestre 6 PORTADA: Pirmin Treku Iratxe de Arantzibia 9 24 Amigos de Honor y D.I.D A vueltas con el fouetté Perfecto Uriel Víctor M. Burell 10 26 Encuentro de Crítica y Danza Gala de Estrellas con Tamara Rojo Rosli Ayuso Jaume Capdevila Sergio Cardozo 28 12 Boom Boom en el Villaroel Los Hispanoamericanos en el firmamento Paloma Torres Célida P. Villalón 28 y 31 15 El Ballet Chonchoi Compañía David Campos Fredy Rodríguez P2501 29 16 Las artes del movimiento en el futuro educativo Mikhail Baryshnicov Galo Sánchez Joaquim Noguero 30 18 Las tendinitis de tobillo y pie Tamara Rojo servida en copa de cristal Antonio Díaz Pérez Danza en escena 31 20 DVD’S 75 años del Royal Ballet Iratxe de Arantzibia 32 AGENDA / CALENDARIO 21 Ángel Corella, 10 años en el ABT 33 Iratxe de Arantzibia NOTICIAS 22 34 Críticas VITRINAS ABIERTAS: Haydée Caycho Célida P. Villalón/ Iratxe de Arantzibia Ana Isabel Elvira (EDITORIAL) DANe n e s cZe nAa Nº13, julio, agosto y septiembre de 2006 © Danza en Escena PRESIDENTE DE HONOR: Ángel Corella EDITORA: Mila Ruiz COORDINADOR: Perfecto Uriel reiskaidecafobia. Miedo al número trece. Éste es un vocablo propio de los supersticiosos de pro. A partir de ahora, también CONSEJO DE REDACCIÓN: servidora lo va a incluir en su léxico personal. -
The Australian Ballet 1 2 Swan Lake Melbourne 23 September– 1 October
THE AUSTRALIAN BALLET 1 2 SWAN LAKE MELBOURNE 23 SEPTEMBER– 1 OCTOBER SYDNEY 2–21 DECEMBER Cover: Dimity Azoury. Photography Justin Rider Above: Leanne Stojmenov. Photography Branco Gaica Luke Ingham and Miwako Kubota. Photography Branco Gaica 4 COPPÉLIA NOTE FROM THE ARTISTIC DIRECTOR Dame Peggy van Praagh’s fingerprints are on everything we do at The Australian Ballet. How lucky we are to have been founded by such a visionary woman, and to live with the bounty of her legacy every day. Nowhere is this legacy more evident than in her glorious production of Coppélia, which she created for the company in 1979 with two other magnificent artists: director George Ogilvie and designer Kristian Fredrikson. It was her parting gift to the company and it remains a jewel in the crown of our classical repertoire. Dame Peggy was a renowned Swanilda, and this was her second production of Coppélia. Her first was for the Borovansky Ballet in 1960; it was performed as part of The Australian Ballet’s first season in 1962, and was revived in subsequent years. When Dame Peggy returned to The Australian Ballet from retirement in 1978 she began to prepare this new production, which was to be her last. It is a timeless classic, and I am sure it will be performed well into the company’s future. Dame Peggy and Kristian are no longer with us, but in 2016 we had the great pleasure of welcoming George Ogilvie back to the company to oversee the staging of this production. George and Dame Peggy delved into the original Hoffmann story, layering this production with such depth of character and theatricality. -
Eva Evdokimova (Western Germany), Atilio Labis
i THE CUBAN BALLET: ITS RATIONALE, AESTHETICS AND ARTISTIC IDENTITY AS FORMULATED BY ALICIA ALONSO A Dissertation Submitted to the Temple University Graduate Board in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY by Lester Tomé January, 2011 Examining Committee Members: Joellen Meglin, Advisory Chair, Dance Karen Bond, Dance Michael Klein, Music Theory Heather Levi, External Member, Anthropology ii © Copyright 2011 by Lester Tomé All Rights Reserved iii ABSTRACT In the 1940s, Alicia Alonso became the first Latin American dancer to achieve international prominence in the field of ballet, until then dominated by Europeans. Promoted by Alonso, ballet took firm roots in Cuba in the following decades, particularly after the Cuban Revolution (1959). This dissertation integrates the methods of historical research, postcolonial critique and discourse analysis to explore the performative and discursive strategies through which Alonso defined her artistic identity and the collective identity of the Cuban ballet. The present study also examines the historical context of the development of ballet in Cuba, Alonso’s rationale for the practice of ballet on the Island, and the relationship between the Cuban ballet and the European ballet. Alonso defended the legitimacy of Cuban dancers to practice ballet and, in specific, perform European classics such as Giselle and Swan Lake. She opposed the notion that ballet was the exclusive patrimony of Europeans. She also insisted that the cultivation of this dance form on the Island was not an act of cultural colonialism. In her view, the development of ballet in Cuba consisted, instead, of an exploration of a distinctive Cuban voice within this dance form, a reformulation of a European legacy from a postcolonial perspective. -
Graeme Murphys Romeo and
DANA STEPHENSEN, CORYPHÉE 2011 SEASON MELBOURNE 13 – 24 September the Arts Centre, State Theatre with Orchestra Victoria SYDNEY 2 – 21 December Opera Theatre, Sydney Opera House with Australian Opera and Ballet Orchestra Mum’s lounge room Cavendish Road High School Davidia Lind Dance Centre The Australian Ballet The Arts Centre, Melbourne TELSTRA IS PROUD TO SUPPORT DANCERS AT EVERY STAGE It’s a long journey from those first hesitant steps to a performance on the world stage. Telstra proudly supports Australian dancers through community grants, the People’s Choice Award, and as principal partner of The Australian Ballet. Broadcast Sponsor Supporting Sponsor Supporting Sponsor Principal Sponsor Cover and above: Madeleine Eastoe and Kevin Jackson Photography Georges Antoni TCON1179_D Madeleine Eastoe Photography Georges Antoni NOTE FROM THE ARTISTIC DIRECTOR If you ask any dancer, they’ll say that Romeo This production will be such a valuable and Juliet is a ballet they aspire to dance. To addition to the repertoire and will give us a have the opportunity to have this classic tale new way to engage with this timeless story. created for you by one of the world’s great It is also a wonderful vehicle for the artistry narrative choreographers would be a dream of our talented dancers. Equally it has been come true. That is just what’s been happening an amazing showcase for the artisans who for the last few months! It has been so exciting make the sets, props and costumes, as to watch this new production take shape well as the technical staff who bring them across the company, in the rehearsal rooms, to the stage. -
DS Infinity Program Lowres.Pdf
2012 SEASON Melbourne 24 February – 6 March Arts Centre Melbourne, State Theatre with Orchestra Victoria Sydney 5 – 25 April Opera Theatre, Sydney Opera House with Australian Opera and Ballet Orchestra Media Sponsor Principal Sponsor Cover and above: Lana Jones Photography Georges Antoni TEL0262_AB_297x210_v07_OL.indd 1 25/10/11 5:32 PM Andrew Killian Photography Georges Antoni note from the artistic director Since its very first season, The Australian To complete the evening, Warumuk – Ballet has been a champion of new Australian in the dark night reunites The Australian work. Two homegrown ballets (Rex Reid’s Ballet with Bangarra Dance Theatre. Our Melbourne Cup and Ray Powell’s Just for Fun) two companies have been having a most were in that inaugural program, and over the passionate artistic “affair” since our first past 50 years we have built a huge catalogue joint production in 1997, when Stephen Page of original works. created Rites. Since then, Bangarra and TAB have shared the stage in London, New York Infinity starts our year of celebration and Paris, and it is such a joy to have the looking firmly forward. Three brand-new opportunity to be together again in this exciting works, three commissioned scores, three 50th anniversary year. With music by David different explorations of our contemporary Page, costumes by Jennifer Irwin and set Australian dance culture – each work exploring designs by Jacob Nash, Warumuk - in the dark the importance of dance in our country’s night draws on the beautiful Aboriginal stories creative landscape. of the night sky to create a work celebrating our Graeme Murphy has been provoking and unique Australian culture. -
YAGP 2015 Semi-Finals
YAGP 2015 Semi-finals Chicago, IL February 20 - 22, 2015 Dear Participants, Parents and Teachers, It is with great pleasure that we welcome you to the YAGP 2015 Semi-Finals in Chicago, IL! We hope you will enjoy learning from each other as well as the many distinguished dance professionals gathered here. As many of you already know, we have designed the YAGP experience in such a way that every participant, regardless of their level of training or career goals, can benefit greatly from the multitude of educational and professional opportunities available throughout the event. Competition entries are organized by birth date starting with our youngest participants. The only exceptions to this order are special considerations due to costume changes. We are proud to say that in only 16 short years YAGP has become the largest student scholarship competition in the world. This is in large part due to the support of our participants and participating schools. In particular, we would like to thank the Chicago, IL participating schools: Ada Dance Academy, MI Marlene Kenneway, David Braciak, Dennis Davis, Laura Berman, Margie Vizuragga Alma Dance School, IL Vilma Machin, Guillermo Levya, Eddy Ocampo, Gretchen Smith American Dance Academy, MI Melva Zavisa, Michael Hicks, Vicki Krier Ann Parsley School of Dance, MI Amber Megna Michalik, Sarah Boik Ashley Ballet Arts Acadamy, MN Ashley Burkland, Jacqueline McDaniel, Tami Sevlie Ballet 5:8 School of the Arts, IL Julianna Slager, Amy Sanderson, Lauren Ader-Cumpston, Lauren Cumpston Ballet Montreal Performing -
The Catherine Gyll Papers
The Catherine Gyll Papers N26 The National Dance Archive of Ireland Glucksman Library University of Limerick The National Dance Archive of Ireland Glucksman Library University of Limerick The Catherine Gyll Papers Reference Code: IE 2135 N26 Title: The Catherine Gyll Papers Dates of Creation: 1933-2010 Level of Description: Fonds Extent and Medium: 3 boxes (385 files) CONTEXT Name of Creator(s): Gyll, Catherine (1923-2018). Biographical History: Catherine Gyll was born Catherine Doolin in Dublin in 1923. After seeing a production by the Irish Ballet Club at the Abbey Theatre in late 1939, she auditioned for and was invited to join the Club by its director, Cepta Cullen. Catherine studied and performed with the Irish Ballet Club until 1943, during which time she also studied radiography at St. Vincent’s hospital, Dublin. Catherine performed in most of the Ballet Club’s repertory during this period, including Puck Fair, Aisling, Lanner Waltz, Rhapsodie, and Peter and the Wolf. In 1943, Catherine went to work in London where she met and married theatre director Peter Gyll (1913-1989) while working as an Assistant Stage Manager. Catherine returned to live in Ireland in 2004. Immediate Source of Acquisition: Donated by Catherine Gyll to the National Dance Archive of Ireland on 26 July 2011. CONTENT AND STRUCTURE Scope and Content: Photographs and memorabilia relating to Catherine Gyll's time with the Irish Ballet Club in the 1940s, and programmes, flyers, brochures, souvenir booklets, press cuttings, and books collected by her, reflecting her lifelong interest in all forms and aspects of dance. Appraisal, Destruction and Scheduling Information: All records have been retained. -
Por Danza Ballet
8,50€ España · 13€ Francia 04·REVISTA DE COLECCIÓN·JUNIO DE 2012 Vestido de Carla Fracci en el papel de Giselle (Acto I, Giselle. Opera de Roma) Ballet Giselle Diseño de vestuario James Bailey Confeccionado en los talleres del Royal Opera House en 1960 Foto © CNCS Indumentaria de Rudolf Noureev en el papel de el príncipe Albrecht (Acto II, Giselle) Ballet Giselle Producción Royal Ballet, Londres. 1962 Diseño de vestuario James Bailey Confeccionado por atelier de Martín Kamer en París Colección Fondation Rudolf Noureev (RN) Foto © CNCS / Pascal François CNCS/Colección Ópera Nacional de París Danza Ballet Revista de Colección STAFF EDITORIAL Director: Rubén Worcel [email protected] Editora: Carolina de Pedro Pascual [email protected] Secretaria de dirección: Luisa Abellan Barbe [email protected] SUMARIO Nº 4 Danza Ballet Revista de Colección COLABORADORES Isis Wirth (París) 06 Carta de la editora Primer Aniversario por Carolina de Pedro Pascual Iratxe de Arantzibia (Donostia-San Sebastián) Ángela Castaño (Miami) 08 Trajes de portada por Cruz Santamera Cerceda Pedro Calleja (Barcelona) Cruz Santamera Cerceda (Madrid) Hemos de agradecer la ayuda que nos han prestado desde el 10 Orquesta y Coro Nacionales de España (OCNE) por Rubén Worcel María La Placa (Barcelona) principio y con total dedicación: Noemi Manalang (Jakarta) Judit Jordana Pons 18 Christian Lacroix, La Source y el Ballet de la Ópera de París por Danza Ballet Ramón Civit Mas (Barcelona) Vincent Lepresle 22 El día en que Louis XIV dejó de bailar por Isis Wirth Amaia García Martínez (San Sebastian) Pilar Moliné Judit Jordana Pons (Barcelona) Maribel Prades Olarte 28 La Bayadère de Rudolf Nureyev por Carolina de Pedro Pascual Enrique Blanco (Salamanca) Myra Armstrong (American Ballet Theatre) Pilar Moliné (Barcelona) Nicole Lovelock (The Australian Ballet) 34 Marc Jacobs por Pilar Moliné Silvia Sánchez Ureña (Madrid) Rosie Neave (Royal Opera House) Valentine Locatelli (Les Arts Décoratifs) 42 Sexo, mentiras y pas de deux.