2016 Annual Report
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Nicolle Greenhood Major Paper FINAL.Pdf (4.901Mb)
DIVERSITY EN POINTE: MINIMIZING DISCRIMINATORY HIRING PRACTICES TO INCREASE BALLET’S CULTURAL RELEVANCE IN AMERICA Nicolle Mitchell Greenhood Major paper submitted to the faculty of Goucher College in partial fulfillment of the requirements for the degree of Master of Arts in Arts Administration 2016 Abstract Title of Thesis: DIVERSITY EN POINTE: MINIMIZING DISCRIMINATORY HIRING PRACTICES TO INCREASE BALLET’S CULTURAL RELEVANCE IN AMERICA Degree Candidate: Nicolle Mitchell Greenhood Degree and Year: Master of Arts in Arts Administration, 2016 Major Paper Directed by: Michael Crowley, M.A. Welsh Center for Graduate and Professional Studies Goucher College Ballet was established as a performing art form in fifteenth century French and Italian courts. Current American ballet stems from the vision of choreographer George Balanchine, who set ballet standards through his educational institution, School of American Ballet, and dance company, New York City Ballet. These organizations are currently the largest-budget performing company and training facility in the United States, and, along with other major US ballet companies, have adopted Balanchine’s preference for ultra thin, light skinned, young, heteronormative dancers. Due to their financial stability and power, these dance companies set the standard for ballet in America, making it difficult for dancers who do not fit these narrow characteristics to succeed and thrive in the field. The ballet field must adapt to an increasingly diverse society while upholding artistic integrity to the art form’s values. Those who live in America make up a heterogeneous community with a blend of worldwide cultures, but ballet has been slow to focus on diversity in company rosters. -
Koel Chatterjee Phd Thesis
Bollywood Shakespeares from Gulzar to Bhardwaj: Adapting, Assimilating and Culturalizing the Bard Koel Chatterjee PhD Thesis 10 October, 2017 I, Koel Chatterjee, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 10th October, 2017 Acknowledgements This thesis would not have been possible without the patience and guidance of my supervisor Dr Deana Rankin. Without her ability to keep me focused despite my never-ending projects and her continuous support during my many illnesses throughout these last five years, this thesis would still be a work in progress. I would also like to thank Dr. Ewan Fernie who inspired me to work on Shakespeare and Bollywood during my MA at Royal Holloway and Dr. Christie Carson who encouraged me to pursue a PhD after six years of being away from academia, as well as Poonam Trivedi, whose work on Filmi Shakespeares inspired my research. I thank Dr. Varsha Panjwani for mentoring me through the last three years, for the words of encouragement and support every time I doubted myself, and for the stimulating discussions that helped shape this thesis. Last but not the least, I thank my family: my grandfather Dr Somesh Chandra Bhattacharya, who made it possible for me to follow my dreams; my mother Manasi Chatterjee, who taught me to work harder when the going got tough; my sister, Payel Chatterjee, for forcing me to watch countless terrible Bollywood films; and my father, Bidyut Behari Chatterjee, whose impromptu recitations of Shakespeare to underline a thought or an emotion have led me inevitably to becoming a Shakespeare scholar. -
Download This Volume In
Sederi 29 2019 IN MEMORIAM MARÍA LUISA DAÑOBEITIA FERNÁNDEZ EDITOR Ana Sáez-Hidalgo MANAGING EDITOR Francisco-José Borge López REVIEW EDITOR María José Mora PRODUCTION EDITORS Sara Medina Calzada Tamara Pérez Fernández Marta Revilla Rivas We are grateful to our collaborators for SEDERI 29: Leticia Álvarez Recio (U. Sevilla, SP) Adriana Bebiano (U. Coimbra, PT) Todd Butler (Washington State U., US) Rui Carvalho (U. Porto, PT) Joan Curbet (U. Autònoma de Barcelona, SP) Anne Valérie Dulac (Sorbonne U., FR) Elizabeth Evenden (U. Oxford, UK) Manuel Gómez Lara (U. Seville, SP) Andrew Hadfield (U. Sussex, UK) Peter C. Herman (San Diego State U., US) Ton Hoensalars (U. Utrecth, NL) Douglas Lanier (U. New Hampshire, US) Zenón Luis Martínez (U. Huelva, SP) Willy Maley (U. Glasgow, UK) Irena R. Makaryk (U. Ottawa, CA) Jaqueline Pearson (U. Manchester, UK) Remedios Perni (U. Alicante, SP) Ángel Luis Pujante (U. Murcia, SP) Miguel Ramalhete Gomes (U. Lisboa, PT) Katherine Romack (U. West Florida, US) Mary Beth Rose (U. Illinois at Chicago, US) Jonathan Sell (U. Alcalá de Henares, SP) Alison Shell (U. College London, UK) Erin Sullivan (Shakespeare Institute, U. Birmingham, UK) Sonia Villegas (U. Huelva, SP) Lisa Walters (Liverpool Hope U., UK) J. Christopher Warner (Le Moyne College, US) Martin Wiggins (Shakespeare Institute, U. Birmingham, UK) R. F. Yeager (U. West Florida, US) Andrew Zurcher (U. Cambridge, UK) Sederi 29 (2019) Table of contents María Luisa Dañobeitia Fernández. In memoriam By Jesús López-Peláez Casellas ....................................................................... 5–8 Articles Manel Bellmunt-Serrano Leskov’s rewriting of Lady Macbeth and the processes of adaptation and appropriation .......................................................................................................... -
Shakespeare Survey 71 Volume 71 Index More Information
Cambridge University Press 978-1-108-47083-4 — Shakespeare Survey 71 Volume 71 Index More Information INDEX Aarons, Wendy 157n34 Arsi ´c,Branka 105–6 Barlow, Graham 138, 141 Aasand, Hardin L. 222n9, 228n39 Ashby, Stephen 338 Barnes, Jennifer 383, 384, 387 Abad, Ricardo 29, 30–1, 32 Ashcroft, Peggy 126 Barnes, Todd Landon 78n19 Abrams, David 161n51 Ashford, Rob 354, 358, 360 Barnfield, Richard 235 Abu Hassan 95n42 Ashton, Frederick 170, 175–6, 180–2, Barr, Gordon 345, 349 Ackermann, Zeno 89n3 183, 184–5, 352 Barrit, Desmond 115–16, 117Illus.17, Adamson, Matthew 277n10 Ashton, Louisa 316 123, 124Illus.23 Adegbola, Stefan 314 Askew, Marc 280n15, 280n16, 286n40, Bartels, Emily C. 269n11 Adelakun, Joseph 313Illus.53 289n48 Bartha, Katalin Agnes 94n38 Adorno, Theodor 166 Aspley, William 243, 244, 249 Bartlett, Mike 386 Aeschylus 238 al-Assadi, Jawad 37 Bartolovich, Crystal 372 Agamben, Giorgio 279, 291 Astington, John H. 156n32, 222n10, Bartoshevich, Aleksey 89, 97 Aitken, Charles 315 366–7, 376 al-Bassam, Sulayman 37, 38 Akala (rapper) 77 Atherton, Kristin 312, 313Illus.53 Bassi, Shaul 373, 376 Akane, Ryouhei 216 Atkins, Eileen 359 Basu, Dipannita 77n13 Akinlude, Layo-Christina 325Illus.58, Atkins, Robert 378, 379, 387 Bate, Jonathan 225n28, 231n53 325 Attenborough, Michael 123 Bauer, Jared 77 Alaimo, Stacey 156 Attwell, Harry 321 Beale, Simon Russell 356 Albanese, Denise 365 Auslander, Philip 168n15 Bealey, Chris 348 Albina, Nadia 318 Avramov, Roumen 93n28 Beau, Dicky 337–8 Alexander, Gavin 235, 240n45, 252 Beaumont, Francis 143n31, 145, 204, -
Madame Ballet' As Establish a Perth-Based Ballet Company Western Australian Author Ffion Murphy As a Result of Those Who Had Prepared the Ground for Her
Michelle Potter reveals how Bousloff, whose youth had been lived out Russian dancer Kira Bousloff boldly of a suitcase as she travelled the world as a dancer with the Ballets Russescompanies created an environment for dance of Colonel de Basil, decided to remain in to flourish in Western Australia Australia in 1939 at the end of a tour by the Covent Garden Russian Ballet. She recalls When I came to the airport here in little Perth, that decision in an oral history interview at the end of the world, I put my feet on the recorded for the National Library in 1990: ground, I looked around, and I said loudly and strongly 'That's where I'm going to live and I was sitting in my hotel room in Melbourne that's where I'm going to die'. on my own and I had a strong feeling that my father (who had died many years ago) -Kira Bousloff touched my shoulder. It was a physical feeling practically. Then I had suddenly this strong ira Bousloff, or Kira Abricossova as feeling that I had to stay in Australia. So she was known during her early without even thinking twice (of course, you see, Kperforming career, was the founder of I'm a bit queer, eccentric, but that's the truth, the West Australian Ballet, one of Australia's that's what happened) I ran down the stairs and earliest state-based ballet companies-the rang up ... a very good friend and I said, 'I want first, in fact, to call itself a state company. -
Audition Special Navigating the European Dance “ I Adored the Company Trail Partnership I Had with Robert My Memorable Curran...” – Lucinda Dunn, P
IssuE 192 JuNE / JuLy ’14 danceaustralia.cOm.Au Tamara Rojo, Carlos Acosta, Stephen McRae Guest stars in ‘Romeo & Juliet’ InspIrIng! The Youth America Grand Prix Well judged: SYTYCD’s Aaron Cash Audition speciAl Navigating the European dance “ I adored the company trail partnership I had with Robert My memorable Curran...” – Lucinda Dunn, p. 50 audition $7.95 / NZ $8.50 (incl. GST) PRINT POST APPROVED 100005330 04 9 770159 633008 22 / Feature auditions can be the most important event in a dancer’s career: the doorway to a new job, a new country, a new life. Below, dancers share their most memorable auditions with us. My MeMorable audition Brooke Widdison-Jacobs Principal Dancer West Australian Ballet I had been dancing in Europe for a few years when my travels took me to London to audition for the English National Ballet. As I stood amid the chaos of London commuters on the Piccadilly Line tube, I noticed sitting across from me another dancer, easily recognisable as he sat massaging his calf muscles! I quickly discovered that he was with the Royal Ballet of Flanders in Antwerp, Belgium. The company just happened to be performing at the Sadler’s Wells Theatre in London. It seemed meant to be, so the next day I found myself outside Sadler’s Wells waiting to join company class. As I had not contacted the company to pre-arrange my audition, the only way to get past security was to be smuggled into class between two racks of costumes. No easy task, but with a bit of distraction from the dancer I had met on the tube and the good fortune of incredibly large costumes, I successfully slipped right past all security checks and into what was already becoming my most memorable audition. -
Project Faust
PUBLISHER FEARLESS DESIGNS, INC. March 2018 EDITOR KAY TULL MANAGING EDITOR AGGIE KEEFE CREATIVE DIRECTOR FROM THE DIRECTOR ................................................................... 4 JEFF TULL PROGRAM HE EYOND DESIGN T B ........................................................................ 7 KAY & JEFF TULL REQUIEM .......................................................................... 8 PROJECT FAUST .................................................................. 9 PRODUCTION BIOGRAPHIES ....................................................................... 21 AGGIE KEEFE ARTISTS OF THE COMPANY...................................................... 34 STAFF & SUPPORT ................................................................ 38 SALES MANAGER MICHELLE BAIR THEATRE SERVICES ..................................................................... 54 PRINTING CLARK & RIGGS PRINTING THEATRE INFORMATION The Kentucky Center (Whitney Hall, Bomhard Theater, Clark-Todd Hall, MeX Theater, 501 West Main Street; and Brown Theatre, 315 W. Broadway). Tickets: The Kentucky Center Box Office, 502.584.7777 or 1.800.775.7777. Reserve wheelchair seating or hearing devices at time of ticket purchase. © COPYRIGHT 2018 LOOK AROUND YOU RIGHT NOW. IF THE PEOPLE YOU SEE LOOK LIKE POTENTIAL FEARLESS DESIGNS, INC. CUSTOMERS AND CLIENTS, YOU SHOULD BE ADVERTISING IN OUR PROGRAM REPRODUCTION IN GUIDES! OUR ADVERTISERS NOT ONLY GET THE BENEFIT OF REACHING A LARGE, WHOLE OR PART CAPTIVE, AFFLUENT AND EDUCATED DEMOGRAPHIC, BUT THEY ALSO SUPPORT -
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. -
Dance Brochure
Boosey & Hawkes Music Publishers Limited Dance 2006 Edition Also see www.boosey.com/downloads/dance06icolour.pdf Figure drawings for a relief mural by Ivor Abrahams (courtesy Bernard Jacobson Gallery) The Boosey & Hawkes catalogue contains many of the most significant and popular scores in the dance repertoire, including original ballets (see below) and concert works which have received highly successful choreographies (see page 9). To hear some of the music, a free CD sampler is available upon request. Works written as ballets composer work, duration and scoring background details Andriessen Odyssey 75’ Collaboration between Beppie Blankert and Louis Andriessen 4 female singers—kbd sampler based on Homer’s Odyssey and James Joyce’s Ulysses. Inspired by a fascination with sensuality and detachment, the ballet brings together the ancient, the old and the new. Original choreography performed with four singers, three dancers and one actress. Argento The Resurrection of Don Juan 45’ Ballet in one act to a scenario by Richard Hart, premiered in 1955. 2(II=picc).2.2.2—4.2.2.1—timp.perc:cyms/tgl/BD/SD/tamb— harp—strings Bernstein The Dybbuk 50’ First choreographed by Jerome Robbins for New York City Ballet 3.3.4.3—4.3.3.1—timp.perc(3)—harp—pft—strings—baritone in 1974. It is a ritualistic dancework drawing upon Shul Ansky’s and bass soli famous play, Jewish folk traditions in general and the mystical symbolism of the kabbalah. The Robbins Dybbuk invites revival, but new choreographies may be created using a different title. Bernstein Facsimile 19’ A ‘choreographic essay’ dedicated to Jerome Robbins and 2(II=picc).2.2(=Ebcl).2—4.2.crt.2.1—timp.perc(2)— first staged at the Broadway Theatre in New York in 1946. -
Cinderella Resource Pack
CINDERELLA A BALLET BY DAVID NIXON OBE RESOURCE PACK Introduction This resource pack gives KS2 and KS3 teachers and pupils an insight into Northern Ballet’s Cinderella. It can be used as a preparatory resource before seeing the production, follow up work after seeing the production or as an introduction to Northern Ballet or ballet in general. Contents • The History of Cinderella • • Characters • • Story • • About Northern Ballet’s Cinderella • • Costumes • • Sets • • Music • • Creative Team • • Terminology • • Gallery • Click on the links on each page to Terminology is highlighted and can find out more (external websites). be found at the back of this pack. This resource pack was created in autumn 2019. Photos Bill Cooper, Riku Ito, Emma Kauldhar and Dolly Williams. Cinderella is a universal story which has been re-written and retold in many different countries and cultures around the world. The oldest account of the story is from China, dating back to the 9th century AD. The well-known classic fairy tale was written by Charles Perrault and published in France as Cendrillon in 1697. Cendrillon told the story of a virtuous girl, whose mother dies, resulting in her being treated inhumanely by her family. In the end she is rescued by magical love from her mother beyond the grave. Task: How many elements of the Cinderella story do you know? A Stepmother and two Stepsisters A ball which Cinderella is not allowed to attend A visit by a Fairy Godmother The History of Receiving glass slippers Being home by midnight Losing a glass slipper Cinderella A Prince searching for the girl that fits the slipper There are numerous films, books, ballets and pantomimes which tell the story of Cinderella, all with their own interpretation. -
Romanian Users' Youtube “Shakespeares”: Digital Localities
humanities Article Romanian Users’ YouTube “Shakespeares”: Digital Localities in Global Fields Adriana Mihai English Department, Faculty of Foreign Languages and Literatures, University of Bucharest, 010451 Bucharest, Romania; [email protected] Received: 3 March 2019; Accepted: 17 April 2019; Published: 24 April 2019 Abstract: The cultural production of “Shakespeare” on the Internet has received growing attention in recent years, particularly in reference to newcomers in the field such as media users or “prosumers”. This is potentiated by the connectivity of digital platforms and growing access to digital means of production and distribution. From a field perspective on digital cultural production, participation online can be seen as a socially situated activity, often differentiated and marked by the habitus of digital media users. The present article aims firstly to discuss the utility of a field conceptualization of the cultural production of Shakespeare online, with reference to the work of Pierre Bourdieu. Secondly, through a critical framework derived from cultural and media economies, this article analyses Romanian appropriations of Shakespeare’s works on YouTube as cultural productions inscribed in both the global digital economy and also in the local cultural field. Thirdly, based on an overview of Romanian producers who have published Shakespeare videos and on the analysis of their visibility and circulation online, as well as their chosen genres and discourses, I argue that the Romanian digital (re)production of Shakespeare is situated at the periphery of both the national and the global digital field. User-made Shakespeare productions are yet to find valuation in the local cultural and media fields, being situated in an illegitimate location for appropriating Shakespeare. -
The Australian Ballet with Berkeley Symphony in Graeme Murphy’S Swan Lake Music by Pyotr Il’Yich Tchaikovsky Swan Lake: Ballet in Four Acts , Op
Thursday, October 16, 2014, 8pm Friday, October 17, 2014, 8pm Saturday, October 18, 2014, 2pm & 8pm Sunday, October 19, 2014, 3pm Zellerbach Hall The Australian Ballet with Berkeley Symphony in Graeme Murphy’s Swan Lake Music by Pyotr Il’yich Tchaikovsky Swan Lake: Ballet in Four Acts , Op. 20 (1875–1876) y b s u B ff e J David McAllister AM, Artistic Director Libby Christie, Executive Director Nicolette Fraillon, Music Director and Chief Conductor The Australian Ballet acknowledges the invaluable support of its Official Tour Partners, Qantas and News Corp. The Australian Ballet’s 2014 tour to the United States has been generously supported by the Talbot Family Foundation and by The Australian Ballet’s International Touring Fund. These performances are made possible, in part, by Corporate Sponsor U.S. Bank, and by Patron Sponsors Deborah and Bob Van Nest, and Anonymous. Cal Performances’ – season is sponsored by Wells Fargo. CAL PERFORMANCES 19 Cal Performances thanks for its support of our presentation of The Australian Ballet in Graeme Murphy’s Swan Lake. PLAYBILL PROGRAM Graeme Murphy’s Swan Lake Choreography Graeme Murphy Creative Associate Janet Vernon Music Pyotr Il’yich Tchaikovsky (1840–1893): Swan Lake , Op. 20 (1875 –1876) Concept Graeme Murphy, Janet Vernon, and Kristian Fredrikson Set and Costume Design Kristian Fredrikson Original Lighting Design Damien Cooper PROGRAM Act I Scene I Prince Siegfried’s quarters Scene II Wedding festivities INTERMISSION Act II Scene I The sanatorium Scene II The lake INTERMISSION Act III An evening