Interview We Speak to Carlos Acosta About His New
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Danc Scapes Choreographers 2015
dancE scapes Choreographers 2015 Amy Cain was born in Jacksonville, Florida and grew up in The Woodlands/Spring area of Texas. Her 30+ years of dance training include working with various instructors and choreographers nationwide and abroad. She has also been coached privately and been inspired for most of her dance career by Ken McCulloch, co-owner of NHPA™. Amy is in her 22nd year of partnership in directing NHPA™, named one of the “Top 50 Studios On the Move” by Dance Teacher Magazine in 2006, and has also been co-director of Revolve Dance Company for 10 years. She also shares her teaching experience as a jazz instructor for the upper level students at Houston Ballet Academy. Amy has danced professionally with Ad Deum, DWDT, and Amy Ell’s Vault, and her choreographic works have been presented in Italy, Mexico, and at many Houston area events. In June 2014 Amy’s piece “Angsters”, performed by Revolve Dance Company, was presented as a short film produced by Gothic South Productions at the Dance Camera estW Festival in L.A. where it received the “Audience Favorite” award. This fall “Angsters” will be screened on Opening Night at the San Francisco Dance Film Festival in California, and on the first screening weekend at the Sans Souci Festival of Dance Cinema in Boulder, Colorado. Dawn Dippel (co-owner) has been dancing most of her life and is now co-owner of NHPA™, co-Director and founding member of Revolve Dance Company, and a former member of the Dominic Walsh Dance Theatre. She grew up in the Houston area, graduated from Houston’s High School for the Performing & Visual Arts Dance Department, and since then has been training in and outside of Houston. -
KC Dance Day Saturday, August 24Th Kansas City Ballet, Producer at the Todd Bolender Center for Dance & Creativity
FOR IMMEDIATE RELEASE CONTACT: Ellen McDonald 816.213.4355 [email protected] For Tickets: 816.931.8993 or www.kcballet.org KC Dance Day Saturday, August 24th Kansas City Ballet, Producer at the Todd Bolender Center for Dance & Creativity KANSAS CITY, MO (July 18, 2019) — Kansas City Ballet will kick-off its 62nd season with the 9th Annual KC Dance Day at the Todd Bolender Center for Dance & Creativity (500 W. Pershing, Kansas City, MO 64108) on Saturday, Aug. 24th from 9:00 a.m. to 6:00 p.m. The entire day will feature FREE dance performances, classes, demonstrations and FUN for the whole family. In addition, attendees may relax under a tent with food and beverages on sale from Two Guys and a Grill. “KC Dance Day is THE kick-off event of the new season,” Artistic Director Devon Carney said. “Well over a thousand Kansas Citians will join us for this open house and fun-filled day of dance featuring a multitude of Kansas City area dance organizations as well as many opportunities to join the fun. And as a bonus, our Company and Kansas City Ballet Second Company dancers will be in rehearsals so guests will get to see excerpts from the upcoming season.” KC Dance Day Schedule August 24, 2019 For more information, please visit our website at www.kcballet.org. FREE Children’s and Adult Dance Classes Doors open at 8:30 a.m. Classes start at 9:15 a.m. KC Dance Day Presented by Kansas City Ballet at the Todd Bolender Center for Dance & Creativity on Aug. -
Mythological Intertextuality in Nineteenth Century Ballet Repertory
Skidmore College Creative Matter MALS Final Projects, 1995-2019 MALS 5-20-2006 Mythological Intertextuality in Nineteenth Century Ballet Repertory Liane Fisher Skidmore College Follow this and additional works at: https://creativematter.skidmore.edu/mals_stu_schol Part of the Dance Commons, and the History of Art, Architecture, and Archaeology Commons Recommended Citation Fisher, Liane, "Mythological Intertextuality in Nineteenth Century Ballet Repertory" (2006). MALS Final Projects, 1995-2019. 41. https://creativematter.skidmore.edu/mals_stu_schol/41 This Thesis is brought to you for free and open access by the MALS at Creative Matter. It has been accepted for inclusion in MALS Final Projects, 1995-2019 by an authorized administrator of Creative Matter. For more information, please contact [email protected]. Mythological Intertextuality in Nineteenth Century Ballet Repertory Master of Arts in Liberal Studies Thesis Skidmore College Liane Fisher March 2006 Advisor: Isabel Brown Reader: Marc Andre Wiesmann Table of Contents Abstract .............................. ... .... .......................................... .......... ............................ ...................... 1 Chapter 1 : Introduction .. .................................................... ........... ..... ............ ..... ......... ............. 2 My thologyand Ballet ... ....... ... ........... ................... ....... ................... ....... ...... .................. 7 The Labyrinth My thologies .. ......................... .... ................. .......................................... -
Pag 01Ok.Qxd 20/06/2014 20:38 Pægina 1 EL CULTURAL1 Euro
pag 01ok.qxd 20/06/2014 20:38 PÆgina 1 EL CULTURAL1 Euro. Venta conjunta e inseparable con El Mundo, y en librerías especializadas 27 de junio - 3 de julio de 2014 www.elcultural.es Richard Hamilton El último autorretrato La distopía conquista la literatura Mérida absuelve a Salomé Paco Azorín abre el festival con una impactante revisión de la ópera de Strauss Pag 03.qxd 20/06/2014 21:13 PÆgina 3 PRIMERA PALABRA LUIS MARÍA ANSON de la Real Academia Española Felipe VI y la cultura elipe II, Felipe III y Fe- Graciano García, con saga- Se divirtió hablando con Pedro centenares de representantes lipe IV vivieron el Siglo de cidad impagable, situó a Don Almodóvar, el gran genio del de la cultura española, iberoa- FOro de la cultura españo- Felipe en la plataforma del Pre- cine español, con Maya Pli- mericana y mundial. la. Conocieron personalmente mio Príncipe de Asturias, lo sétskaya y Tamara Rojo, con Felipe VI no gobierna. o tuvieron noticia cercana de que ha permitido al actual Rey Paco de Lucía y Michael Ha- Pero reina. Y estoy seguro de los más grandes: Cervantes y comprender la significación neke. que alentará al Gobierno a que San Juan de la Cruz, Lope de profunda de la cultura en las le- Y el mundo de la Comuni- dedique sus mejores esfuerzos Vega y Santa Teresa, Veláz- tras, las artes plásticas, la mú- cación. Recuerdo a Indro Mon- al mundo de la cultura en el quez y Calderón, Fray Luis de sica, el cine, la ciencia… tanelli, mi inolvidado, mi gran que España ocupa lugar de re- León y Gracián, Góngora y He tenido la suerte de sen- amigo, departiendo con Don lieve internacional. -
TAMARA ROJO, Bailarina Royal Ballet Royal ‘NUNCA IMAGINÉ CUANDO
78escritura 60-62 19/10/12 12:18 Página 2 • esfera cultural• TAMARA ROJO, bailarina Royal Ballet Royal ‘NUNCA IMAGINÉ CUANDO Foto cortesia del del Foto cortesia LLEGUÉ A INGLATERRA QUE UN DÍA FUERA A DIRIGIR UNA DE SUS GRANDES COMPAÑÍAS DE DANZA’ JUAN ANTONIO LLORENTE terra que un día fuera a dirigir una de sus grandes compañías de danza. –¿Dónde será la prueba de fuego? –Aunque la compañía de la que se va a responsabilizar se –Mi primera actuación al frente del English National Ballet será proclama como “clásica”, sus intereses como bailarina son en el Teatro Milton Keynes de Buckinghamshire County, el 17 de más amplios. ¿En qué márgenes cronológicos se mueve? octubre, con La Bella Durmiente que coreografió Kenneth Macmi- –En realidad eso es algo que no me planteo, aunque es verdad llan. Para mí es uno de los montajes más bonitos que existen de que esas distinciones se dan mucho en España, donde se estable- ese título, que en diciembre llevaremos al Coliseum de Londres, cen límites entre la danza clásica y la contemporánea. Pero eso no nuestra sede oficial, además de Cascanueces. sucede fuera. En este momento, en las grandes compañías, como el Royal Ballet, los bailarines se muestran en una gran variedad de re- –La del ballet es una sociedad de mitos y mitómanos. ¿Tiene pertorio. Desde, digamos, el clásico puro de Petipa y el Lago de los los suyos? Cisnes, a cosas más modernas como Balanchine, Kenneth Macmi- –(Sonríe). Sí, por supuesto. Hay gente que me ha influenciado, llan o Zoe Aston. Así, hasta llegar a propuestas que tengan más que pero sobre todo que me ha inspirado. -
Dance Top Ten for 2015
Dance Top 10 for 2015: Women had an outsized role on this year's list Aparna Ramaswamy, co-artistic director of Ragamala Dance, in "Song of the Jasmine." (Alice Gebura) Laura Molzahn With shows by Wendy Whelan in January, Carrie Hanson in March, Onye Ozuzu in August, Twyla Tharp in November, and the female choreographers of Hubbard Street's winter program this weekend — well, 2015 has proved the year of the woman. That shouldn't be remarkable, because women predominate in dance, but it is. You'll find an unusually high number of additional picks by women in my chronological list below of the top 10 dance works of the last year — along with some fine representatives of the other sex. "Song of the Jasmine," Ragamala Dance, April at the Museum of Contemporary Art: Minneapolis-based mother-daughter team Ranee and Aparna Ramaswamy, collaborating with innovative composer-saxophonist Rudresh Mahanthappa, commingled jazz, carnatic music and bharata natyam dance in this synergistic, utterly contemporary evening-length piece. As a performer, Ramaswamy elicited the essence of the feminine; moving precisely, delicately, she used her hands and face so wholeheartedly you could smell heavenly jasmine yourself. "A Streetcar Named Desire," Scottish Ballet, May at the Harris Theater: In a brilliantly structured reimagining of the Tennessee Williams classic, choreographer Annabelle Lopez Ochoa, aided by theater and film director Nancy Meckler, wasted not a moment or a step as she created empathy with Blanche (no easy task) and with the story's gay lovers (unseen in the play). In this lush, emotional work — Lopez Ochoa's first full-length narrative ballet — the sparing use of point work gave it all the more impact. -
Generously Funded by I Am Going to See Houston Ballet Academy Perform 50 Years in 50 Minutes at Houston Ballet Center for Dance
Generously funded by I am going to see Houston Ballet Academy perform 50 Years in 50 Minutes at Houston Ballet Center for Dance. Lauren Anderson and Carlos Acosta in the World Premiere of Don Quixote by Ben Stevenson, after Marius Petipa Photo by Geoff Winningham Going to see a ballet is like watching t.v. or going to the movie because it tells a story. I will see ballets about people, animals, and even sports! Mireillle Hassenhoehler and Lucas Priolo in the Houston Ballet Premiere of Bruiser by Stanton Welch AM Photo by Geoff Winningham Going to see a ballet is different than watching t.v. or a movie because the dancers perform live in front of you on the stage. And in ballets, there are no words. The dancers tell the story with movement. Houston Ballet Academy in Raymonda Photo by Jim Caldwell 50 Years in 50 Minutes will be performed at Houston Ballet Center for Dance. When I arrive, I will park in the parking lot, next to the building. There will be people there to help show the way. We will walk from the parking lot to Houston Ballet Center for Dance. We will walk through two set of doors. We will enter the lobby area. This is a place where I can sit down to rest with my family and friends. Before the show, I can use the restroom or get a drink of water. I might need to get my tickets from the box office. Once I have my tickets, I can go into the theater. -
Don Quixote Press Release 2019
January 2019 Carlos Acosta’s celebrated production of Don Quixote returns Friday 15 February – Thursday 4 April 2019 Live Cinema relay: Tuesday 19 February 2019 #ROHDonQ Federico Bonelli and Sarah Lamb in Don Quixote, ©ROH/Johan Persson, 2013 Carlos Acosta’s vibrant dance production of Miguel de Cervante’s classic tale Don Quixote returns to the Royal Opera House this Spring. Created specially for The Royal Ballet in 2013, this stunning production tells the story of the bumbling knight Don Quixote and his ever-faithful squire Sancho Panza, and their efforts to help the young lovers Kitri and Basilio. This revival features exciting debuts from Lauren Cuthbertson, Yasmine Naghdi and Mayara Magri as Kitri and Matthew Ball, Alexander Campbell and Marcelino Sambé as Basilio. Don Quixote For all Royal Opera House press releases visit www.roh.org.uk/for/press-and-media includes a number of spectacular solos and pas de deux as well as outlandish comedy and romance as the dashing Basilio steals the heart of the beautiful Kitri. Don Quixote will be live streamed to cinemas on Tuesday 19 February as part of the ROH Live Cinema Season. Carlos Acosta previously danced the role of Basilio in many productions of Don Quixote. He was invited by Kevin O’Hare Director of The Royal Ballet, to re-stage this much-loved classic in 2013. Acosta’s vibrant production evokes sunny Spain with designs by Tim Hatley who has also created productions for the National Theatre and for musicals including Dreamgirls, The Bodyguard and Shrek. Acosta’s choreography draws on Marius Petipa’s 1869 production of this classic ballet and is set to an exuberant score by Ludwig Minkus arranged and orchestrated by Martin Yates. -
RELEASE DATE SEPTEMBET 2020 Essential Royal Ballet
RELEASE DATE SEPTEMBET 2020 Essential Royal Ballet The Royal Ballet Delve into the archive of The Royal Ballet in this special collection full of clips and interviews Katie Derham introduces highlights from the past ten years at the Royal Ballet in this special, extended edition of Essential Royal Ballet. Presented on location in Covent Garden at the iconic Royal Opera House, Katie weaves the history of ballet through carefully curated excerpts from the past decade of performances and goes behind the scenes to see what it takes to be a dancer in the company of The Royal Ballet as they prepare to take to the stage. From the great classics of The Sleeping Beauty and The Nutcracker to the exciting frontiers of contemporary dance, Katie takes us on a romp through the repertory, showcasing the diversity of the UK’s biggest ballet company. With stunning solos, passionate pas de deux and jaw-dropping numbers for the corps de ballet, it is a chance to see your favourite dancers up close, including Carlos Acosta, Marianela Nuñez, Natalia Osipova and Steven McRae, alongside rising stars like Francesca Hayward and Matthew Ball, who will introduce their favourite ballets and share stories of their life on the stage. The ballets featured include the classics Giselle, La Bayadère, Swan Lake, The Sleeping Beauty and The Nutcracker while the 20th-century heritage of the Royal Ballet is explored in works by Frederick Ashton and Kenneth MacMillan. The contemporary life of the company is showcased in works by Christopher Wheeldon, and Wayne McGregor, along side recent productions of classic works. -
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Finding Aid for Bolender Collection
KANSAS CITY BALLET ARCHIVES BOLENDER COLLECTION Bolender, Todd (1914-2006) Personal Collection, 1924-2006 44 linear feet 32 document boxes 9 oversize boxes (15”x19”x3”) 2 oversize boxes (17”x21”x3”) 1 oversize box (32”x19”x4”) 1 oversize box (32”x19”x6”) 8 storage boxes 2 storage tubes; 1 trunk lid; 1 garment bag Scope and Contents The Bolender Collection contains personal papers and artifacts of Todd Bolender, dancer, choreographer, teacher and ballet director. Bolender spent the final third of his 70-year career in Kansas City, as Artistic Director of the Kansas City Ballet 1981-1995 (Missouri State Ballet 1986- 2000) and Director Emeritus, 1996-2006. Bolender’s records constitute the first processed collection of the Kansas City Ballet Archives. The collection spans Bolender’s lifetime with the bulk of records dating after 1960. The Bolender material consists of the following: Artifacts and memorabilia Artwork Books Choreography Correspondence General files Kansas City Ballet (KCB) / State Ballet of Missouri (SBM) files Music scores Notebooks, calendars, address books Photographs Postcard collection Press clippings and articles Publications – dance journals, art catalogs, publicity materials Programs – dance and theatre Video and audio tapes LK/January 2018 Bolender Collection, KCB Archives (continued) Chronology 1914 Born February 27 in Canton, Ohio, son of Charles and Hazel Humphries Bolender 1931 Studied theatrical dance in New York City 1933 Moved to New York City 1936-44 Performed with American Ballet, founded by -
Ifu Aur Main
IRRFAN AND I Written by Vishal BhardwajTimes Delhi INT. MY HOME - DAY SUPER: 29TH APRIL 2020 It’s lockdown in Mumbai. I have been working from home for the past one month. The phone rings. It flashes M.P’s name on the screen. It gives me tremors. M.P is supposed to be my informer in Irrfan’s agency. I let the phone ring for a while and then take the call fearing the worst. A beat. M.P. He has started improving. Man, this guy is a hell of a fighter. Doctors are hopeful that he will bounce back. I take a deep breath and cut the line. LITTLE LATER I argue with Rekha for serving me less PANEER in last night’s dinner. I complain to her of being biased when it comes to choosing between me and Aasmaan. My phone beeps. I check my WhatsApp messenger (still bickering with Rekha). It’s a message from a friend from America. It reads - ‘Saddened to hear about Irrfan Khan’. I check my Twitter (Still squabbling fiercely with Rekha) to verify the authenticity of it. No news. I rule out the possibility. Times I bring myself to hear what Rekha is saying with tears in her eyes. REKHA What kind of pettiness is this? The phone rings again. It’s M.P once more. I pick it up hurriedly this time. There are sobs on the other side. A bomb explodesDelhi in my heart. CUT TO: EXT. ROAD TO GRAVEYARD - DAY Face masked with a N95 mask and hands covered with a pair of surgical gloves, I travel in my car on the deserted road leading to the Muslim cemetery.