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One Day When Women Can Demand Anything
MARCH | 2007 | issue # 03 www.passportmagazine.ru Paradigm Shift for doing buSiness in russia iStanbul through russian eyeS one day when women can demand anything contents. Publisher’s Letter 2 reaL esTaTe wine & dine The bottom Line New international dimension Thomas Koessler 36-37 Foreign Passport holders to Moscow’s leading residential realtor 26 A Very Special 8th of March Recipe should read this! 4 for the Ladies 38 Editor’s Choice 6 Novikov’s latest creation stimulates What’s On in Moscow in February 8-9 palate 39 Moscow Museums and Galleries 10 Kids ‘n’ Culture 11 Venues 11 Cover sTory Serviced Apartments grow in number and variety as an alternative to Moscow Hotels 28-29 feaTure Asian Fusion Match 40-43 Asian Fusion 44 CommuniTy Toys for Nostalgia 50 One day when women Postcard from Belarus 50 can demand anything 12-15 Mac vs PC (Or Soar with the Eagles) 51 business Community listing 52 Leaders & Changes 16 Distribution list 53 Paradigm Shift for doing business ouT & abouT in Russia 17-19 Forum to highlight Russia-Singapore business ties 20 From the primordial religion of the great arT hisTory mother to sacred contemporary The silver age of russian art in the oriental art 30-31 pre-soviet period 21 Fighting Fit 32 TraveL performing arT Johnnie Walker Black Label Black Ball 54 Dancing the night away 54 CERBA & Russo-British joint meeting 55 IWC Evening of Excellence raises cash for charity 55 The LasT word Istanbul through russian eyes 22-25 80 Years Young 34-35 Eric Kraus 56 PASSPORT | MARCH | 2007 | issue # 03 .letter from the -
CATALOGUE 2018 This Avant Première Catalogue 2018 Lists UNITEL’S New Productions of 2017 CATALOGUE 2018 Plus New Additions to the Catalogue
CATALOGUE 2018 This Avant Première catalogue 2018 lists UNITEL’s new productions of 2017 CATALOGUE 2018 plus new additions to the catalogue. For a complete list of more than 2.000 UNITEL productions and the Avant Première catalogues of 2015–2017 please visit www.unitel.de FOR CO-PRODUCTION & PRESALES INQUIRIES PLEASE CONTACT: Unitel GmbH & Co. KG Gruenwalder Weg 28D · 82041 Oberhaching/Munich, Germany Tel: +49.89.673469-613 · Fax: +49.89.673469-610 · [email protected] Ernst Buchrucker Dr. Thomas Hieber Dr. Magdalena Herbst Managing Director Head of Business and Legal Affairs Head of Production [email protected] [email protected] [email protected] Tel: +49.89.673469-19 Tel: +49.89.673469-611 Tel: +49.89.673469-862 Unitel GmbH & Co. KG Gruenwalder Weg 28D 82041 Oberhaching/Munich, Germany WORLD SALES CEO: Jan Mojto C Major Entertainment GmbH Meerscheidtstr. 8 · 14057 Berlin, Germany Tel.: +49.30.303064-64 · [email protected] Editorial team: Franziska Pascher, Dr. Martina Kliem, Arthur Intelmann Layout: Manuel Messner/luebbeke.com Elmar Kruse Niklas Arens Nishrin Schacherbauer Managing Director Sales Manager, Director Sales Sales Manager All information is not contractual and subject to change without prior notice. [email protected] & Marketing [email protected] All trademarks used herein are the property of their respective owners. [email protected] Date of Print: February 2018 © UNITEL 2018 All rights reserved Nadja Joost Ira Rost Sales Manager, Director Live Events Sales Manager, Assistant to & Popular Music Managing Director Front cover: Alicia Amatriain & Friedemann Vogel in John Cranko’s “Onegin” / Photo: Stuttgart Ballet [email protected] [email protected] ON THE OCCASION OF HIS 100TH BIRTHDAY UNITEL CELEBRATES AVAILABLE FOR THE FIRST TIME FOR GLOBAL DISTRIBUTION LEONARD BERNSTEIN 1918 – 1990 Leonard Bernstein, a long-time exclusive artist of Unitel, was America’s ambassador to the world of music. -
Glen Tetley: Contributions to the Development of Modern
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. ProQuest Information and Learning 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 800-521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with with permission permission of the of copyright the copyright owner. owner.Further reproductionFurther reproduction prohibited without prohibited permission. without permission. GLEN TETLEY: CONTRIBUTIONS TO THE DEVELOPMENT OF MODERN DANCE IN EUROPE 1962-1983 by Alyson R. Brokenshire submitted to the Faculty of the College of Arts and Sciences Of American University In Partial Fulfillment of The Requirements for the Degree Of Masters of Arts In Dance Dr. -
Kirov Ballet & Orchestra of the Mariinsky Theatre
Cal Performances Presents Tuesday, October 14–Sunday, October 19, 2008 Zellerbach Hall Kirov Ballet & Orchestra of the Mariinsky Theatre (St. Petersburg, Russia) Valery Gergiev, Artistic & General Director The Company Diana Vishneva, Irma Nioradze, Viktoria Tereshkina Alina Somova, Yulia Kasenkova, Tatiana Tkachenko Andrian Fadeev, Leonid Sarafanov, Yevgeny Ivanchenko, Anton Korsakov Elena Bazhenova, Olga Akmatova, Daria Vasnetsova, Evgenia Berdichevskaya, Vera Garbuz, Tatiana Gorunova, Grigorieva Daria, Natalia Dzevulskaya, Nadezhda Demakova, Evgenia Emelianova, Darina Zarubskaya, Lidia Karpukhina, Anastassia Kiru, Maria Lebedeva, Valeria Martynyuk, Mariana Pavlova, Daria Pavlova, Irina Prokofieva, Oksana Skoryk, Yulia Smirnova, Diana Smirnova, Yana Selina, Alisa Sokolova, Ksenia Tagunova, Yana Tikhonova, Lira Khuslamova, Elena Chmil, Maria Chugay, Elizaveta Cheprasova, Maria Shirinkina, Elena Yushkovskaya Vladimir Ponomarev, Mikhail Berdichevsky, Stanislav Burov, Andrey Ermakov, Boris Zhurilov, Konstantin Zverev, Karen Ioanessian, Alexander Klimov, Sergey Kononenko, Valery Konkov, Soslan Kulaev, Maxim Lynda, Anatoly Marchenko, Nikolay Naumov, Alexander Neff, Sergey Popov, Dmitry Pykhachev, Sergey Salikov, Egor Safin, Andrey Solovyov, Philip Stepin, Denis Firsov, Maxim Khrebtov, Dmitry Sharapov, Vasily Sherbakov, Alexey Timofeev, Kamil Yangurazov Kirov Ballet of the Mariinsky Theatre U.S. Management: Ardani Artists Management, Inc. Sergei Danilian, President & CEO Made possible, in part, by The Bernard Osher Foundation, in honor of Robert -
Press Information → 2020/21 Season
Press Information → 2020/21 Season THE VIENNA ① STATE BALLET 2020/21 »Along with my team and my dancers, I intend to work towards developing the Vienna State Ballet into a major hotspot of the art of dance in Austria and Europe forming an ensemble that reflects and inspires the traditions, changes and innovations of the lively metropolis, city of art and music, Vienna.« Martin Schläpfer Martin Schläpfer takes over the direction of the Vienna State Ballet with the 2020 / 21 season. The renowned Swiss choreographer and ballet director has recently led the multi-award-winning Ballett am Rhein Düsseldorf Duisburg to international acclaim. His works fascinate with their intensity, their virtuosity, their deeply moving images and a concise language of movement, which is understood as making music with the body, but always reflects the atmosphere and questions of today’s world. Several performances offer the opportunity to encounter Martin Schläpfer’s art – including two world premieres: Two new pieces for Vienna are being created to Gustav Mahler’s 4th Symphony and Dmitri Shostakovich’s 15th Symphony, which also mark the beginning of the intensive creative dialogue that Martin Schläpfer will be establishing with the artists of his ensemble in the coming years. As director, Martin Schläpfer is a bridge-builder who will naturally continue to cultivate the great ballet traditions, but will also enrich the programme with important contemporary artists and a great variety of choreographic signatures. The masters of American neo-classical ballet George Balanchine and Jerome Robbins will continue to be among the fixed stars of the Vienna repertoire, as will the Dutchman Hans van Manen. -
The International Journal of Arts
VOLUME 13 ISSUE 4 The International Journal of Arts Theory and History __________________________________________________________________________ At the Heart of Creativity John Cranko and His Genius in Two Cities BRUCE MCCORMICK ARTSINSOCIETY.COM EDITOR Barbara Formis, University Paris I, France HEAD OF JOURNAL PRODUCTION McCall Macomber, Common Ground Research Networks, USA EDITORIAL ASSISTANT Crystal Lasky Robinson, Common Ground Research Networks, USA ADVISORY BOARD The Arts in Society Research Network recognizes the contribution of many in the evolution of the Research Network. The principal role of the Advisory Board has been, and is, to drive the overall intellectual direction of the Research Network. A full list of members can be found at http://artsinsociety.com/about/advisory-board. PEER REVIEW Articles published in The International Journal of Arts Theory and History are peer reviewed using a two-way anonymous peer review model. Reviewers are active participants of The Arts in Society Research Network or a thematically related Research Network. The publisher, editors, reviewers, and authors all agree upon the following standards of expected ethical behavior, which are based on the Committee on Publication Ethics (COPE) Codes of Conduct and Best Practice Guidelines. More information can be found at: THE INTERNATIONAL JOURNAL http://artsinsociety.com/journals/model. OF ARTS THEORY AND HISTORY http://artsinsociety.com ARTICLE SUBMISSION ISSN: 2326-9952 (Print) The International Journal of Arts Theory and History ISSN: 2327-1779 (Online) publishes quarterly (March, June, September, December). http://doi.org/10.18848/2326-9952/CGP (Journal) Please visit http://artsinsociety.com/journals/call-for-papers to find out more about the submission process. -
The Journal of Professional Historians Issue Seven, 2020 Circa: the Journal of Professional Historians Issue Seven, 2020 Professional Historians Australia
Circa The Journal of Professional Historians Issue seven, 2020 Circa: The Journal of Professional Historians Issue seven, 2020 Professional Historians Australia Editor: Christine Cheater ISSN 1837-784X Editorial Board: Carmel Black Neville Buch Emma Russell Richard Trembath Ian Willis Layout and design: Lexi Ink Design Copy editor: Fiona Poulton Copyright of articles is held by the individual authors. Except for the purposes of private study, research, criticism or review as permitted by the Copyright Act, no part of this publication may be reproduced by any process without the permission of the author. Address all correspondence to: The Editor, Circa Professional Historians Australia PO Box 9177 Deakin ACT 2600 [email protected] The content of this journal represents the views of the contributors and not the official view of Professional Historians Australia. Cover images: Top: Ivan Vasiliev in an extract from Spartacus during a gala celebrating the reopening of the Bolshoi Theatre, 28 October 2011. http://en.kremlin.ru/events/president/news/13260/photos/10521 Bottom: Hoff’s students Treasure Conlon, Barbara Tribe and Eileen McGrath working on the Eastern Front relief for the Anzac Memorial, Hoff’s studio, 1932. Photograph courtesy McGrath family CONTENTS EDITORIAL . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. ..III Part one: Explorations Out of the Darkness, into the Light: Recording child sexual abuse narratives HELEN PENROSE, PHA (VIC & TAS) 2 Part two: Discoveries Discoveries to A Women’s Place: Women and the Anzac Memorial DEBORAH BECK, PHA (NSW & ACT). .. 9 Planter Inertia: The decline of the plantation in the Herbert River Valley BIANKA VIDONJA BALANZATEGUI, PHA (QLD). 20 Part three: Reflections DANCE AS PERFORMATIVE PUBLIC HISTORY?: A JOURNEY THROUGH SPARTACUS CHRISTINE DE MATOS, PHA (NSW & ACT) . -
Mariinsky Ballet & Orchestra
CAL PERFORMANCES PRESENTS PROGRAM Wednesday, October 10, 2012, 8pm PROGRAM Thursday, October 11, 2012, 8pm Friday, October 12, 2012, 8pm Saturday, October 13, 2012, 2pm & 8pm Swan Lake Sunday, October 14, 2012, 3pm Ballet in Four Acts Zellerbach Hall Act I Mariinsky Ballet & Orchestra of the Mariinsky Theatre Act II St. Petersburg, Russia INTERMISSION Valery Gergiev, Artistic & General Director Yury Fateev, Interim Ballet Director Act III Mikhail Agrest, Conductor INTERMISSION The Company Act IV Principals Music Pyotr Il’yich Tchaikovsky Ekaterina Kondaurova, Anastasia Kolegova, Oksana Skoryk Libretto Vladimir Begichev & Vasili Geltzer Yevgeny Ivanchenko, Danila Korsuntsev, Vladimir Schklyarov Choreography Marius Petipa & Lev Ivanov Alexander Sergeev, Maxim Zyuzin Revised Choreography & Stage Direction Konstantin Sergeyev Soloists Set Designer Igor Ivanov Olga Gromova, Maria Shirinkina, Olga Akmatova, Elena Bazhenova, Tatiana Bazhitova, Costume Designer Galina Solovieva Nadezhda Batoeva, Olga Belik, Victoria Brileva, Daria Grigoryeva, Ksenia Dubrovina, Valeria Zhuravleva, Ekaterina Ivannikova, Svetlana Ivanova, Keenan Kampa, Lidia Karpukhina, World Premiere Mariinsky Theatre, St. Petersburg, Victoria Krasnokutskaya, Liubov Kozharskaya, Lilia Lishchuk, Anna Lavrinenko, January 15, 1895 Anastasia Mikheikina, Olga Minina, Anastasia Nikitina, Ksenia Ostreykovskaya, Irina Prokofieva, Premiere of Sergeyev’s Version Mariinsky Theatre, St. Petersburg, Ksenia Romashova, Yulia Stepanova, Alisa Sodoleva, Irina Tolchilshchikova, Tatiana Tiliguzova, -
Welcometo Northrop Dance Winter Season
WELCOME to Northrop Dance winter season The final work in our winter series is Borderline, a collaboration between choreographers performances! Sébastien Ramirez from France and Honji Wang, who was born and raised in Germany by Korean parents. Their COMPANY WANG RAMIREZ navigates its own borderline between hip-hop and I am grateful to each and every one of you for braving the contemporary dance, defying categories and eagerly exploring new forms. The eye-popping surprise Minnesota cold—perhaps ice, wind and snow—to gather together in Borderline, their Northrop debut, is the use of a rigging system and bungee cords that in the dark to watch dance tonight! The glow of the stage, the exaggerate the dancers’ movements. With leaps and jumps frozen in mid-air, the dancers “swim joy of being here together, and the anticipation of the round the stage like astronauts in zero-gravity.” (Samantha Whittaker/Londondance.com) experience we are about to share—all of this creates a warmth that no Minnesota winter can diminish. I’m thrilled to welcome The work is just over an hour in length, and is split into episodes, some comic, others dark and moody. these next three companies to the Northrop stage. All are Though short, it is utterly engrossing and thought-provoking. Reviews have mentioned themes wonderful artists who have traveled from far and wide and of human relationships—how we build them, and how we tear them apart—but also themes braved their own hurdles to share their work with us. of manipulation, constraint, and the very meaning of democracy. -
Programmheft Nr
WO IMMER DER TANZENDE MIT DEM FUSS AUFTRITT, DA ENTSPRINGT DEM STAUB EIN QUELL DES LEBENS. DSCHALAL AD-DIN MUHAMMAD RUMI BALLETT GALA SOUVENIR WO IMMER DER COPPÉLIA LIMELIGHT TANZENDE MIT LA SYLPHIDE BAROCCO DEM FUSS AUFTRITT, FROM THE DIARY DA ENTSPRINGT FRÜHLINGSSTIMMENWALZER ROMEO UND JULIA Balkon-Pas de deux DEM STAUB EIN – PAUSE – QUELL DES LEBENS. GRAND PAS CLASSIQUE SSSS... LIVIA-PAS DE DEUX II. Akt Romeo und Julia DESIDERIUM PROUST OU LES INTERMITTENCES DU CŒUR CHANSONS SPIRAL TWIST WAS MIR DIE LIEBE ERZÄHLT 11.6.16 GROSSES HAUS Aufführungsdauer 2 ¾ Stunden, eine Pause Sehr verehrtes, liebes Publikum, herzlich willkommen zur Gala der KARLSRUHER BALLETTWOCHE. Nun schon zum 9. Male präsentiert Ihnen meine Compagnie gemeinsam mit internationalen Gästen aus Miami, Los Angeles, Hamburg, Stuttgart, München, Mannheim, Berlin und Birmingham ein überaus abwechslungsreiches tänzerisches Programm. Wir zeigen Ihnen aber nicht nur die choreografische Vielseitigkeit der Ballettgeschichte, die vom ältesten noch erhaltenen Ballett La Sylphide in Peter Schaufuss‘ preisgekrönter Inszenierung bis hin zur eigens für diese Gala kreierten Uraufführung Desiderium von Thiago Bordin reicht. Denn außerdem werden heute Abend 32 Tänzerinnen und Tänzer aus 19 Ländern für Sie auf der Bühne stehen und ein farbenprächtiges Tanz-Feuerwerk voller technischer Bravour und darstellerischer Intensität entzünden. Musikalisch brillant begleitet werden sie von der nicht minder internationalen BADISCHEN STAATSKAPELLE. Mit den wun- derbaren Künstlern aus so vielen verschiedenen Ländern möchten wir auch ein Fest der kulturellen Vielfalt und friedlichen Völkerverständigung feiern. Gerade in Zeiten zuneh- mender fremdenfeindlicher Debatten ist es an uns Kunstschaffenden, ein solches Zeichen zu setzen. Feiern Sie mit uns! Herzlichst, Ihre Birgit Keil 2 Kt. -
Moskalenko Violeta Dragomanov National Pedagogical University
УДК 811.111:792.8(092) Moskalenko Violeta Dragomanov National Pedagogical University Institute of Arts, student Pet’ko Ludmila Ph.D., Associate Professor, Dragomanov National Pedagogical University, Kyiv, Ukraine MAYA PLISETSKAYA AND HER LIFE IN BALLET M.Plisetskaya (1925) is renowned as one of the world's greatest and most charismatic ballerinas. Her slender physique combined with outstanding technique and effervescent personality have enabled her to steal the hearts of Indira Gandhi, Robert Kennedy and Mao Zedong alike. Plisetskaya has revolutionised the world of ballet once and for all, becoming a role model for millions of aspiring artists worldwide. Much has been said in praise of Plisetskaya personality. Critics say that she turned her natural audacity into an art form. She wasn’t afraid to break away from historical canons and experiment with different styles of dancing, combining them with classical ballet. Her talent was noticed early on, but affirming her own unique style took a long time [3]. 58 Her rise was rapid. In the first season in the Bolshoi Theatre she performed more than twenty important roles, rehearsing some of them, including the Mazurka in «Chopiniana» and the Lilac Fairy in «The Sleeping Beauty», with the legendary pedagogue Agrippina Vaganova. In the years that followed plum roles came her way – Myrtha in «Giselle» (1944), the title role in «Raymonda» (1945), the dual role of Odette-Odile in «Swan Lake» (1947), Kitri in «Don Quixote» (1950), the Bacchante in the Walpurgis Night scene from «Faust» (1950) and the title role in «Laurencia» (1956), «The Fountain of Bakhchisari». She danced in works by Kasian Goleizovsky and Leonid Yakobson, including the latter’s much-criticized “modern” version of «Spartacus» (1962). -
John Jasperse Projects
Presents JOHN JASPERSE PROJECTS Tuesday, July 5-Thursday, July 7 at 8:00pm Reynolds Industries Theater Performance: 60 minutes REMAINS Choreography John Jasperse in collaboration with the performers Performers Maggie Cloud, Marc Crousillat, Burr Johnson, Heather Lang, Stuart Singer, Claire Westby Original Music John King Additional Music Javier Peral and Die Antwoord Visual Design John Jasperse and Lenore Doxsee Lighting Design Lenore Doxsee Costume Design and Construction Baille Younkman Remains is co-commissioned by the American Dance Festival with support from the Doris Duke/SHS Foundations Award for New Dance, and Brooklyn Academy of Music. The work was made possible by support from the New England Foundation for the Arts’ National Dance Project, with lead funding from the Doris Duke Charitable Foundation and The Andrew W. Mellon Foundation, with additional support from the National Endowment for the Arts; the MAP Fund, a program of Creative Capital, supported by the Doris Duke Charitable Foundation and the Andrew W. Mellon Foundation; the National Endowment for the Arts; the NYC Department of Cultural Affairs; the James E. Robison Foundation; the Bossak/Heilbron Charitable Trust; and the Harkness Foundation for Dance. Portions of the work were developed in residencies including a Creative Development Residency at the Jacob’s Pillow Dance Festival with support from the Jacob's Pillow Dance Award Initiative; a BAC Space 2015 Residency as the Martha Duffy Resident Artist at the Baryshnikov Arts Center, New York, NY; the 92nd Street Y Harkness Dance Center Artist-in- Residence program; the Maggie Allesee National Center for Choreography (MANCC) at Florida State University, Tallahassee, FL; and through DANCECleveland as part of the Pilot Residencies for the establishment of the National Center for Choreography at the University of Akron made possible through the generous funding from both The John S.