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A Midsummer Night's Dream
EDUCATION RESOURCE Education rnzb.org.nz facebook.com/nzballet THE VODAFONE SEASON OF NATIONAL SPONSOR SUPPORTED BY MAJOR SUPPORTER SUPPORTING EDUCATION CONTENTS Curriculum 3 Ballet based on Shakespeare’s play 4 A Midsummer Night’s Dream ‘Shakespeare’s comic (world premiere) 5 The story of A Midsummer Night’s Dream 7 masterpiece of love, A brief synopsis for the classroom 7 Mendelssohn’s music for A Midsummer mistaken identities Night’s Dream 8 and magical mayhem A new score for a new ballet 9 A Midsummer Night’s Dream set and has been the source of costumes 11 Q & A with set and costume designer inspiration for artists of Tracy Grant Lord 13 Introducing lighting designer Kendall Smith 15 all genres for centuries. Origin of the fairies 16 My aim is to create A Midsummer Night’s Dream word puzzle 17 Identify the characters with their something fresh and emotions 18 Ballet timeline 20 vibrant, bubbling with all Let’s dance! 21 Identifying the two groups of characters the delight and humour through movement 23 that Shakespeare offers Answers 24 us through the wonderful array of characters he conjured up. As with any great story I want to take my audience on a journey so that every individual can have their own Midsummer Night’s Dream.” LIAM SCARLETT 2 CURRICULUM In this unit you and your students will: LEARNING OBJectives FOR • Learn about the elements that come Levels 7 & 8 together to create a theatrical ballet experience. Level 7 students will learn how to: • Identify the processes involved in making a • Understand dance in context – Investigate theatre production. -
Qurrat Ann Kadwani: Still Calling Her Q!
1 More Next Blog» Create Blog Sign In InfiniteBody art and creative consciousness by Eva Yaa Asantewaa Tuesday, May 6, 2014 Your Host Qurrat Ann Kadwani: Still calling her Q! Eva Yaa Asantewaa Follow View my complete profile My Pages Home About Eva Yaa Asantewaa Getting to know Eva (interview) Qurrat Ann Kadwani Eva's Tarot site (photo Bolti Studios) Interview on Tarot Talk Contact Eva Name Email * Message * Send Contribute to InfiniteBody Subscribe to IB's feed Click to subscribe to InfiniteBody RSS Get InfiniteBody by Email Talented and personable Qurrat Ann Kadwani (whose solo show, They Call Me Q!, I wrote about Email address... Submit here) is back and, I hope, every bit as "wicked smart and genuinely funny" as I observed back in September. Now she's bringing the show to the Off Broadway St. Luke's Theatre , May 19-June 4, Mondays at 7pm and Wednesdays at 8pm. THEY CALL ME Q is the story of an Indian girl growing up in the Boogie Down Bronx who gracefully seeks balance between the cultural pressures brought forth by her traditional InfiniteBody Archive parents and wanting acceptance into her new culture. Along the journey, Qurrat Ann Kadwani transforms into 13 characters that have shaped her life including her parents, ► 2015 (222) Caucasian teachers, Puerto Rican classmates, and African-American friends. Laden with ▼ 2014 (648) heart and abundant humor, THEY CALL ME Q speaks to the universal search for identity ► December (55) experienced by immigrants of all nationalities. ► November (55) Program, schedule and ticket information ► October (56) ► September (42) St. -
Checklist for "DA 335: Dance & Society II" with Assistant Professor of Dance Jason Ohlberg the Frances Young Tang
The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College Checklist for "DA 335: Dance & Society II" with Assistant Professor of Dance Jason Ohlberg Costas Cacaroukas Kay Mazzo and Peter Martins in "Violin Concerto", n.d. photograph 8 x 10 in. Gift of Robert Tracy, Class of 1977 1986.86 Costas Cacaroukas Suzanne Farrell on Peter Martins photograph 10 x 8 in. Gift of Robert Tracy, Class of 1977 1986.212 Steven Caras Kay Mazzo and Peter Martins in "Violin Concerto", n.d. photograph 8 x 10 in. Gift of Robert Tracy, Class of 1977 1986.81 Fred Fehl Melissa Hayden and Roland Vazquez in "Midsummer's Night Dream", n.d. gelatin silver print 8 x 10 in. Gift of Robert Tracy, Class of 1977 1986.125 Carolyn George Suzanne Farrell, n.d. photograph 8 x 10 in. Gift of Robert Tracy, Class of 1977 1986.76 Carolyn George Allegra Kent and Bart Cook in "Episodes", n.d. photograph 8 x 10 in. Gift of Robert Tracy, Class of 1977 1986.170 George Platt Lynes André Eglevsky, Diana Adams, Maria Tallchief, Tanaquil LeClercq in "Apollon Musagète", 1951 photograph 8 x 10 in. Gift of Robert Tracy, Class of 1977 1986.95 Martha Swope Suzanne Farrell and Arthur Mitchell in "Metastaseis and Pithoprakta", n. d. photograph 8 x 10 in. Gift of Robert Tracy, Class of 1977 1986.70 Martha Swope Four pairs of dancers, n.d. photograph 8 x 10 in. Gift of Robert Tracy, Class of 1977 1986.97 Martha Swope Diana Adams with Arthur Mitchell in "Agon", n.d. -
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. -
Night Shadow James Sutton David Vaughan Peter Porter Edward Willinger 88 103 Jurassic Beauty Sarah C
Spring 2016 Ball et Review From the Spring 2016 issue of Ballet Review Elizabeth Kendall on The Origins of Balanchine’s La Sonnambula On the cover: Tiler Peck and Robert Fairchild in Balanchine’s Who Cares? (Photograph by Paul Kolnik, NYCB) © 2016 Dance Research Foundation, Inc. 4 New York – David Vaughan 6 New York – Karen Greenspan 8 New York – Nancy Reynolds 9 Stuttgart – Gary Smith 11 Washington, D . C. – George Jackson 12 New York – Joseph Houseal 14 Paris – Vincent Le Baron 16 New York – Karen Greenspan 19 Hong Kong – Kevin Ng 21 New York – Karen Greenspan 22 Vienna – Gunhild Oberzaucher-Schüller 25 New York – Eva Shan Chou 26 New York – Harris Green 56 29 Stuttgart – Gary Smith 31 Jaco b’s Pillow – Jay Rogoff 33 New York – Karen Greenspan Ballet Review 44.1 34 Jaco b’s Pillow – Jay Rogoff Spring 2016 36 Chicago – Joseph Houseal Editor and Designer: 37 Saratoga Springs – Jay Rogoff Marvin Hoshino 39 Brooklyn – Karen Greenspan 41 New York – Harris Green Managing Editor: 43 Chicago – Joseph Houseal Roberta Hellman 44 Miami – Michael Langlois Senior Editor: 46 New York – Karen Greenspan Don Daniels 84 47 Chicago – Joseph Houseal Associate Editors: 48 New York – Harris Green Joel Lobenthal Henry Danton Larry Kaplan 50 Alla Sizova (1929-2 01 4) Alice Helpern Webmaster: Robert Johnson David S. Weiss 56 Misty Copeland Copy Editor: Joel Lobenthal Naomi Mindlin 67 A Conversation with Pat McBride Lousada Photographers: 96 Michael Langlois Tom Brazil 72 A Conversation with Roberto Bolle Costas Associates: Merilyn Jackson Peter Anastos 84 Julie Kent Robert Gres kovic Leigh Witchel George Jackson 88 A Conversation with Myles Thatcher Elizabeth Kendall Paul Parish Elizabeth Kendall Nancy Reynolds 96 Night Shadow James Sutton David Vaughan Peter Porter Edward Willinger 88 103 Jurassic Beauty Sarah C. -
VRB Handbook Done
Virginia Regional Ballet Handbook 2018 – 2019 Dance Year 1228 Richmond Road, Williamsburg, VA 23185 4839 George Washington Memorial Hwy., Yorktown, VA 23692 757-229-2553 www.danceVRB.com [email protected] 1 Table of Contents ABOUT Virginia Regional Ballet 3 FOUNDERS 4 Heidrun S. Robitshek, Artistic Director & Instructor 4 Adelle Page Carpenter, Studio Director & Instructor 4 THE ACADEMY 5 Admission 5 Class Placement 5 Registration & Tuition 5 Online Account Access 6 Scholarship Program 6 General Information 6 Class/Rehearsal Rules 7 Class Descriptions 7 Summer Programs 9 Dress Code 10 PERFORMANCE OPPORTUNITIES 12 INSTRUCTORS & GUEST INSTRUCTORS 13 Instructors 13 Guest Instructors/Choreographers 15 2 ABOUT Virginia Regional Ballet In 2007, Heidi Robitshek, former artistic director and founder of the Chamber Ballet along with her protégée Adelle Carpenter founded the Virginia Regional Ballet to dedicate a school to the continued improvement and enhancement of classical ballet technique. Virginia Regional Ballet Academy sponsors the Virginia Regional Ballet, Inc., whose purpose is to bring to the community and develop among its citizens an educational and cultural program in dance. Virginia Regional Ballet is located in Williamsburg’s Art District at 1228 Richmond Road adjacent to the Williamsburg Community Pool and is professionally designed and constructed to provide the best possible facilities for instruction. In 2013, Virginia Regional Ballet acquired a second location in Yorktown at 5315 George Washington Memorial Highway and 110-B Dare Road. Virginia Regional Ballet Academy offers a beginning through pre-professional curriculum in all dance forms through a variety of weekly classes and performance opportunities. Professionally trained and experienced teachers qualified to teach classical ballet, contemporary, character, creative dance, jazz, tap, modern, hip-hop, and lyrical dance are available at all levels. -
Bild Und Bewegung Im Musiktheater Image and Movement in Music Theatre
Bild und Bewegung im Musiktheater Interdisziplinäre Studien im Umfeld der Grand opéra Image and Movement in Music Theatre Interdisciplinary Studies around Grand Opéra Herausgegeben von Roman Brotbeck, Laura Moeckli, Anette Schaffer und Stephanie Schroedter unter redaktioneller Mitarbeit von Daniel Allenbach Edition Argus Diese PDF-Version ist seitenidentisch mit dem gedruckten Buch, das 2018 in der Edition Argus erschienen ist. Für die PDF-Version gelten dieselben Urheber- und Nutzungsrechte wie für das gedruckte Buch. Dies gilt insbesondere für Abbildungen und Notenbeispiele. Das heißt: Sie dürfen aus der PDF-Version zitieren, wenn Sie die im wissenschaftlichen Bereich üblichen Urheberangaben machen. Für die Nutzung von Abbildungen und Notenbeispielen müssen Sie gegebenenfalls die Erlaubnis der Rechteinhaber einholen. Musikforschung der Hochschule der Künste Bern Herausgegeben von Martin Skamletz und Thomas Gartmann Band 9 Bild und Bewegung im Musiktheater Interdisziplinäre Studien im Umfeld der Grand opéra Image and Movement in Music Theatre Interdisciplinary Studies around Grand Opéra Herausgegeben von Roman Brotbeck, Laura Moeckli, Anette Schaffer und Stephanie Schroedter unter redaktioneller Mitarbeit von Daniel Allenbach Publiziert mit Unterstützung des Schweizerischen Nationalfonds zur Förderung der wissenschaftlichen Forschung. Inhalt Vorwort 7 musik in bewegung Stephanie Schroedter Listening in Motion and Listening to Motion. The Concept of Kinaesthetic Listening Exemplified by Dance Compositions of the Meyerbeer Era 13 Marian Smith Processions in French Grand Opéra 43 Carlo Caballero Dance and Lyric Reunited. Fauré’s Pénélope and theChangingRoleofBalletinFrenchOpera 51 Rachana Vajjhala Belle Époque Bacchanals. Badet, Duncan, and the Problem of “Natural” Beauty 65 Stephanie Jordan Re-Visioning Nineteenth-Century Music Through Ballet. The Work of Sir Frederick Ashton 76 theater-bilder Anette Schaffer Die Evokation von Bildern. -
DOCTORAL THESIS the Dancer's Contribution: Performing Plotless
DOCTORAL THESIS The Dancer's Contribution: Performing Plotless Choreography in the Leotard Ballets of George Balanchine and William Forsythe Tomic-Vajagic, Tamara Award date: 2013 General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 02. Oct. 2021 THE DANCER’S CONTRIBUTION: PERFORMING PLOTLESS CHOREOGRAPHY IN THE LEOTARD BALLETS OF GEORGE BALANCHINE AND WILLIAM FORSYTHE BY TAMARA TOMIC-VAJAGIC A THESIS IS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF PHD DEPARTMENT OF DANCE UNIVERSITY OF ROEHAMPTON 2012 ABSTRACT This thesis explores the contributions of dancers in performances of selected roles in the ballet repertoires of George Balanchine and William Forsythe. The research focuses on “leotard ballets”, which are viewed as a distinct sub-genre of plotless dance. The investigation centres on four paradigmatic ballets: Balanchine’s The Four Temperaments (1951/1946) and Agon (1957); Forsythe’s Steptext (1985) and the second detail (1991). -
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. -
Ballett Gala Liebes, Sehr Verehrtes Publikum, Zur Diesjährigen Ballett Gala Heiße Ich Sie Sehr Herzlich Willkommen!
BALLETT GALA Liebes, sehr verehrtes Publikum, zur diesjährigen Ballett Gala heiße ich Sie sehr herzlich willkommen! Es ist mir eine ausgesprochen große Freude, so wunderbare Künstler, wie die des heuti- gen Abends in Karlsruhe zu Gast zu haben. Immer wieder empfinde ich es als eine Ehre, so gefragte Stars, deren Gastspielanfragen zahlreich sind, bei uns begrüßen zu können. Wir dürfen Künstler vom Staatsballett Berlin, Salzburg Ballett, Zürcher Ballett, Wiener Staatsballett, English National Ballet, Stuttgarter Ballett, Het Nationale Ballet Amster- dam, Les Ballets de Monte Carlo und Katherina Markowskaja mit ihrem Partner Noah Gelber bei uns begrüßen. Gemeinsam mit dem Karlsruher Ensemble präsentieren wir Ihnen einen Galaabend der Meisterklasse. Das Programm reicht vom klassischen Ballett des 19. Jahrhunderts bis zu jüngst kreierten Uraufführungen, von der Klassik bis zur Moderne. Ich wünsche Ihnen viel Freude! Herzlichst Ihre Birgit Keil BALLETT GALA MOMO, HORA RAUM CLAUDEL UND AUGUSTE RODIN, DER KUSS VOORBIJ GEGAAN APOLLO SLINGERLAND ANNA KARENINA MoZART LA ESMERALDA – Pause – LAC RAYMONDA ELEGIE FINGERSPITZENGEFÜHL IN SPILLVILLE MOSZKOWSKI-WALZER SYMPHONY IN C, 4. SATZ 26.5.12 GROSSES HAUS Aufführungsdauer 3 Stunden, Pause nach 1 Stunde, 20 Minuten 1 PROGRAMM Musikalische Leitung MARKUS BIERINGER & CHRISToPH GEDSCHoLD BADISCHE STAATSKAPELLE MOMO SLINGERLAND Hora Raum Pas de deux Musik: Philip Glass Klavierkonzert Tirol Musik: Gavin Bryars Streichquartett Nr. 1 Choreografie: Tim Plegge Choreografie: William Forsythe Momo: Blythe Newman, -
The 2009 DANCE MAGAZINE
032-36 DMAwards_finREV_0915.prep.qxd 9/23/09 12:21 PM Page 32 the 2009 DANCE MAGAZINE DPMC QC AWARDS We love giving out awards because it’s an opportunity to honor some of the greats in our field. Each of the recipients has made a contribution to dance that is both unique and outsized: Jason Samuels Smith, the hard-hitting tapper who cares about community; Allegra Kent, a legendary ballerina who now teaches, coaches, and writes; Ohad Naharin, who revolutionized international dance; and Sara Rudner, who gave postmodernism a spiritual, ecstatic element. Please join us on Nov. 9 for the Awards ceremony (see page 52 for details). 100 96 Jason Samuels Smith 75 50 He moves like bolts of lightning, spewing Hatchett’s Professional Children’s rhythms from his feet like African talking Program at Broadway Dance Center. His 25 drums. His peers call him Iron Man, for mother, Sue Samuels, was a jazz dancer 15 the hard-and-fastness of his taps and and master teacher; his father, Joseph “Jo steeliness of his convictions. Others call Jo” Benjamin Smith, was a jazz dancer 5 him irrepressible, rambunctious, and bru- and choreographer who was a consultant tally charming. Hammering his piston- for the 1977 film Saturday Night Fever. driven rhythms as if delivering his beats Jo Jo and Sue were co-directors of Jo Jo’s Teacher Dance for Thornton Jayme to freedom, Jason Samuels Smith is the Dance Factory, predecessor to BDC. A John Henry of tap. He has helped to more serious interest in tap was ignited in forge rhythm tap as a cutting-edge dance Samuels Smith when Savion Glover form on the American stage. -
Giselle Media Kit
FOR IMMEDIATE RELEASE September 15, 2014 Contact: Erika Overturff (Founder and Artistic Director), (402) 541-6946 Print-quality photos are available for download here. BALLET NEBRASKA OPENS SEASON 5 WITH LANDMARK ‘GISELLE’ OMAHA -- Ballet Nebraska will open its fifth anniversary season October 4 at Omaha’s Orpheum Theater with Giselle — a landmark ballet of the Romantic Era that is both a poignant love story and a chilling tale of vengeful ghosts, artistic director Erika Overturff said.! “Giselle helped put ballet at the center of the Romantic movement," Overturff said. "When it premiered at the Paris Opéra in 1841, it showed what could be accomplished when a dramatist, a choreographer, a dancer and a composer worked together as a tight-knit creative team. It demonstrated to everyone, inside the dance world and out, the power of integrating art forms into a work of total theater.”! Overturff summarized the plot: Act I introduces Giselle, a charming peasant girl being courted by a handsome neighbor — who actually is a nobleman in disguise, and is already engaged to an aristocrat. When Giselle’s jealous ex-boyfriend reveals the deception, the shock is too much for her; she collapses mentally and dies of a sudden heart seizure. But that’s only the beginning of the story. In Act II, Giselle’s spirit rises from her grave and faces a choice: to forgive her betrayer, or to join the Wilis — beautiful but deadly ghosts who haunt the forest — to hunt him down and take her revenge.! “Giselle is a dream role for a ballerina,” Overturff said.