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THE PARIS OPERA (L'opéra) a Documentary by Jean-Stéphane Bron
Presents THE PARIS OPERA (L'OPÉRA) A Documentary by Jean-Stéphane Bron France, Switzerland / 2016 / Documentary / French with English Subtitles 111 min / DCP 5.1 / 1.85 / Color Opens October 18th in New York City & October 20th in Los Angeles Film Movement Contacts: Genevieve Villaflor | Press & Publicity | (212) 941-7744 x215 | [email protected] Clemence Taillandier | Theatrical | (212) 941-7715 | [email protected] Maxwell Wolkin | Non-Theatrical & Festivals | (212) 941-7744 x211 | [email protected] Assets: Official US Trailer: TBD Downloadable hi-res images: TBD SYNOPSIS Autumn 2015. At the Paris Opera, Stéphane Lissner is putting the finishing touches to his first press conference as director. Backstage, artists and crew prepare to raise the curtain on a new season with Schönberg’s Moses and Aaron. But the announcement of a strike and arrival of a bull in a supporting role complicate matters. At the same time, a promising young Russian singer begins at the Opera’s Academy. In the hallways of Opera Bastille, his destiny will cross paths with that of Bryn Terfel, one of the greatest voices of his time. As the season progresses, more and more characters appear, playing out the human comedy in the manner of a documentary Opera. But this comedy is set against a tragic backdrop when terrorist attacks plunge Paris into mourning. Even though the show must go on at all costs, there is no end of trouble for the new director. Star choreographer Benjamin Millepied jumps ship soon after taking over as director of ballet at Palais Garnier. Preparations for Richard Wagner’s six-hour opera Die Meistersinger reunite the company. -
Wayne Mcgregor | Random Dance
WAYNE MCGREGOR | RANDOM DANCE FEBRUARY 13, 2014 OZ SUPPORTS THE CREATION, DEVELOPMENT AND PRESENTATION OF SIGNIFICANT CONTEMPORARY PERFORMING AND VISUAL ART WORKS BY LEADING ARTISTS WHOSE CONTRIBUTION INFLUENCES THE ADVANCEMENT OF THEIR FIELD. ADVISORY BOARD Amy Atkinson Karen Elson Jill Robinson Anne Brown Karen Hayes Patterson Sims Libby Callaway Gavin Ivester Mike Smith Chase Cole Keith Meacham Ronnie Steine Jen Cole Ellen Meyer Joseph Sulkowski Stephanie Conner Dave Pittman Stacy Widelitz Gavin Duke Paul Polycarpou Betsy Wills Kristy Edmunds Anne Pope Mel Ziegler A MESSAGE FROM OZ Welcome and thank you for joining us for our first presentation as a new destination for contemporary performing and visual arts in Nashville. By being in the audience, you are not only supporting the visiting artists who have brought their work to Nashville for this rare occasion, you are also supporting the growth of contemporary art in this region. We thank you for your continued support. We are exceptionally lucky and very proud to have with us this evening, one of the worlds’ most inspiring choreographic minds, Wayne McGregor. An artist who emphasizes collaboration and a wide range of perspectives in his creative process, McGregor brings his own brilliant intellect and painterly vision to life in each of his works. In FAR, we witness the mind and body as interconnected forces; distorted and sensual within the same frame. As ten stunning dancers hyperextend and crouch, rapidly moving through light and shadow to a mesmerizing score, the relationship between imagination and movement becomes each viewer’s own interpretation. An acronym for Flesh in the Age of Reason, McGregor’s FAR investigates self-understanding and exemplifies the theme from Roy Porter’s novel by the same name, “that we outlive our mortal existence most enduringly in the ideas we leave behind.” Strap in. -
World Premiere of Angels' Atlas by Crystal Pite
World Premiere of Angels’ Atlas by Crystal Pite Presented with Chroma & Marguerite and Armand Principal Dancer Greta Hodgkinson’s Farewell Performances Casting Announced February 26, 2020… Karen Kain, Artistic Director of The National Ballet of Canada, today announced the casting for Angels’ Atlas by Crystal Pite which makes its world premiere on a programme with Chroma by Wayne McGregor and Marguerite and Armand by Frederick Ashton. The programme is onstage February 29 – March 7, 2020 at the Four Seasons Centre for the Performing Arts. #AngelsAtlasNBC #ChromaNBC #MargueriteandArmandNBC The opening night cast of Angels’ Atlas features Principal Dancers Heather Ogden and Harrison James, First Soloist Jordana Daumec, Hannah Fischer and Donald Thom, Second Soloists Spencer Hack and Siphesihle November and Corps de Ballet member Hannah Galway. Principal Dancer Greta Hodgkinson retires from the stage after a career that has spanned over a period of 30 years. She will dance the role of Marguerite opposite Principal Dancer Guillaume Côté in Marguerite and Armand on opening night. The company will honour Ms. Hodgkinson at her final performance on Saturday, March 7 at 7:30 pm. Principal Dancers Sonia Rodriguez, Francesco Gabriele Frola and Harrison James will dance the title roles in subsequent performances. Chroma will feature an ensemble cast including Principal Dancers Skylar Campbell, Svetlana Lunkina, Heather Ogden and Brendan Saye, First Soloists Tina Pereira and Tanya Howard, Second Soloists Christopher Gerty, Siphesihle November and Brent -
Queerness in French Baroque Opera: the Relationship Between Achilles and Patroclus in Jean Baptiste Lully’S Achille Et Polyxène
University of Northern Colorado Scholarship & Creative Works @ Digital UNC Master's Theses Student Research 5-7-2021 Queerness in French Baroque Opera: The Relationship Between Achilles and Patroclus in Jean Baptiste Lully’s Achille et Polyxène Jason Thompson [email protected] Follow this and additional works at: https://digscholarship.unco.edu/theses Recommended Citation Thompson, Jason, "Queerness in French Baroque Opera: The Relationship Between Achilles and Patroclus in Jean Baptiste Lully’s Achille et Polyxène" (2021). Master's Theses. 210. https://digscholarship.unco.edu/theses/210 This Dissertation/Thesis is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Master's Theses by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. © 2021 JASON TRAVIS THOMPSON ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School QUEERNESS IN FRENCH BAROQUE OPERA: THE RELATIONSHIP BETWEEN ACHILLES AND PATROCLUS IN JEAN-BAPTISTE LULLY’S ACHILLE ET POLYXÈNE A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music Jason Travis Thompson College of Performing and Visual Arts School of Music Music History and Literature May 2021 This Thesis by: Jason Travis Thompson Entitled: Queerness in French Baroque Opera: The Relationship Between Achilles and Patroclus in Jean Baptiste Lully’s Achille et Polyxène has been approved as meeting the requirement for the Degree of Master of Music in the College of Performing and Visual Arts in the School of Music, Program of Music History and Literature. -
Allusions and Historical Models in Gaston Leroux's the Phantom of the Opera
Ouachita Baptist University Scholarly Commons @ Ouachita Honors Theses Carl Goodson Honors Program 2004 Allusions and Historical Models in Gaston Leroux's The Phantom of the Opera Joy A. Mills Ouachita Baptist University Follow this and additional works at: https://scholarlycommons.obu.edu/honors_theses Part of the French and Francophone Literature Commons, Other Theatre and Performance Studies Commons, and the Translation Studies Commons Recommended Citation Mills, Joy A., "Allusions and Historical Models in Gaston Leroux's The Phantom of the Opera" (2004). Honors Theses. 83. https://scholarlycommons.obu.edu/honors_theses/83 This Thesis is brought to you for free and open access by the Carl Goodson Honors Program at Scholarly Commons @ Ouachita. It has been accepted for inclusion in Honors Theses by an authorized administrator of Scholarly Commons @ Ouachita. For more information, please contact [email protected]. Gaston Leroux's 1911 novel, The Phantom of the Opera, has a considerable number of allusions, some of which are accessible to modern American audiences, like references to Romeo and Juilet. Many of the references, however, are very specific to the operatic world or to other somewhat obscure fields. Knowledge of these allusions would greatly enhance the experience of readers of the novel, and would also contribute to their ability to interpret it. Thus my thesis aims to be helpful to those who read The Phantom of the Opera by providing a set of notes, as it were, to explain the allusions, with an emphasis on the extended allusion of the Palais Garnier and the historical models for the heroine, Christine Daae. Notes on Translations At the time of this writing, three English translations are commercially available of The Phantom of the Opera. -
How the Royal Paris Opera Survived the End of the Old Regime
Review of Backstage at the Revolution: How the Royal Paris Opera Survived the End of the Old Regime The MIT Faculty has made this article openly available. Please share how this access benefits you. Your story matters. Citation Johnson, Victoria. "Backstage at the Revolution: How the Royal Paris Opera Survived the End of the Old Regime." Review by: By Jeffrey S. Ravel, The Journal of Modern History, Vol. 82, No. 4, Science and the Making of Modern Culture (December 2010), pp. 950-952. As Published http://dx.doi.org/10.1086/656104 Publisher University of Chicago Press Version Author's final manuscript Citable link http://hdl.handle.net/1721.1/72388 Terms of Use Creative Commons Attribution-Noncommercial-Share Alike 3.0 Detailed Terms http://creativecommons.org/licenses/by-nc-sa/3.0/ Backstage at the Revolution: How the Royal Paris Opera Survived the End of the Old Regime. By Victoria Johnson. Chicago and London: The University of Chicago Press, 2008. Pp. xv + 281. $45.00. The question at the heart of Victoria Johnson’s book is an intriguing one: how did the Paris Opera, or the Académie royale de musique as it was known during the Old Regime, avoid disbandment during the French Revolution? If any pre-revolutionary institution exemplified the luxurious consumption and aristocratic privilege decried by the revolutionaries, the Opera was it. Yet the Paris Commune, which took over governance of the Opera from the Maison du roi in February 1790, worked hard to re-organize the institution for the glory of the new regime, and Maximilien Robespierre and the Committee of Public Safety, in the midst of the Terror in the spring of 1794, approved the troupe’s relocation from a venue on the outskirts of town to a more commercially viable site in the heart of the city. -
Juilliard Dance
Juilliard Dance Senior Graduation Concert 2019 Welcome to Juilliard Dance Senior Graduation Concert 2019 Tonight, you will experience the culmination of a transformative four-year journey for the senior class of Juilliard Dance. Through rigorous physical training and artistic and intellectual exploration, all of the fourth-year dancers have expanded the possibilities of their movement abilities, stretching beyond what they thought possible when entering the program as freshmen. They have accepted the challenge of what it means to be a generous citizen artist and hold that responsibility close to their hearts. Chosen by the dancers, the solos and duets presented tonight have been commissioned for this evening or acquired from existing repertory and staged for this singular occasion. The works represent the manifestation of an evolution of growth and the discovery of their powerfully unique artistic voices. I am immensely proud of each and every fourth-year artist; it has been a joy and an honor to get to know the senior class, a group of individuals who will inevitably change the landscape of the field of dance as it exists today. Please join me for a standing ovation, cheering on the members of the class of 2019 as they take the stage for the last time together in the Peter Jay Sharp Theater. Well done, dancers—we thank you for your beautiful contributions to our Juilliard community and to the world beyond our campus. Sincerely, Little mortal jump Alicia Graf Mack Director, Juilliard Dance Cover: Alejandro Cerrudo's This page: Collaboration -
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. -
The Paris Opera Ballet and the 2019 Pensions Dispute
Notes from the Field: Work | Strike | Dance Notes from the Field Work | Strike | Dance: The Paris Opera Ballet and the 2019 Pensions Dispute By Martin Young Fig. 1: Paris Opera dancers perform in front of the Palais Garnier against the French government’s plan to overhaul the country’s retirement system, in Paris, on December 24, 2019. (Photo by Ludovic Marin/AFP via Getty Images). The day before Christmas Eve 2019, 27 of the Paris Opera’s ballet dancers, alongside a large contingent of the orchestra, staged a 15 minute excerpt of Swan Lake on the front steps of the Palais Garnier. This performance was part of a wave of strike action by French workers against major proposed pension reforms which had, since the start of December, already seen the closure of schools, rail networks, and attractions like the Eiffel Tower, and drawn hundreds of thousands of people into taking part in protests in the streets. As reports of the labour dispute, which would become the longest running strike in France’s history, spread around the world, footage of the Swan Lake performance gained a disproportionate prominence, circulating virally as one of the 131 Platform, Vol. 14, No. 1 & 2, Theatres of Labour, Autumn 2020 key emblematic images of the action. That ballet dancers might become the avatars of struggling workers, and that workers’ struggle might become the perspective through which to view a ballet performance, is an unexpected situation to say the least. As Lester Tomé writes, ballet is ‘a high-art tradition commonly characterized as elitist and escapist, seemingly antipodal to Marxist principles’ (6). -
Annex E: Revisor by Kidd Pivot
ANNEX E community’s downfall. Eight Kidd Pivot dancers embody the foolish characters in Gogol’s well-known satire, lip-syncing to Young’s script and a recorded dialogue by some of Canada’s finest actors. The physical comedy warps, loops and morphs with Pite’s hypnotic choreography driven by a soundscape of text and haunting music. Set against today’s strange panorama of fake news and misinformation, Revisor reveals itself to be a strikingly timely work – a powerful narrative in movement told with panache by two of today’s most daring artists. Journey with SIFA Festival Director Gaurav Kidd Pivot Kripalani adds: “Crystal Pite is REVISOR undeniably one of the world’s Created by Crystal Pite and Jonathon Young best and most celebrated (Canada) choreographers of our time. Her 16 & 17 May 2020, Sat, 8pm & Sun, 5pm distinctive choreography is a sight to behold on the stage, Esplanade Theatre and her work leaves me and the Rating: General rest of the audience in awe and marvel. Synopsis It is with great pleasure and privilege that SIFA will present the Asian premiere of her latest work, the An audaciously funny piece of dance-theatre, incredibly breath-taking dance-theatre piece, Revisor. choreographer Crystal Pite and writer Jonathon Every production of Pite’s is fresh, unexpected, and Young present a stunningly original take on Nikolai profoundly inspiring, and Revisor will undoubtedly leave Gogol’s farcical play about deception and mistaken audiences feeling that they have just witnessed identity, taking apart the archetypal comic plot something special.” while deep-diving into the potent relationship between language and the body. -
Dance Program and Ephemera Collection, 1909-1987
http://oac.cdlib.org/findaid/ark:/13030/kt1b69p38p No online items Guide to the Dance Program and Ephemera Collection, 1909-1987 Processed by Processed by Linda Akatsu, Emma Kheradyar, William Landis, and Maria Lechuga, 1997-2001. Guide completed by Adrian Turner, 2002. © 2003 The Regents of the University of California. All rights reserved. Guide to the Dance Program and MS-P026 1 Ephemera Collection, 1909-1987 Guide to the Dance Program and Ephemera Collection, 1909-1987 Collection number: MS-P26 Special Collections and Archives The UCI Libraries University of California Irvine, California Processed by: Processed by Linda Akatsu, Emma Kheradyar, William Landis, and Maria Lechuga, 1997-2001. Guide completed by Adrian Turner, 2002. Date Completed: 2002 Encoded by: Andre Ambrus © 2003 The Regents of the University of California. All rights reserved. Descriptive Summary Title: Dance program and ephemera collection, Date (inclusive): 1909-1987 Collection number: MS-P026 Extent: 10.3 linear feet (25 boxes and 5 oversize folders) Repository: University of California, Irvine. Library. Special Collections and Archives. Irvine, California 92623-9557 Abstract: This collection comprises printed materials, primarily dance programs, documenting significant international dancers, dance companies, festivals, performances, and events. The bulk of this collection comprises materials on 20th century American and European ballet performers and companies, such as the American Ballet Theatre, Ballet Russes and related companies. The collection also contains dance programs documenting world and folk genres, and international dance styles, primarily Indian, Japanese, and Spanish. A small group of printed ephemera documents various dance festivals, dance companies, and individuals such as Isadora Duncan, George Balanchine, Mary Wigman, and others. -
September 4, 2014 Kansas City Ballet New Artistic Staff and Company
Devon Carney, Artistic Director FOR IMMEDIATE RELEASE CONTACT: Ellen McDonald 816.444.0052 [email protected] For Tickets: 816.931.2232 or www.kcballet.org Kansas City Ballet Announces New Artistic Staff and Company Members Grace Holmes Appointed New School Director, Kristi Capps Joins KCB as New Ballet Master, and Anthony Krutzkamp is New Manager for KCB II Eleven Additions to Company, Four to KCB II and Creation of New Trainee Program with five members Company Now Stands at 29 Members KANSAS CITY, MO (Sept. 4, 2014) — Kansas City Ballet Artistic Director Devon Carney today announced the appointment of three new members of the artistic staff: Grace Holmes as the new Director of Kansas City Ballet School, Kristi Capps as the new Ballet Master and Anthony Krutzkamp as newly created position of Manager of KCB II. Carney also announced eleven new members of the Company, increasing the Company from 28 to 29 members for the 2014-2015 season. He also announced the appointment of four new KCB II dancers, which stands at six members. Carney also announced the creation of a Trainee Program with five students, two selected from Kansas City Ballet School. High resolution photos can be downloaded here. Carney stated, “With the support of the community, we were able to develop and grow the Company as well as expand the scope of our training programs. We are pleased to welcome these exceptional dancers to Kansas City Ballet and Kansas City. I know our audiences will enjoy the talent and diversity that these artists will add to our existing roster of highly professional world class performers that grace our stage throughout the season ahead.