1 February 2020 Newsletters SPRING and SUMMER Sessions 32Nd

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1 CLASSICAL BALLET ACADEMY of MN Official school of Ballet Minnesota BALLET SCHOOL The CBA school ballet will be a story ballet, Ballet School, composed by Robert E Hindel February 2020 Newsletters and choreographed by Andrew Rist. The book has already been written by Andrew CBA: 651-290-0513 BMN: 651-222-7919 Rist and will be published this summer. St Paul, 314 Chester Street, 55107 The ballet has been performed twice before. Woodbury: 7582 Currell Blvd. #207, 55125 Most rehearsals will begin in March. 2019 – 2020 SCHOOL YEAR We will keep you posted. SPRING TUITION DUE MARCH 2 SPRING and SUMMER Sessions Spring March 2 – May 16 Summer June 1 – August 15 HELP WITH MDF Dance Camp June 8 – August 26 We are always in need of help for Pre-Ballet Wkshop June 3 – July 2 performances. If you would like to help with costumes, marketing or any other aspect of the production PLEASE leave a note at the nd 32 MINNESOTA DANCE FESTIVAL front desk of Woodbury or St Paul. May 8-9, 2020 Also, you can call 651-290-0513. When a Loft Theater, Woodbury, MN receptionist is not at the desk, the phone is Friday 7:30pm transferred to Andrew’s phone. Saturday, 2:00pm & 7:30pm WRITE A REVIEW ON GOOGLE LES SYLPHIDES Please help CBA by going online at Google Each year a classic ballet is Restaged by Cheryl and writing a review about the school. Rist and performed on the Minnesota Dance Thank you, Andy Festival. This year the classic ballet is ‘Les Sylphides’. First performed: June, 1909 QUESTIONS Company: Diaghilev’s Ballet Russes The best way to get a question answered is to Theater: Theatre du Chatelet, Paris contact Andrew Rist, co-director of Choreographer: Michael Fokine Classical Ballet Academy. Composer: Music of Frederic Chopin Email will take much longer. Soloists: Tamara Karsavina, Vaslav Nijinksky, Anna Pavlova, Alexandra Baldina Call the school phone at 651-290-0513. This was a landmark in the evolution of ballet When a receptionist is not at the desk, the as it credited with being the first ballet without phone is transferred to Andrew’s phone. a story focusing on the steps as abstract interpretation of the music as opposed to telling a story. .

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Whose Chopin? Politics and Patriotism in a Song to Remember (1945)
Whose Chopin? Politics and Patriotism in A Song to Remember (1945) John C. Tibbetts Columbia Pictures launched with characteristic puffery its early 1945 release, A Song to Remember, a dramatized biography of nineteenth-century composer Frederic Chopin. "A Song to Remember is destined to rank with the greatest attractions since motion pictures began," boasted a publicity statement, "—seven years of never-ending effort to bring you a glorious new landmark in motion picture achievement."1 Variety subsequently enthused, "This dramatization of the life and times of Frederic Chopin, the Polish musician-patriot, is the most exciting presentation of an artist yet achieved on the screen."2 These accolades proved to be misleading, however. Viewers expecting a "life" of Chopin encountered a very different kind of film. Instead of an historical chronicle of Chopin's life, times, and music, A Song to Remember, to the dismay of several critics, reconstituted the story as a wartime resistance drama targeted more to World War II popular audiences at home and abroad than to enthusiasts of nineteenth-century music history.3 As such, the film belongs to a group of Hollywood wartime propaganda pictures mandated in 1942-1945 by the Office of War Information (OWI) and its Bureau of Motion Pictures (BMP)—and subject, like all films of the time, to the censorial constraints of the Production Code Administration (PCA)—to stress ideology and affirmation in the cause of democracy and to depict the global conflict as a "people's war." No longer was it satisfactory for Hollywood to interpret the war on the rudimentary level of a 0026-3079/2005/4601-115$2.50/0 American Studies, 46:1 (Spring 2005): 115-142 115 116 JohnC.Tibbetts Figure 1: Merle Oberon's "George Sand" made love to Cornel Wilde's "Frederic Chopin" in the 1945 Columbia release, A Song to Remember(couvtQsy Photofest).
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1 A Century of Rites: The Making of an Avant-Garde Tradition Lynn Garafola Since the premiere of The Rite of Spring in 1913, scores of choreographic works to the celebrated Stravinsky music have seen the light of day. In 1987, when Joan Acocella and I compiled a list of as many productions as we could document for the Dance Critics Association symposium "The Rite of Spring at Seventy-Five," the number was forty-four.' (Of course, that was in the Dark Ages before Google and th e Internet!) By the time we republished the list in Ballet Review in 1992, it had climbed to seventy-five, including more than twenty earlier versions we had missed.2 Since then the numbers have grown exponentially. In 1999 the Italian critic Ada d'Adamo counted ninety-three versions.3 Three years later, "Stravin sky the Global Dancer," the database developed by Stephanie Jordan and her col league Larraine Nicholas at Roehampton University in 2002, recorded 181 set tings of the score, with roughly half since 1990 and with several choreographers staging multiple versions.4 After a brief slackening, the numbers spiked again in 2013, with countless new productions and revivals of old ones marking The Rite's centenary. Seemingly the idea of the now-legendary work coupled with its memorable score posed an irresistible challenge. Even as the productions keep coming, like Vaslav Nijinsky's original they keep disappearing, with perhaps two dozen or so in active repertory. To be sure, few dance w9rks outlive the first decade of their creation. They may leave traces, documentary and otherwise, but as living works they enter the limbo of non-per formance, where they languish long after any hope of retrievability has gone.
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Alexandra Ballet to Perform at Polonez Ball
Alexandra Ballet Celebrating 25 Years of Educating, Elevating, and Enriching the Community through the Magic of Dance! 68E Four Seasons Center, Chesterfield, MO 63017 314.469.6222 Alexandra Zaharias Artistic Director PRESS RELEASE - October 27, 2008 Alexandra Ballet to Perform at Polonez Ball The Polish American Cultural Society has requested Alexandra Ballet to perform at their annual Polonez Ball on November 8, 2007 at Sunset Country Club in St. Louis, Missouri. Alexandra Ballet will perform the Polish Suite and the Valse Variation from Les Sylphides. The proceeds from this annual event benefit The Polish American Cultural Society’s Arts and Education and Stan Musial Scholarship Funds. The Polish Suite is a nostalgic collection of four historical folk dances of Poland, Polonez Chodzay, Kujawiak, Oberek and Krakowiak, with traditional Polish music and costumes. The piece was choreographed by Barbara Banasikowski Smith who performed professionally with the Milwaukee Ballet. She studied ballet at the Warsaw Ballet/Opera and Polish ethnic dances at the University of Maria Curie Sklodowski in Lublin, Poland. Ms. Smith is listed in Who’s Who of Polonia (France,1993), Who’s Who of Polish Americans (USA, 1996) and Who’s Who of Polonia Recent Polish Suite Performance at CLASSIC99’s Rhapsody In Bloom (Poland, 2000). Alexandra Ballet’s First Company member, Makensie Howe, will perform the Valse Variation from Les Sylphides. The ballet was choreographed by Michel Fokine and restaged by Marek Cholewa. The exquisite music brings together orchestrations of eight pieces for piano composed by Frederic Chopin. Alexandra Ballet is pleased to present this selection in honor of Frederic Chopin’s polish heritage.
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The Problems of Studying the Ballet in the Culture of the Late XIX - Early XX Centuries
International Journal of Humanities Social Sciences and Education (IJHSSE) Volume 5, Issue 9, September 2018, PP 11- 15 ISSN 2349-0373 (Print) & ISSN 2349-0381 (Online) http://dx.doi.org/10.20431/2349-0381.0509002 www.arcjournals.org The Problems of Studying the Ballet in the Culture of the Late XIX - Early XX Centuries Тatiana Portnova Doctor of Art History, Professor of Choreography Art department of Slavic Culture Institute, Professor of Art History Department of A. Kosygin Russian State University *Corresponding Author: Тatiana Portnova, Doctor of Art History, Professor of Choreography Art department of Slavic Culture Institute, Professor of Art History Department of A. Kosygin Russian State University Abstract: The article reveals the role of the Russian ballet in the cultural pattern at the turn of the 20th century. Purpose of the article is to determine the direction of development of interaction between national choreography and artistic and imaginative interpretation of its synthetic whole against a background of complex and ambiguous processes taking course at critical stages of the Russian culture, based at the existing visual materials of archive and museum funds. An aspect of art review was selected, allowing consideration of the diverse options of synthesis of ballet and plastic arts. The attraction of the visual arts to “balletness” and the tendency of Russian choreography to rely on images of painting, graphics and sculpture characteristic to the turn of the century are two sides of the single process. In this context, the Sergei Diaghilev's Ballets Russes company, being saturated with expressive plastic spectacular imagery, served as the bright frame for the last stage of the Russian Silver Age.
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Chopin and Dance--Chopin and Alston
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