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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. -
Augusta Auction Company Historic Fashion & Textile
AUGUSTA AUCTION COMPANY HISTORIC FASHION & TEXTILE AUCTION MAY 9, 2017 STURBRIDGE, MASSACHUSETTS 1 TRAINED CHARMEUSE EVENING GOWN, c. 1912 Cream silk charmeuse w/ vine & blossom pattern, empire bodice w/ silk lace & sequin overlay, B to 38", W 28", L 53"-67", (small holes to lace, minor thread pulls) very good. MCNY 2 DECO LAME EVENING GOWN, LATE 1920s Black silk satin, pewter lame in Deco pattern, B to 36", Low W to 38", L 44"-51", excellent. MCNY 3 TWO EMBELLISHED EVENING GOWNS, 1930s 1 purple silk chiffon, attached lace trimmed cape, rhinestone bands to back & on belt, B to 38", W to 31", L 58", (small stains to F, few holes on tiers) fair; 1 rose taffeta underdress overlaid w/ copper tulle & green silk flounce, CB tulle drape, silk ribbon floral trim, B to 38", W 28", L 60", NY label "Blanche Yovin", (holes to net, long light hem stains) fair- good. MCNY 4 RHINESTONE & VELVET EVENING DRESS, c. 1924 Sapphire velvet studded w/ rhinestones, lame under bodice, B 32", H 36", L 50"-53", (missing stones, lame pulls, pink lining added & stained, shoulder straps pinned to shorten for photo) very good. MCNY 5 MOLYNEUX COUTURE & GUGGENHEIM GOWNS, 1930-1950s Both black silk & labeled: 1 late 30s ribbed crepe, "Molyneux", couture tape "11415", surplice bodice & button back, B to 40", W to 34", H to 38", L 58", yellow & black ikat sash included, (1 missing button) excellent; "Mingolini Guggenheim Roma", strapless multi-layered sheath, B 34", W 23", H 35", CL 46"-50", (CF seam unprofessionally taken in by hand, zipper needs replacing) very good. -
The Limón Legacy Still Thrives After 70 Years by Jeff Slayton March 25, 2017
The Limón Legacy Still Thrives After 70 Years By Jeff Slayton March 25, 2017 The Limón Dance Company - Photo by Joseph Schembri “There is a dance for every single human experience.” José Limón The Limón Dance Company lit up the stage at the Wallis Annenberg Center for the Performing Arts, presenting three works choreographed by José Limón over seventy years ago, and two recent works by Colin Connor and Kate Weare. Thanks to dance artists like Carla Maxwell, Risa Steinberg, Gary Masters and the new Artistic Director Colin Connor, the company has kept the Limón legacy alive and vibrant. In addition, the company continues to present new works by seasoned and up-and-coming choreographers. Born in Culiacan, Mexico, José Limón (1908-1972) formed his company in 1946 after performing for 10 years with modern dance pioneers Doris Humphrey and Charles Weidman. Throughout his life, Limón continued to create new works; his last one being Carlota in 1972, the year of his death. In 1997, this great dance master was inducted into the Hall of Fame at the National Museum of Dance in Saratoga Springs, NY. The program opened with Limón’s CONCERTO GROSSO which premiered in 1945 at the Humphrey-Weidman Studio in New York. Through his choreography, Limón artfully and brilliantly visualizes Antonio Vivaldi’s Concerto #11 in D Minor, Opus 3. The work is, simply put, pure and joyful dancing. Staged and directed by former company member Risa Steinberg, dancers Kathryn Alter, Elise Drew Leon and Jesse Obremski performed with great musicality, clarity and ease. CONCERTO GROSSO is a jewel and these three dance artists are wonderful in it. -
Jacob's Pillow Announces Full Schedule of Virtual
NATIONAL MEDAL OF ARTS | NATIONAL HISTORIC LANDMARK FOR MORE INFORMATION AND PHOTOS CONTACT: Nicole Tomasofsky, Interim Director of Marketing & Communications [email protected] JACOB’S PILLOW ANNOUNCES FULL SCHEDULE OF VIRTUAL FESTIVAL WITH A MODEL THAT SHARES DONATIONS FOR PERFORMANCES WITH ARTISTS July 1, 2020 (Becket, MA) —Jacob’s Pillow, home to the longest-running dance festival in the United States, launches a Virtual Festival with eight weeks of free programming, July 7-August 29. Weekly highlights feature streams of beloved Festival performances from the past ten years, a series of new PillowTalks with leaders in the dance field, an online version of the beloved intergenerational movement class Families Dance together, and a new Master Class Series from The School at Jacob’s Pillow. Attendees are encouraged to make a contribution in lieu of purchasing a ticket and fifty percent of donations for performances will be shared with the artists featured. Community Engagement events will share proceeds with local community organizations. “After we canceled our on-site Festival due to the global pandemic, we soon realized the need to fulfill our mission by engaging artists and audiences in a quintessential summer experience from Jacob’s Pillow virtually,” says Jacob’s Pillow Executive & Artistic Director Pamela Tatge. “The civic organizing and protests confronting racism and inequality in our country greatly impacts our organization’s decision-making. The model we envision is one that is free for all, made more accessible by being entirely online, pays artists and scholars for their time, and provides artists with additional support during a time when many have lost their income. -
Miami City Ballet 37
Miami City Ballet 37 MIAMI CITY BALLET Charleston Gaillard Center May 26, 2:00pm and 8:00pm; Martha and John M. Rivers May 27, 2:00pm Performance Hall Artistic Director Lourdes Lopez Conductor Gary Sheldon Piano Ciro Fodere and Francisco Rennó Spoleto Festival USA Orchestra 2 hours | Performed with two intermissions Walpurgisnacht Ballet (1980) Choreography George Balanchine © The George Balanchine Trust Music Charles Gounod Staging Ben Huys Costume Design Karinska Lighting Design John Hall Dancers Katia Carranza, Renato Penteado, Nathalia Arja Emily Bromberg, Ashley Knox Maya Collins, Samantha Hope Galler, Jordan-Elizabeth Long, Nicole Stalker Alaina Andersen, Julia Cinquemani, Mayumi Enokibara, Ellen Grocki, Petra Love, Suzette Logue, Grace Mullins, Lexie Overholt, Leanna Rinaldi, Helen Ruiz, Alyssa Schroeder, Christie Sciturro, Raechel Sparreo, Christina Spigner, Ella Titus, Ao Wang Pause Carousel Pas de Deux (1994) Choreography Sir Kenneth MacMillan Music Richard Rodgers, Arranged and Orchestrated by Martin Yates Staging Stacy Caddell Costume Design Bob Crowley Lighting Design John Hall Dancers Jennifer Lauren, Chase Swatosh Intermission Program continues on next page 38 Miami City Ballet Concerto DSCH (2008) Choreography Alexei Ratmansky Music Dmitri Shostakovich Staging Tatiana and Alexei Ratmansky Costume Design Holly Hynes Lighting Design Mark Stanley Dancers Simone Messmer, Nathalia Arja, Renan Cerdeiro, Chase Swatosh, Kleber Rebello Emily Bromberg and Didier Bramaz Lauren Fadeley and Shimon Ito Ashley Knox and Ariel Rose Samantha -
Christensen Brothers by Sheryl Flatow
Christensen Brothers by Sheryl Flatow “Ballet west of the Mississippi is pretty much By the time he was in his early twenties, Willam the creation of the Christensen brothers – was a highly regarded teacher at the school in Willam, Harold, and Lew,” wrote Arlene Croce Ogden. He really wanted to dance ballet, not in 1980 (“Going to the Dance,” p. 311). teach it, but in the early part of the twentieth Separately and together, with passion and century there were no professional ballet ingenuity, tenacity and perseverance, companies in the United States. So, in 1927, he imagination and talent, the Christensen and Lew hit the vaudeville circuit, and a year brothers helped ballet take root in this country, later they were in New York. They swiftly made and their influence reverberates today. it to the prestigious Orpheum circuit with an act for two couples; one of the women, Mignon Willam (1902-2001), as artistic director, Lee, would become Willam’s wife. Despite the choreographer, and teacher, transformed the inclusion of women, the act was really a fledgling San Francisco Ballet from an showcase for male dancing. “Lew and I had to appendage of San Francisco Opera to an be virtuosos,” Willam said. “We had to turn and independent company, and introduced leap like sons-of-guns, and dance fast to keep countless numbers to classical dance in San audiences interested. Because at that time not Francisco and beyond. He then went on to many people knew what we were doing. Were found the ballet department at the University of we gymnasts? Were we acrobats? But Utah – the first of its kind in the country – and 1 audiences liked us.” to establish Ballet West. -
THE RESISTANCE - EPISODE 36 Josh Radnor - Interview Transcript
THE RESISTANCE - EPISODE 36 Josh Radnor - Interview Transcript Matt: Hello, and welcome to another episode of The Resistance. My name is Matt Conner, and I’m your host. Today I’m thrilled to sit down with actor, director, writer, songwriter, Josh Radnor. Why don’t you introduce yourself and how you normally, how do you say what you do? Josh: Oh I just say actor, writer, director, songwriter, no I don’t. You know what, you’ve hit on something that I have difficulty with, which is saying what I do. The easiest thing for me to say I do is that I’m an actor, in that I went to grad school for acting at NYU, I’ve been a professional actor for over 20 years. Most people know me as an actor. But I’ve also written and directed two films, I’ve directed music videos, I’ve written plays and prose and now I’m a songwriter and I put out albums of original music. So I guess, and I try to avoid any sort of pretentious-sounding labels, but I think I’m a storyteller, and I just tell stories in whatever form suits the story I want to tell. Sometimes it’s a 90-minute movie, and sometimes it’s a three-minute song. Matt: I love it. I love it. All within the arts in many ways. I want to get to so many things; however, we begin each of our episodes with this quote from Steven Pressfield’s book, The War of Art. -
Chasing the Light the CLOUD CULT STORY Mark Allister
Chasing the Light Chasing the Light THE CLOUD CULT STORY Mark Allister Foreword by Mark Wheat University of Minnesota Press Minneapolis • London Interview excerpts from the film No One Said It Would Be Easy are repro- duced by permission of John Paul Burgess. Cloud Cult lyrics are reproduced by permission of Cloud Cult/Craig Minowa. Photographs reproduced by permission of Cloud Cult/Craig Minowa unless otherwise credited. Thanks to Jeff DuVernay, Cody York (http://www.cody yorkphotography.com), and Stacy Schwartz (http://www.stacyannschwartz. com) for contributing photographs to the book. Copyright 2014 by Mark Allister Foreword copyright 2014 by Mark Wheat All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Published by the University of Minnesota Press 111 Third Avenue South, Suite 290 Minneapolis, MN 55401– 2520 http://www.upress.umn.edu {~?~IQ: CIP goes here.} Printed in the United States of America on acid- free paper The University of Minnesota is an equal- opportunity educator and employer. 20 19 18 17 16 15 14 10 9 8 7 6 5 4 3 2 1 For Meredith Coole Allister, partner extraordinaire When your life is finished burning down, You’ll be all that’s left standing there. You’ll become a baby cumulus, And fly up to the firmament. No one gets to know the purpose, We need to learn to live without knowing. But all we are saying is Step forward, step forward. -
The Balanchine Trust: Dancing Through the Steps of Two-Part Licensing
Volume 6 Issue 2 Article 2 1999 The Balanchine Trust: Dancing through the Steps of Two-Part Licensing Cheryl Swack Follow this and additional works at: https://digitalcommons.law.villanova.edu/mslj Part of the Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Cheryl Swack, The Balanchine Trust: Dancing through the Steps of Two-Part Licensing, 6 Jeffrey S. Moorad Sports L.J. 265 (1999). Available at: https://digitalcommons.law.villanova.edu/mslj/vol6/iss2/2 This Article is brought to you for free and open access by Villanova University Charles Widger School of Law Digital Repository. It has been accepted for inclusion in Jeffrey S. Moorad Sports Law Journal by an authorized editor of Villanova University Charles Widger School of Law Digital Repository. Swack: The Balanchine Trust: Dancing through the Steps of Two-Part Licen THE BALANCHINE TRUST: DANCING THROUGH THE STEPS OF TWO-PART LICENSING CHERYL SWACK* I. INTRODUCTION A. George Balanchine George Balanchine,1 "one of the century's certifiable ge- * Member of the Florida Bar; J.D., University of Miami School of Law; B. A., Sarah Lawrence College. This article is dedicated to the memory of my mother, Allegra Swack. 1. Born in 1904 in St. Petersburg, Russia of Georgian parents, Georgi Melto- novich Balanchivadze entered the Imperial Theater School at the Maryinsky Thea- tre in 1914. See ROBERT TRAcy & SHARON DELONG, BALANci-NE's BALLERINAS: CONVERSATIONS WITH THE MUSES 14 (Linden Press 1983) [hereinafter TRAcY & DELONG]. His dance training took place during the war years of the Russian Revolution. -
Ballet West Student In-Theater Presentations
Ballet West for Children Presents Ballet and The Sleeping Beauty Dancers: Soloist Katie Critchlow, First Soloist Sayaka Ohtaki, Principal Artist Emily Adams, First Soloist Katlyn Addison, Demi-Soloist Lindsay Bond Photo by Beau Pearson Music: Peter Ilyich Tchaikovsky Adapted from Original Choreography: Marius Petipa Photo: Quinn Farley Costumes: David Heuvel Dear Dance enthusiast, Ballet West is pleased that you are viewing a Ballet West for Children Presentation as a virtual learning experience. Enclosed you will find the following information concerning this performance: 1. Letter from Artistic Director, Adam Sklute. 2. Letter to the parent/guardian of the students who will be viewing. 3. Specific Information on this Performance, including information on the ballet, music, choreography, follow-up projects and other pertinent material has also been compiled for the teacher's information. 4. We report to the Utah State Board of Education each year on our educational programs, and need your help. Usually, we gather information from teachers as to how the student reacted and what they may have learned from their experience. We’d love to hear from you by filling out our short Survey Monkey listed on our virtual learning page. We don’t have a way to track who and how many people are taking advantage of this opportunity and this will help us to know how we’re doing. You can always email me directly. Thank you very much for your interest in the educational programs of Ballet West. Please call if I may provide any additional information or assistance to you and your school. I can be reached at 801-869-6911 or by email at [email protected]. -
East by Northeast the Kingdom of the Shades (From Act II of “La Bayadère”) Choreography by Marius Petipa Music by Ludwig Minkus Staged by Glenda Lucena
2013/2014 La Bayadère Act II | Airs | Donizetti Variations Photo by Paul B. Goode, courtesy of the Paul Taylor Dance Company East by Spring Ballet Northeast Seven Hundred Fourth Program of the 2013-14 Season _______________________ Indiana University Ballet Theater presents Spring Ballet: East by Northeast The Kingdom of the Shades (from Act II of “La Bayadère”) Choreography by Marius Petipa Music by Ludwig Minkus Staged by Glenda Lucena Donizetti Variations Choreography by George Balanchine Music by Gaetano Donizetti Staged by Sandra Jennings Airs Choreography by Paul Taylor Music by George Frideric Handel Staged by Constance Dinapoli Michael Vernon, Artistic Director, IU Ballet Theater Stuart Chafetz, Conductor Patrick Mero, Lighting Design _________________ Musical Arts Center Friday Evening, March Twenty-Eighth, Eight O’Clock Saturday Afternoon, March Twenty-Ninth, Two O’Clock Saturday Evening, March Twenty-Ninth, Eight O’Clock music.indiana.edu The Kingdom of the Shades (from Act II of “La Bayadère”) Choreography by Marius Petipa Staged by Glenda Lucena Music by Ludwig Minkus Orchestration by John Lanchbery* Lighting Re-created by Patrick Mero Glenda Lucena, Ballet Mistress Violette Verdy, Principals Coach Guoping Wang, Ballet Master Phillip Broomhead, Guest Coach Premiere: February 4, 1877 | Imperial Ballet, Bolshoi Kamenny Theatre, St. Petersburg Grand Pas de Deux Nikiya, a temple dancer . Alexandra Hartnett Solor, a warrior. Matthew Rusk Pas de Trois (3/28 and 3/29 mat.) First Solo. Katie Zimmerman Second Solo . Laura Whitby Third -
Spring Ballet
Six Hundred Fifty-Fifth Program of the 2014-15 Season _______________________ Indiana University Ballet Theater presents Spring Ballet Swan Lake (Act II) Choreography by George Balanchine Staged by Patricia Blair and Daniel Duell Music by Peter Ilyich Tchaikovsky Duets Choreography by Merce Cunningham Staged by Banu Ogan Music by John Cage Rubies Choreography by George Balanchine Staged by Paul Boos Music by Igor Stravinsky Michael Vernon, Artistic Director, IU Ballet Theater Stuart Chafetz, Conductor Patrick Mero, Lighting Design _________________ Musical Arts Center Friday Evening, March Twenty-Seventh, Eight O’Clock Saturday Afternoon, March Twenty-Eighth, Two O’Clock Saturday Evening, March Twenty-Eighth, Eight O’Clock music.indiana.edu Swan Lake (Act II) Choreography by George Balanchine* ©The George Balanchine Trust Music by Peter Ilyich Tchaikovsky Original Scenery and Costumes by Rouben Ter-Arutunian Premiere: November 20, 1951 | New York City Ballet City Center of Music and Drama Staged by Patricia Blair and Daniel Duell Stuart Chafetz, Conductor Violette Verdy, Principal Coach Shawn Stevens, Ballet Mistress Guoping Wang, Ballet Master Odette, Queen of the Swans Raffaella Stroik (3/27) Elizabeth Edwards (3/28 mat ) Natalie Nguyen (3/28 eve ) Prince Siegfried Matthew Rusk (3/27) Colin Ellis (3/28 mat ) Andrew Copeland (3/28 eve ) Swans Bianca Allanic, Mackenzie Allen, Margaret Andriani, Caroline Atwell, Morgan Buchart, Colleen Buckley, Danielle Cesanek, Leah Gaston (3/28), Bethany Green (3/28 eve ), Rebecca Green, Cara Hansvick