DOCSLIB.ORG

Untitled, Is a Group Subscriptions for the Series of Five Con- Dance for the Entire Company

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Untitled, Is a Group Subscriptions for the Series of Five Con- Dance for the Entire Company MOM Nr111111 9.. 2 / BROOKLYN ACADEMY OF MUSIC / OCTOBER 1970 'c 7 0, s ' BROOKLYN ACADEMY OF MUSIC / OCTOBER 1970 / 3 Brooklyn Festival of Dance 1970-71 The Brooklyn Academy of Music in association with The American Dance Foundation presents The American Ballet Company Director ELIOT FELD OLGA JANKE ELIZABETH LEE CHRISTINE SARRY ELIOT FELD JOHN SOWINSKI Marilyn D'Honau Karen Kelly Christine Kono Cristina Stirling Eve Walstrum Kerry Williams Larry Grenier Edward Henkel Kenneth Hughes Daniel Levins James Lewis Richard Munro Musical Director CHRISTOPHER KEENE Associate Conductor ISAIAH JACKSON Ballet Mistress BARBARA FALLIS The is a resident company Am"icahBFriMaresithe Brooklyn yofrMusic. of the ade possible Re72,1:4F,31.1'11.21de,miireW,Pea'Lt:, ThThe Ford Foundation, the ilgf`YtrIc on the Arts and individual donors. Baldwin is the official piano of the Brooklyn Academy of Music. The unauthorized use of cameras or recording equipment is strictly prohibited during performan 4 / BROOKLYN ACADEMY OF MUSIC / OCTOBER 1970 The Brooklyn Academy of Music The Brooklyn Academy of Music Is a department of the Brooklyn Institute of Arts and Sciences. Brooklyn Academy of Music Administrative Staff Management Company, Inc. Harvey Lichtenstein, Director Lewis L. Lloyd, General Manager Board of Directors: Charles Hammock, Asst. General Manager Seth S. Faison, President Jane Yockel, Asst. General Manager Donald M. Blinken Barry Moore, Comptroller Martin P. Carter Thomas Kerrigan, Assistant to the Director Richard M. Hester Michele Goldman Brustin, Assistant to the Director Peter C. R. Huang Anne Goodrich, Associate Press Representative Gilbert Kaplan Linda Fosburg, Manager of Harvey Lichtenstein Audience and Community Development Alan J. Patricof Betty Rosendorn. Administrator, School Time Program David Picker Sarah Welder, Administrator, Membership Program Richard C. Sachs Mildred Levinson, Administrative Secretary Adele Allen, Press Secretary The Academy of Music Sylvia Rodin, Administrative Assistant Governing Committee Frances M. Seidenberg, Financial Secretary Seth S. Faison, Chairman Evelyn August, Staff Assistant Edward S. Reid, Vice Chairman Pearl Light, Secretary, School Time Program Hon. Alexander Aldrich Ellen W. Jacobs, Program Editor Bernard S. Barr Deirdre Dietrichson, Dr. William M. Birenbaum Registrar for Academy Dance Center Donald M. Blinken John R. H. Blum Martin Carter House Staff Thomas A. Donnelly Alfredo Salmaggi, Jr., House Manager William B. Hewson Gary Lindsey, Asst. House Manager Rev. W. G. Henson Jacobs Richard R. Burke, Box Office Treasurer Howard H. Jones Bill Griffith, Assistant Treasurer Gilbert Kaplan Lars Jorgenson, Assistant Treasurer Max L. Koeppel James Hillary, Assistant Treasurer Msgr. Raymond S. Leonard John Cooney, Stage Crew Chief Mrs. George Liberman John Van Buskirk, Master Carpenter Harvey Lichtenstein Edward Cooney, Assistant Carpenter Mrs. Constance J. McQueen Donald Beck, Master Electrician Alan J. Patricof Louis Beck, Assistant Electrician James Q. Riordan Thomas Loughlin, Master of Properties Richard C. Sachs Charles Brette, Custodian William Tobey Foundation and Corporate Contributors Abraham and Straus Foundation, Inc. The Altman Foundation American Can Co. Fdn. Anchor Savings Bank Arthur Andersen & Company Bache Corp. Fdn. Bankers Trust Co. John R. B. Blum Fund - through New York Community Trust Robert E. Blum Fund - through New York Community 'I' nut Bowery Savings Bank Brevoort Savings Bank Irving Brodsky & Co. Brooklyn Savings Bank Brooklyn Union Gas Co. Burlington Industries Foundation Caristo Construction Corp. The Celanese Fibers and Marketing Company Chase Manhattan Bank Fdn. Chemical Bank Trust Co. Community Drug Co., Inc. Consolidated Edison Co. of New York, Inc. Consolidated Mutual Insurance Company Continental Can Co., Inc. Cranshaw Corp. The CT Foundation Cultural Fund - through New York Community Trust Dime Savings Bank of Brooklyn Dime Savings Bank of Williamsburgh Dow Jones Foundation Dun & Bradstreet Foundation The Duplan Corp. Eastern Air Lines. Inc. Fast New York Savings Bank First National City Bank Fdn. Flatbush Savings Bank The Ford Foundation David Goodstein Family Foundation The Grace Foundation, Inc. Greater New York Savings Bank Green Point Savings Bank The Henfield Foundation Hirshel & Adler Galleries International Business Machines Corp. International Telephone & Telegraph Irving One Wall Street Foundation, Inc. Johnson & Higgins Kings Lafayette Bank Kirsch Beverages, Inc. M. Knifed!. & Co.. Inc. Samuel IL Kress Foundation A. W. Fund The Samuel & Ethel Lefrak Foundation, Inc. Leper.) Foundation Lincoln Savings Bank, Magnusin Products Corp. Manufacturers Hanover Trust Co. Marine Electric Corp. Marine Midland Grace Trust Co. of N. Y. William Marx Foundation The Mats Foundation J. W. Mays, Inc. Abraham Mazer Family Fund Joseph & Cell Mazer Fain.. Inc. Merrill. Lynch, Pierce. Fenner & Smith, Inc. Mobil Foundation, Inc. Morgan Guaranty Trust Co. of New York Nathan's Famous, Inc. National Bank of No. America New York Daily News New York i-ounnstiou, inc. New York state Council on the Arts New York Telephone Co. Ovilvy & Mather, Inc. Pfizer Foundation, Inc. Milton & Lillian Pollack Foundation, Inc. Leon & Harriet Pouter.. Fdn., Inc. Charles Portia Foundation Readers Digest Foundation Rockefeller Bros. Fund. inc. The Rockefeller Foundation S & H Foundation. Inc. F & M Schaefer Brewing Seamen's Bank for Savings Seatrain Shipbuilding Corp. Florence & Carl Selden Foundation. Inc. The Shoreham Hotel South Brooklyn Savings Bank J. P. Stevens & Co., Inc. Foundation John F. Thompson Foundation Trans World Airlines Fred C. Trump Foundation Joy & Samuel Ungerleider Foundation United Air Lines Foundation United Mutual Savings Bank United States Steel Foundation, Inc. United States Trust Co., Fdn. van Am insert Foundation. Inc. Wildenstein & Co_ Inc. Williamsburgh Savings Bank A. B. Y. Fund - through New York Community Trust Zeitz Foundation The George & Margarita Delacorte Fdn. We are pleased to extend this invitation to you to become a Friend. Friends of the Brooklyn Academy of Music are people who Batiste in the need for quality programs at low box office prices Offer assistance to the educational services provided by the Academy Inform the community of the variety of programs the Academy offers Help bridge the gap between costs and receipts SIO Supporting 91011 Donor $500 Benefactor Eliot Feld and the Extinct Metaphor by Marcia IB. Siegel P1NO ABBNESCIA Eliot Feld's Harbinger (1967) the curtain rises, a boy is crouched, What you see is what's happening, and WHENlow to the ground, in front of a huge, what's happening is precisely what you see. He slowly back-lit, pastel-spattered sail. Compare this to almost any other sort of his upward and greets the unfolds body - ballet. Take a classical pas de deux. The stage with a flourish. The gesture has empty man and woman enter, meet, dance together confidence of a boat whistle all the resonant for a while; then one partner retires while at dawn. saluting the harbor the other does a solo. There are two reasons This is the first moment of the first ballet why he or she leaves the stage at this point: choreographed by Eliot Feld, Harbinger. It to breathe and rest before the next exertion, contains, in a way, everything one needs to and to give the entire stage to the other know about why many people consider Feld dancer. But the audience is not supposed to the most important young choreographer at think of that. We are supposed to imagine work today. that the first partner is really there, gazing fascinated on his beloved's performance, Someone recently told me that after see- because this is after all an ecstatic love ing Feld's work for the first time he was scene. puzzled because it didn't seem to be about Or take a Jerome Robbins duet. There anything but dancing. That, perhaps, is the often seems to be much more going on be- fundamental point. The critics may suggest tween the partners than is evident. How metaphors about it later, but that doesn't else can we explain those ambiguous little make the moment of performance any less gestures that seem so important, the loaded complete, Feld's dance isn't a metaphor for glance, the crackling pause, the sudden ca- emperors and princesses, or anything, not pitulation? Some unspoken contest has been the demons of the psyche, or the vapors of simmering for ages between them, we're mysticism, or dawn, harbors, boats, portents, forced to suppose, but they're not telling or anything but a boy extending his arm. us what it's about. And then they are gone, leaving us none the wiser. by Copyright O 1970 Consider the colorful sexuality of modern MARCIA B. SIEGEL ballet the clutchings and acrobatic falls covers dance in New York - Marcia B. Siegel the contorted embraces someone's for the Los Angeles limes and the Boston - - Herald. She is a contributing editor of hand shoots up in the air - orgasm! Or Arts in Society. the decorative anonymity of "abstract" bat- 11 6 / BROOKLYN ACADEMY OF MUSIC / OCTOBER 1970 intensely, until suddenly their ardor sub- sides, and the men pick up the girls in their arms and rock them to a lullaby. At Midnight poses solo dancers against groups, the way Mahler threaded his long, gorgeous melodic line through and over the orchestra in the Ruckert Songs, which ac- company the ballet. The group makes no statement of its own, but its presence, always surging and hovering in the background, determines the actions of the soloist. In Meadowlark, Feld matched the exuberant momentum of Haydn, and in Harbinger the frenetic pace of Prokofieff. Several unusual things are implied by this highly developed musicality of Feld's. His dancing often has a folk quality. The vo- cabulary is classic ballet, but the impulse r to dance, the vitality, the lack of restraint *Mk MARTHA SWOPE Feld at rehearsal with Christine Sorry looking on L let, where you are not supposed to see a man touching a girl at all, but an idealized depiction of a musical phrase. What makes Feld's dancing different from all these is its immediacy, its refusal to adopt euphemisms, and its total reliance on the energy and sweep of the movement to convey meaning.
Load more

Recommended publications
  • 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.
    [Show full text]
  • Dorathi Bock Pierre Dance Collection, 1929-1996
    http://oac.cdlib.org/findaid/ark:/13030/c8pc33q9 No online items Finding Aid for the Dorathi Bock Pierre dance collection, 1929-1996 Processed by Megan Hahn Fraser and Jesse Erickson, March 2012, with assistance from Lindsay Chaney, May 2013; machine-readable finding aid created by Caroline Cubé. UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 Email: [email protected] URL: http://www.library.ucla.edu/libraries/special/scweb/ ©2013 The Regents of the University of California. All rights reserved. Finding Aid for the Dorathi Bock 1937 1 Pierre dance collection, 1929-1996 Descriptive Summary Title: Dorathi Bock Pierre dance collection Date (inclusive): 1929-1996 Collection number: 1937 Creator: Pierre, Dorathi Bock. Extent: 27 linear ft.(67 boxes) Abstract: Collection of photographs, performance programs, publicity information, and clippings related to dance, gathered by Dorathi Bock Pierre, a dance writer and publicist. Language: Finding aid is written in English. Language of the Material: Materials are in English. Repository: University of California, Los Angeles. Library Special Collections. Los Angeles, California 90095-1575 Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact UCLA Library Special Collections for paging information. Restrictions on Access Open for research. STORED OFF-SITE AT SRLF. Advance notice is required for access to the collection. Please contact UCLA Library Special Collections for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UC Regents. Literary rights, including copyright, are retained by the creators and their heirs.
    [Show full text]
  • BALLET THEATRE to Whom Ii May Concern: S
    ELLISON-WHITE BUREAU and S. HUROK Present BALLET THEATRE To Whom Ii May Concern: S. Hurok declares that he is not responsible for any ballet company except the one bearing the imprint: "S. Hurok Presents." • PORTLAND PUBLIC AUDITORIUM Sunday, January 21, 1945 — 2:30 P.M. • PROGRAM h PETROUCHKA A Burlesque in One Act by Igor STRAVINSKY and Alexandre BENOIS Choreography by Michel FOKINF. Decor after Alexandre BHNOIS Courtesy of Avery Memorial Museum, Hartford, Conn. The scene is the Admiralty Square, St. Petersburg, about 1830. It is carnival time. The crowds are merry, when there appears among them an old Charlatan, Oriental in appearance, who exhibits to the throng his three dancing puppets, Petrouchka, the Dancer, and the Moor. The Charlatan, with his magic, has endowed these dolls with human attributes and sentiments. Petrouchka has the most humanity of the three and therefore suffers most from the cruelty of the Charlatan who holds him prisoner, aloof from life. He feels deeply his enchainment, his ugliness, his grotesqueness. Petrouchka seeks consolation in a romantic love for the Dancer, and believes his suit successful, not realizing that his paroxysms of love only cause her to fear him. The Dancer prefers the strong, exotic Moor, a healthy barbarian who first attacks and then worships his cell-plaything, a cocoanut shell. The Dancer succeeds in fascinating him, dull, stupid materialist that he is; while Petrouchka, alone in his cell, shakes an impotent fist at a picture of the Charlatan, framed on the wall of his cell, and takes himself to the Moor's quarters, arriving at the moment when the two are about to declare their love for each other.
    [Show full text]
  • Reanimación Tanguera De Argentino Galván BUENOS AIRES.—El Recuerdo De La Mente Agotados, Han Vuelto a Ser Publi- Una Pequeña Pieza Orquestal
    miércoles, 6 de octubre del 2010 CULTURALES ABT en Cuba, lazos históricos MIGUEL CABRERA Entre las atraccio- nes que anuncia el 22 Festival Internacional de Ballet, que tendrá a La Habana como sede principal, entre el 28 de octubre y el 7 de noviembre, la presencia de la afamada compañía norteameri- cana American Ballet Theatre ocupa un lugar especial en las expectativas del público, no solamente por el gran prestigio que la ha acompañado siempre, Herman Cornejo, Sascha Radetsky y Marcelo Gomes en Fancy Free, una de las coreo- sino también por los estrechos Michele Wiles, una de las luminarias del ABT. grafías que el ABT traerá a La Habana. lazos históricos que la vinculan con las figuras fundadoras del movi- unen al ABT con el ballet cubano. A esa tar un amplio repertorio, que incluyó obras de El repertorio presentado en esa segun- miento profesional de ballet en Cuba. compañía se vincularían Alicia Alonso y la gran tradición romántico-clásica del siglo da visita incluyó Las sílfides, Billy the Las nuevas actuaciones del ABT en nues- Fernando Alonso durante su primera tem- XIX como Giselle, Pas de quatre, El lago de Kid, de Eugene Loring; La leyenda de tro país tendrán lugar los días 3 y 4 de no- porada en 1940 y permanecerían en su los cisnes (II acto); y los pas de deux Fall River, de Agnes de Mille; Baile de viembre, en el Teatro Karl Marx y en galas elenco durante largos y fructíferos años. Cascanueces, El cisne negro, Don Quijote; graduados, de David Lichine; El comba- posteriores en el Gran Teatro de La Habana.
    [Show full text]
  • Proposal for a Master of Fine Arts in Dance: Embodied Interdisciplinary Praxis
    PROPOSAL FOR A MASTER OF FINE ARTS IN DANCE: EMBODIED INTERDISCIPLINARY PRAXIS Respectfully submitted by Purnima Shah, Director of the Duke Dance Program on behalf of the Dance Faculty TABLE OF CONTENTS I. PROGRAM RATIONALE a. Statement of How the Proposed MFA fits into the Mission of the Dance Program ........ 1 b. Justification for the New MFA Program ................................................................................ 3 II. DESCRIPTION OF THE PROPOSED MFA a. Strategic Objectives and Educational Goals .......................................................................... 5 b. Degree Requirements for the Program .................................................................................. 5 c. MFA Curriculum ...................................................................................................................... 8 d. Descriptions of Courses and Learning Opportunities (See Appendix A, i-iv) ................ 17 e. Brief Bios of the MFA faculty (See Appendix B) .................................................................. 17 i. Specialty Areas of the Dance Faculty ............................................................................. 18 ii. Administrative Structure ................................................................................................. 19 f. Distanced-based Learning Opportunities ............................................................................. 19 g. Nature and Description of Student Participation in Independent Research, etc. ............ 20 h. Target Audience
    [Show full text]
  • BALLET THEATRE to Whom It May Concern: S
    ELLISON-WHITE BUREAU and S. HUROK Present BALLET THEATRE To Whom It May Concern: S. Hurok declares that he is not responsible for any ballet company except the one bearing the imprint; "S. Hurok Presents." • PORTLAND PUBLIC AUDITORIUM Sunday, January 21, 1945 — 8:30 P.M. • PROGRAM I. WALTS ACADEMY In a setting suggesting a Continental European reheatsal hall, a scries of Waltz Variations by George BALANCHINE, to an original composition by Vittorio RIETI. Scenery designed by Oliver SMITH Costumes designed by Alvin COLT Scenery executed by Eugene B. DUNKEL Studios Costumes executed by KARINSKA 1. Pas de Six Margaret BANKS, Barbara FALLIS, Paula LLOYD, Patricia BARKER, June MORRIS, Fern WHITNEY 2. Pas de Quatre Shirley ECKL, Albia KAVAN, Kenneth DAVIS, Fernando ALONSO 3. Pas de Trois....'. Shirley ECKL, Diana ADAMS, John KRIZA 4. Pas de Trois Alicia ALONSO, John TARAS, Rex COOPER 5. Pas de Deux Rosella HIGHTOWER and Dimitri ROMANOFF 6. Finale Entire Ensemble Conductor: Daniel SAIDENBERG INTERMISSION II. FANCY FREE A ballet by Jerome ROBBINS Music by Leonard BERNSTEIN Choreography by Jerome ROBBINS Scenery designed by Oliver SMITH Costumes designed by Kermit LOVE Scenery executed by Eugene B. DUNKEL Studio Ladies' costumes executed by Edith LUTYENS Lighting by Peter LAWRENCE TIME: A hot summer night. PEACE: New York, N. Y., a street corner. ACTION: Concerns three sailors on shore leave. CHARACTERS (In order of their appearance) Bartender Rex COOPER Sailors Richard REED, Harold LANG, John KRIZA Passers-by Muriel BENTLEY, Janet REED, Shirley ECKL Conductor: Mois ZLATIN INTERMISSION III. PAS DE DEUX (Grand Pas de Deux from "The Nutcracker") Choreography by Anton DOLIN after Lev IVANOV Music by TCHAIKOWSY Nana GOLLNER and Paul PETROFF (a) Adagio (b) Variation (c) Variation (d) Coda Conductor: Mois ZLATIN INTERMISSION Goatling ..
    [Show full text]
  • A Conversation with Robert Barnett
    Winter 2013-2014 Ballet Review From the Winter 2013 issue of Ballet Review Robert Barnett On the cover: Wendy Whelan in Restless Creature 4 Balanchine’s Revolution – Jay Rogoff 6 Hamburg – Gary Smith 8 Copenhagen – Ilona Landgraf 9 New York – Gary Smith 11 Cooperstown, NY – Jay Rogoff 12 StuTgart – Gary Smith 13 LeTer to the Editor – Barbara Palfy Frank O’Hara 14 Roma Kevin Ng 66 20 A Conversation with Daniil Simkin Francis Mason 26 Linda Hodes on Graham Leigh Witchel 31 Traveling Man Joel Lobenthal 36 A Conversation with Robert BarneT Ballet Review 41.4 31 Winter 2013-14 Harris Green Editor and Designer: 54 One, Two, Uree Marvin Hoshino Michael Langlois Managing Editor: Roberta Hellman 60 A Conversation with Sally Radell Senior Editor: William James Lawson Don Daniels 66 Robert Irving: A Personal Memoir Associate Editor: Joel Lobenthal Ian Spencer Bell 36 Associate Editor: 80 Living Larry Kaplan Don Daniels Copy Editors: Barbara Palfy 84 Low Anxiety Naomi Mindlin 96 London Reporter – Clement Crisp Photographers: 97 Music on Disc – George Dorris Tom Brazil Costas 100 Check It Out Associates: Peter Anastos Robert Greskovic 20 George Jackson Elizabeth Kendall Paul Parish Nancy Reynolds James SuTon David Vaughan Edward Willinger Cover Photograph by Em Watson, Jacob’s Pillow Dance: Sarah C. Woodcock Wendy Whelan in Restless Creature. Robert Barnett in Jerome Robbins’ Ballade, 1952. (Photo: Melton-Pippin, New York City Ballet. All photographs from the collection of Robert and Virginia Barnett.) 3 ballet review A Conversation with I questioned my mother’s aunt, because she taughtatPasadenaCommunityCollege.Iknew Robert Barnett they had a theater department at the school.
    [Show full text]
  • TWYLA THARP DANCE with Special Guest Artist MIKHAIL BARYSHNIKOV
    BROOKLYN ACADEMY OF MUSIC Sunday Evening February 12 , 1984 at 7:00PM A CELEBRATION EVENING TWYLA THARP DANCE with special guest artist MIKHAIL BARYSHNIKOV TWYLATHARP SARA RUDNER TOMRAWE JENNIFER WAY SHELLEY WASHINGTON RAYMOND KURSHALS RICHARD COLTON WILLIAM WHITENER JOHN CARRAFA KATIE GLASNER JOHN MALASHOCK MARY ANN KELWGG SHELLEY FREYDONT KEITH YOUNG AMY SPENCER BARBARA HOON ROBERT RADFORD production designed by SANTO WQUASTO lighting designed by JENNIFER TIPTON The Twyla Tharp Dance Foundation gratefully acknowledges the Benefactors and Patrons who have supported this gala evening. Performances by TWYLA THARP DANCE have been made possible in part by public funds fro m the New York State Council on the Arts and the Nation:l En dowment for the Am. Additional support for these performances at the Brooklyn Ae< '11 of Music has been pro­ vided by the Booth Ferris Foundation, the Charles Engelhard h ; ,dation, and the Norman and Rosita Winston Foundation. PROGRAM THE GOLDEN SECTION Premiere: (THE CATHERINE WHEEL) September 1981, New York, New York Choreography by Twyla Tharp Costumes designed by Santo Loquasto Lighting designed by Jennifer Tipton Music composed, produced and performed by David Byrne Rawe, Way, Washington, Kurshals, Colton, Whitener, Carrafa, Glasner, Malashock, Kellogg, Freydont, Young, Hoon Five Golden Sections What A Day That Was Big Blue Plymouth Light Bath The original producrion ofT HE CATHERINE WHEEL was made possible in pan by grams from rhe New York Srare Council on rhe Arcs and rhe Narional Endowmem for rhe Arcs. pause SINATRA SUITE Performed to the music of Frank Sinatra Choreography by Twyla Tharp Costumes designed by Oscar de la Renta Lighting designed by Jennifer Tipton Tharp and Baryshnikov Strangers In The Night (Kaempfert-Singleton-Snyder) All The Way 0.
    [Show full text]
  • Eliot Feld and the Extinct Metaphor
    2 I BROOKLYN ACADEMY OF MUSIC I OCTOBER 1970 BROOKLYN ACADEMY OF MUSIC I OCTOBER 1970 I 3 Brooklyn Festival of Dance 1970-71 The Brooklyn Academy of Music in association with The American Dance Foundation presents The American Ballet Company Director ELIOT FELD OLGA JANKE ELIZABETH LEE CHRISTINE SARRY ELIOT FELD JOHN SOWINSKI Marilyn D'Honau Karen Kelly Christine Kono Cristina Stirling Eve WJlstrum Kerry Williams Larry Grenier Edward Henkel Kenneth Hughes Daniel Levins James Lewis Richard Munro Musical Director CHRISTOPHER KEENE Associate Conductor ISAIAH JACKSON Ballet Mistress BARBARA FALLIS The American Ballet Company is a resident company of the Brooklyn Academy of Music. The performances of the American Ballet Company at the Brooklyn Academy of Music are made possible by grants from the National Endowment for the Arts, The Ford Foundation, the New York State Council on the Arts and individual donors. Baldwin is the official piano of the Brooklyn Academy of Music. The unauthorized use of cameras or recording equipment is strictly prohibited during performances. 4 I BROOKLYN ACADEMY OF MUSIC I OCTOBER 1970 The Brooklyn A(' ad(' nt y of Must(' J /w /Jrook/1, Anulcm)' of Mu1ic i1 c1 deparltllt'lll of tire Brooklyn Ttutitute of Art.\ ami .Science.\. Brook I} n Ac·adt'my of M u:-.ie· \dmini ... tratiV<' Staff Managc·nu•nt Company, lrH". liar vc.:y I ichtenstein, Drr ell or I e\\ is I . lloyd, (,eneral Manager Board ol DirettlHs: Charles I lammock, Asst. (,eneral Manager Seth ~ I .1tson, l'tesident Jane Yoc kel, Asst. (, eneral Manager Donald !\1 Blinken Barty Moore, Comptroller J\lartin I' ( arter I homas Kerrt).(an, Assistant to the Director Ru.: har d I\! llexter M u:hele Goldman Drusttn, Assistant to the Director Peter ( I{ I lu.mg Anne Goodrich, Associate Press Representative (itlber t Kaplan I mda r oshurg, Manager or I 1.11 vn I rdlll'lhtl'in Audtence and Community Development Al.1n J.
    [Show full text]