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AM Tanny Bio FINAL
Press Contact: Natasha Padilla, WNET 212.560.8824, [email protected] Press Materials: http://pbs.org/pressroom or http://thirteen.org/pressroom Websites: http://pbs.org/americanmasters , http://facebook.com/americanmasters , @PBSAmerMasters , http://pbsamericanmasters.tumblr.com , http://youtube.com/AmericanMastersPBS , #AmericanMasters American Masters Tanaquil Le Clercq: Afternoon of a Faun Premieres nationally Friday, June 20, 10-11:30 p.m. on PBS (check local listings) Tanaquil Le Clercq Bio Born in Paris in 1929, Tanaquil was the daughter of a French intellectual and a society matron from St. Louis. When Tanny was 3, they moved to New York where Jacques Le Clercq taught romance languages. Tanny began ballet training in New York at age 5, studying with Mikhail Mordkin. She eventually transitioned to the School of American Ballet, which George Balanchine had founded in 1934. Balanchine discovered Tanny as a student there. He cast her as Choleric in The Four Temperaments at the tender age of 15, along with the great prima ballerinas in his company, then called Ballet Society. Before long she was dancing solo roles as a member of Ballet Society, never having danced in the corps de ballet. Some of Balanchine’s most memorable ballets were choreographed on Tanny; notably Symphony in C, La Valse, Concerto Barocco and Western Symphony . She was the original Dew Drop in The Nutcracker. Jerome Robbins was also fascinated with Tanny; famously attributing his enchantment with her unique style of dancing with his decision to join the New York City Ballet and work under Balanchine as both a dancer and choreographer. It was there he created his radical version of Afternoon of a Faun on Tanny. -
Atheneum Nantucket Dance Festival
NANTUCKET ATHENEUM DANCE FESTIVAL 2011 Featuring stars of New York City Ballet & Paris Opera Ballet Benjamin Millepied Artistic Director Dorothée Gilbert Teresa Reichlen Amar Ramasar Sterling Hyltin Tyler Angle Daniel Ulbricht Maria Kowroski Alessio Carbone Ana Sofia Scheller Sean Suozzi Chase Finlay Georgina Pazcoguin Ashley Laracey Justin Peck Troy Schumacher Musicians Cenovia Cummins Katy Luo Gillian Gallagher Naho Tsutsui Parrini Maria Bella Jeffers Brooke Quiggins Saulnier Cover: Photo of Benjamin Millepied by Paul Kolnik 1 Welcometo the Nantucket Atheneum Dance Festival! For 177 years the Nantucket Atheneum has enriched our island community through top quality library services and programs. This year the library served more than 200,000 adults, teens and children year round with free access to over 1.4 million books, CDs, and DVDs, reference and information services and a wide range of cultural and educational programs. In keeping with its long-standing tradition of educational and cultural programming, the Nantucket Atheneum is very excited to present a multifaceted dance experience on Nantucket for the fourth straight summer. This year’s performances feature the world’s best dancers from New York City Ballet and Paris Opera Ballet under the brilliant artistic direction of Benjamin Millepied. In addition to live music for two of the pieces in the program, this year’s program includes an exciting world premier by Justin Peck of the New York City Ballet. The festival this week has offered a sparkling array of free community events including two dance-related book author/illustrator talks, Frederick Wiseman’s film La Danse, Children’s Workshop, Lecture Demonstration and two youth master dance classes. -
Convert Finding Aid To
Fred Fehl: A Preliminary Inventory of His Dance Collection at the Harry Ransom Center Descriptive Summary Creator: Fehl, Fred, 1906-1995 Title: Fred Fehl Dance Collection 1940-1985 Dates: 1940-1985 Extent: 122 document boxes, 19 oversize boxes, 3 oversize folders (osf) (74.8 linear feet) Abstract: This collection consists of photographs, programs, and published materials related to Fehl's work documenting dance performances, mainly in New York City. The majority of the photographs are black and white 5 x 7" prints. The American Ballet Theatre, the Joffrey Ballet, and the New York City Ballet are well represented. There are also published materials that represent Fehl's dance photography as reproduced in newspapers, magazines and other media. Call Number: Performing Arts Collection PA-00030 Note: This brief collection description is a preliminary inventory. The collection is not fully processed or cataloged; no biographical sketch, descriptions of series, or indexes are available in this inventory. Access: Open for research. An advance appointment is required to view photographic negatives in the Reading Room. For selected dance companies, digital images with detailed item-level descriptions are available on the Ransom Center's Digital Collections website. Administrative Information Acquisition: Purchases and gift, 1980-1990 (R8923, G2125, R10965) Processed by: Sue Gertson, 2001; Helen Adair and Katie Causier, 2006; Daniela Lozano, 2012; Chelsea Weathers and Helen Baer, 2013 Repository: Harry Ransom Center, The University of Texas at Austin Fehl, Fred, 1906-1995 Performing Arts Collection PA-00030 Scope and Contents Fred Fehl was born in 1906 in Vienna and lived there until he fled from the Nazis in 1938, arriving in New York in 1939. -
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. -
The Symphony in C Saga
Volume IX No. 4 Summer 2015 From the Dance Notation Bureau INSIDE THIS ISSUE THE SYMPHONY IN C SAGA by Ann Hutchinson Guest • The Symphony in C Saga For a long time the USA copyright law did not include dance. Dance was Dance Notation Bureau Library considered as a form of ballroom dance, which the copyright powers considered to Monday - Friday 10 am – 5 pm be below the dignity of being given copyright protection. If considered at all, it Advance Notification by Phone/Email came under the heading of a Dramatico-musical composition. It had to have a Recommended story. Then the copyright law changed; dance was considered as a serious art, but 111 John Street, Suite 704 Pure Dance choreography, abstract composition without a story, was still New York, NY 10038 debatable. Phone: 212/ 571-7011 Fax: 212/571 -7012 Copyright registration of Balanchine’s ballet Symphony in C became quite a saga. Email: [email protected] But let us go back to the beginning. Website: www.dancenotation.org Facebook: NOTATING FOR BALANCHINE 1948 -1961 www.facebook.com/dancenotationbureau Library News is published four times a year John Coleman took my hand. "Come," he said, "You've got to meet Balanchine!" in New York It was the Fall of 1946, I was at the San Francisco Opera House seeing a performance of the Ballets Russes. John Coleman, musician, composer, teacher, Editors: and expert on Dalcroze, was a crazy, endearing man who knew everyone. He had Senta Driver worked with Balanchine and also with Kurt Jooss and so knew me from Dartington Mei-Chen Lu Hall days. -
Kirstein and Balanchine's New York City Ballet Four Modern Works
23 Kirstein and Balanchine’s New York City Ballet Four Modern Works 1 Mar 16–18, 2019, Presented in conjunction with the exhibition Lincoln The Four Music by Paul Hindemith 12:00 and 3:00 p.m., Kirstein’s Modern (March 17–June 15, 2019), this three- Temperaments (1946) Choreography by George Balanchine* The Donald B. and day event features eighteen dancers from New York [excerpts] Catherine C. Marron City Ballet performing excerpts from four landmark Original costume and scenic designs by Kurt Seligmann Atrium works created by George Balanchine, the legendary (performed in practice clothes and without scenery from choreographer who cofounded the company with 1951) Lincoln Kirstein in 1948. The program, organized by NYCB Artistic Director Jonathan Stafford, will be “First Theme” performed by Meaghan Dutton-O’Hara moderated by NYCB corps de ballet member Silas Farley and Andrew Scordato and accompanied by NYCB solo pianist Elaine Chelton. “Second Theme” performed by Sara Adams and Devin Alberda In 1933, Kirstein—a writer, curator, editor, impresario, “Third Theme” performed by Miriam Miller and Peter tastemaker, and patron—invited the Russian-born Walker Balanchine to New York from Paris, in the hopes of creating a uniquely American ballet. They established First Variation: Melancholic the School of American Ballet (1934), and in the ensuing Performed by Anthony Huxley with Laine Habony and years, founded—together or separately—the precursor Olivia MacKinnon, and Eliza Blutt, Meaghan Dutton- companies American Ballet (1935), Ballet Caravan O’Hara, Mary Thomas MacKinnon, and Miriam Miller (1936), American Ballet Caravan (1941), and Ballet Society (1946). The score for The Four Temperaments is based on the Kirstein, who also played a key role in MoMA’s early ancient medical notion that human personalities are history, believed in the central place of dance in the determined by four humors—Melancholic, Sanguine, museum. -
In Balanchine's Classroom
IN BALANCHINE’S CLASSROOM A film by Connie Hochman Theatrical & Festival Booking contacts: Nancy Gerstman & Emily Russo, Zeitgeist Films 212-274-1989 • [email protected] • [email protected] Press contact: Sasha Berman • [email protected] A ZEITGEIST FILMS RELEASE in association with KINO LORBER IN BALANCHINE’S CLASSROOM SYNOPSIS IN BALANCHINE’S CLASSROOM takes us back to the glory years of Balanchine’s New York City Ballet through the remembrances of his former dancers and their quest to fulfill the vision of a genius. Opening the door to his studio, Balanchine’s private laboratory, they reveal new facets of the groundbreaking choreographer: taskmaster, mad scientist, and spiritual teacher. Today, as his former dancers teach a new generation, questions arise: what was the secret of his teaching? Can it be replicated? Filled with never before seen archival footage of Balanchine at work, along with interviews with many of his adored and adoring dancers and those carrying on his legacy today, this is Balanchine as you have never seen him. This film will thrill anyone interested in the intensity of the master-disciple relationship and all who love dance, music, and the creative process. ABOUT GEORGE BALANCHINE [partially excerpted from The George Balanchine Foundation website] Born in St. Petersburg, Russia, George Balanchine (1904-1983) is regarded as the foremost contemporary choreographer in the world of ballet. He came to the United States in 1933 at age 29, at the invitation of the young American arts patron Lincoln Kirstein (1907-96), whose great passions included the dream of creating a ballet company in America. -
Arc De Triomphe
Arc de Triomphe From London the Diaghilev company went to Monte Carlo, dancing in opera~ballets and divertissements, and readying new works for the Paris spring season. In the years that fol lowed Balanchinewould choreograph dozens Lynn Garafola of opera-ballet numbers, in new works as well as old. The Monte Carlo repertory was inter France occupied a special place in the life national, butwith a definite French flavor. For and work of George Balanchine. It was where Balanchine this meantan intense engagement he spent nearly a decade after leaving Russia with French music. in 1924; where he created his oldest extant In the winter of 1925 alone he set dances ballet, Apollo, in 1928; where he founded his to Bizet (Carmen), Massenet (Thai's , Manon , first Western company, Les Ballets 1933; and and Herodiade), Gounod (Faust), and Berlioz where he choreographed one of his greatest (La Damnation de Faust). Later seasons added ballets, Le Palais de Cristal, in 1947. Delibes (Lakme) , Offenbach (The Tales ofHojJ Balanchine loved French perfume and mann), and Saint-Saens (Samson et Dalila) as French wine, French cuisine and French cou well as additional works by Gounod (Romeo et ture. Many of his closest collaborators, in Juliette,Jeanne dl1rc , and Mireille). cluding Stravinsky, the painter Pavel Tcheli Balanchine did not treat these jobs as mere tchew, and the costume designer Karinska, hack work. "He charged these dreary experi were Russian emigres who came to America ences with a new life and interest, and no de only after an extended sojourn in France. Af mands on him could curb his imaginative ter Russians, he liked French composers best facility," Ninette de Valois would later remi - Faure, Bizet, Delibes, and above all Ravel. -
THE STRUCTURE and SYNTAX of STRAVINSKY's NEOCLASSICAL CADENTIAL LANGUAGE by Aaron Templin Copyright
The Structure and Syntax of Stravinsky's Neoclassical Cadential Language Item Type text; Electronic Dissertation Authors Templin, Aaron Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 05/10/2021 11:28:55 Link to Item http://hdl.handle.net/10150/312625 THE STRUCTURE AND SYNTAX OF STRAVINSKY’S NEOCLASSICAL CADENTIAL LANGUAGE by Aaron Templin _____________________ Copyright © Aaron Templin 2014 A Dissertation Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY In the Graduate College THE UNIVERSITY OF ARIZONA 2014 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Dissertation Committee, we certify that we have read the dissertation prepared by Aaron Michael Templin entitled The Structure and Syntax of Stravinsky’s Neoclassical Cadential Language and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of Doctor of Philosophy. ________________________________________________Date:12/17/2013 Donald G. Traut ________________________________________________Date: 12/17/2013 Boyd Pomeroy ________________________________________________Date: 12/17/2013 Pamela Decker Final approval and acceptance of this dissertation is contingent upon the candidate’s submission of the final copies of the dissertation to the Graduate College. I hereby certify that I have read this dissertation prepared under my direction and recommend that it be accepted as fulfilling the dissertation requirement. ________________________________________________ Date: 12/17/2013 Dissertation Director: Donald G. -
Bolshoi Ballet La Bayadère
CAL PERFORMANCES PRESENTS SYNOPSIS Thursday, June 4, 2009, 8pm Friday, June 5, 2009, 8pm Saturday, June 6, 2009, 2pm & 8pm Sunday, June 7, 2009, 3pm Zellerbach Hall Bolshoi Ballet Anatoly Iksanov, General Director of the Bolshoi Theatre Yury Burlaka, Artistic Director of the Bolshoi Ballet in La Bayadère Music by Ludwig Minkus Libretto by Marius Petipa & Sergei Khudekov Choreography by Marius Petipa New scenic version by Yuri Grigorovich Berkeley Symphony Orchestra Pavel Klinichev, conductor Scenes from productions by Vakhtang Chabukiani, Nikolai Zubkovsky and Konstantin Sergeyev Sets and costumes after sketches by designers of the first production (1877), Elena Fetisova © Bolshoi revived by Valery Firsov, Nikolai Sharonov (sets) and Nikolai Sviridchikov (costumes) Svetlana Zakharova and Nikolay Tsiskaridze Valery Levental, Supervisor, Set & Costume Revival La Bayadère Alexander Kopylov, Music Director Premiered November 25, 1991. ACT I Running time: three hours 30 minutes with two intervals. Young warriors led by Solor are hunting a tiger. Nikiya and other bayadères give the fakirs water Before entering the forest, Solor asks a fakir named from the sacred pool. Imperceptibly, Magedaveya Magedaveya to tell Nikiya, a bayadère, that he will tells Nikiya that Solor will come to see her. The Children in this production appear courtesy of San Francisco Ballet School, wait for her near the temple. bayadère is happy. Helgi Tomasson, Director, and Lola de Avila, Associate Director. The High Brahmin and priests are solemnly As darkness falls, Nikiya goes to meet her be- leaving the temple. The feast of worshipping fire loved. Their secret rendezvous is guarded by the begins. Fakirs and votaries of the temple, bay- fakir. -
Music by Pyotr Tchaikovsky Mariinsky Ballet Musical Direction by Valery
BAM 2015 Winter/Spring Season #MariinskyBAM Brooklyn Academy of Music The Mariinsky Theatre Alan H. Fishman, Valery Gergiev, Chairman of the Board General and Artistic Director, State Academic Mariinsky Theatre William I. Campbell, Frederick Iseman, Vice Chairman of the Board Chairman, Mariinsky Foundation of America Adam E. Max, Donald M. Kendall, Vice Chairman of the Board Chairman Emeritus Karen Brooks Hopkins, Michael D. White, President Vice Chairman Joseph V. Melillo, Executive Producer SwanBAM and the Mariinsky Theatre present Lake Season Sponsor: Music by Pyotr Tchaikovsky Mariinsky Ballet Musical direction by Valery Gergiev BAM engagement made possible by: BAM Howard Gilman Opera House Jan 15 at 7pm (conducted by Valery Gergiev); Jan 16 & 21—23 at 7:30pm Leadership support for the Mariinsky Residency at Running time: three hours and 10 minutes, BAM provided by Frederick Iseman including two intermissions VTB Bank is the Principal Partner of the Mariinsky Theatre. Sberbank and Yoko Nagae Ceschina are Libretto by Vladimir Begichev and Vasily Geltzer Principal Sponsors. Choreography by Marius Petipa and Lev Ivanov (1895) Revised choreography and stage direction by Support for the Signature Artists Series provided by the Howard Gilman Foundation Konstantin Sergeyev (1950) Set design by Igor Ivanov Major support for the Mariinsky Residency at BAM provided by Renova Costume design by Galina Solovyova Leadership support: The Harkness Foundation for Dance The SHS Foundation Swan Lake—Casting Odette-Odile Viktoria Tereshkina (1/15, 1/23) -
A Study of Ballet Costume from Symphony in Canada
A STUDY OF A BALLET COSTUME FROM SYMPHONY IN C By Teresa Adamo PART ONE BDes Fashion Student How a plain white tutu donated by the National Ballet of Canada reveals more than meets the eye. January 13, 2017 Part one explores the artifact in detail in order to learn how a classical tutu was made by the wardrobe department at the National Ballet of Canada. At first glance, there does not seem to be anything particularly interesting about the classical white tutu laying on the table in the Fashion Research Collection. It is one of several costumes donated to Ryerson by the National Ballet of Canada in 2014. This tutu was worn by a member of the corps de ballet for a production of the Balanchine ballet Symphony in C in 1984. It is of course both delicate and pretty as all tutus are, but nonetheless appears rather plain since the decoration was removed from the skirt for reuse on other costumes by the Wardrobe Department at the National Ballet. Even so, it is compelling to study in order to learn about how classical tutus are made. My research revealed that there is much more history behind this plain white ballet costume after all. This artifact provided me with a learning experience about construction methods which will be discussed in this blog post. A subsequent post will discuss the nature of design aesthetics for dancewear, the dance history surrounding two national dance companies, as well as insight into the influential work of costume maven Madame Karinska. In general, tutus are made of three main parts, the skirt, the basque, and the bodice.