Robert Lindgren and Sonja Taanila Collection
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Valerie Roche ARAD Director Momix and the Omaha Ballet
Celebrating 50 years of Dance The lights go down.The orchestra begins to play. Dancers appear and there’s magic on the stage. The Omaha Academy of Ballet, a dream by its founders for a school and a civic ballet company for Omaha, was realized by the gift of two remarkable people: Valerie Roche ARAD director of the school and the late Lee Lubbers S.J., of Creighton University. Lubbers served as Board President and production manager, while Roche choreographed, rehearsed and directed the students during their performances. The dream to have a ballet company for the city of Omaha had begun. Lubbers also hired Roche later that year to teach dance at the university. This decision helped establish the creation of a Fine and Performing Arts Department at Creighton. The Academy has thrived for 50 years, thanks to hundreds of volunteers, donors, instructors, parents and above all the students. Over the decades, the Academy has trained many dancers who have gone on to become members of professional dance companies such as: the American Ballet Theatre, Los Angeles Ballet, Houston Ballet, National Ballet, Dance Theatre of Harlem, San Francisco Ballet, Minnesota Dance Theatre, Denver Ballet, Momix and the Omaha Ballet. Our dancers have also reached beyond the United States to join: The Royal Winnipeg in Canada and the Frankfurt Ballet in Germany. OMAHA WORLD HERALD WORLD OMAHA 01 studying the work of August Birth of a Dream. Bournonville. At Creighton she adopted the syllabi of the Imperial Society for Teachers The Omaha Regional Ballet In 1971 with a grant and until her retirement in 2002. -
Singapore Dance Theatre Launches 25 Season with Coppélia
ARTISTIC DIRECTOR | JANEK SCHERGEN FOR IMMEDIATE RELEASE MEDIA CONTACT Melissa Tan Publicity and Advertising Executive [email protected] Joseph See Acting Marketing Manager [email protected] Office: (65) 6338 0611 Fax: (65) 6338 9748 www.singaporedancetheatre.com Singapore Dance Theatre Launches 25th Season with Coppélia 14 - 17 March 2013 at the Esplanade Theatre As Singapore Dance Theatre (SDT) celebrates its 25th Silver Anniversary, the Company is proud to open its 2013 season with one of the most well-loved comedy ballets, Coppélia – The Girl with Enamel Eyes. From 14 – 17 March at the Esplanade Theatre, SDT will mesmerise audiences with this charming and sentimental tale of adventure, mistaken identity and a beautiful life-sized doll. A new staging by Artistic Director Janek Schergen, featuring original choreography by Arthur Saint-Leon, Coppélia is set to a ballet libretto by Charles Nuittier, with music by Léo Delibes. Based on a story by E.T.A. Hoffman, this three-act ballet tells the light-hearted story of the mysterious Dr Coppélius who owns a beautiful life-sized puppet, Coppélia. A village youth named Franz, betrothed to the beautiful Swanilda becomes infatuated with Coppélia, not knowing that she just a doll. The magic and fun begins when Coppélia springs to life! Coppélia is one of the most performed and favourite full-length classical ballets from SDT’s repertoire. This colourful ballet was first performed by SDT in 1995 with staging by Colin Peasley of The Australian Ballet. Following this, the production was revived again in 1997, 2001 and 2007. This year, Artistic Director Janek Schergen will be bringing this ballet back to life with a new staging. -
Billy the Kid: More Than a Legend
National Park Service White Sands U.S. Department of the Interior White Sands National Monument Billy the Kid: More than a Legend he history of the American Southwest is chock full of legends and stories that truly live up to the epithet of the TWild West. The embellishment of these stories has allowed for the development of numerous movies and books but the true facts of these accounts are more interesting than any tall tale. Yes, the West really was wild! after Tunstall. According to most doubt he and other renowned William Henry McCarthy, accounts, he was shot unarmed characters of the time came across otherwise known as Billy the which was against “the code of the largerst gypsum dunefield in Kid, is a perfect example of how the West.” After Tunstall’s murder, the world as they traveled. Who untamed the now tranquil towns Billy and the Regulators swore knows what evidence of their of New Mexico used to be. It vengeance on Jesse Evans and his passage these ever-shifting dunes was no secret that Billy had a crew. might be hiding. rough past. His mother died of tuberculosis while he was just a As a result of one of the many —Sandra Flickinger, Student-Intern young boy and he had a history of skirmishes, Sheriff William Brady working odd jobs in combination was killed, putting Billy in the hot with a few illegal activities. seat as a murderer and sending him on the run. After many daring The real beginning of Billy’s career escapes, the new sheriff, Pat as an infamous gunman, however, Garrett, was finally successful in began in 1878 after he met a young arresting Billy. -
Sarah Brooks
Sarah Brooks Brooks Family Homeschool 17236 NE 144th St Redmond, WA 98052 425-408-0205 [email protected] 5’6” DOB: 05/04/2003 Grade 12; GPA 4.0/4.0; CLT EXAM 94/120 Training Pacific Northwest Ballet School 2011-2020 Classical Ballet Levels I-VIII (Pointe, Pas, Variations, Repertory, Conditioning) Abbie Siegel, Marjorie Thompson, Marisa Albee, Nancy Crowley, Meg Potter, Dana Hanson New Voices: Choreography and Process for Young Women in Dance I and II 2018-2020 Eva Stone, Michelle Curtis Modern V-VIII 2015-2020 Eva Stone Summer Courses Alonzo King LINES Ballet Online Advanced program 2020 School of American Ballet 2019 Pacific Northwest Ballet 2017, 2018, 2020 Oregon Ballet Theater 2016 Master Classes Kidd Pivot Master Classes 2020 Tiffany Tregarthen Chop Shop Bodies of Work Contemporary Dance Festival 2017, 2018, 2019 Adam Barruch, Alicia Mullikin, others Gaga master class at Gibney Dance, Velocity Dance Center 2017, 2019 Performance Experience School of American Ballet Summer Choreography Workshop 2019 Pacific Northwest Ballet School Bruce Wells’ Beauty and the Beast – (performances cancelled due to Covid19) 2020 Bruce Wells’ Pinocchio 2019 New Voices Choreographic Showcases 2019 Spring Fling Fundraiser Performances 2019 Next Step: Outside/In 2019 End of Year School Performance 2012-2019 Virtual School Celebration 2020 Pacific Northwest Ballet (with PNB School) Coppélia (Alexandra Danilova and George Balanchine)- Waltz girl 2016 George Balanchine’s The Nutcracker- Candy Cane 2015 Don Quixote (Marius Petipa/Alexander Gorsky/Alexi Ratamansky)- -
Adapting Piano Music for Ballet: Tchaikovsky's Children's Album, Op
Adapting Piano Music for Ballet: Tchaikovsky's Children's Album, Op. 39 Item Type text; Electronic Dissertation Authors Stavrianou, Eleni Persefoni Citation Stavrianou, Eleni Persefoni. (2021). Adapting Piano Music for Ballet: Tchaikovsky's Children's Album, Op. 39 (Doctoral dissertation, University of Arizona, Tucson, USA). 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, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 06/10/2021 04:39:03 Item License http://rightsstatements.org/vocab/InC/1.0/ Link to Item http://hdl.handle.net/10150/660266 ADAPTING PIANO MUSIC FOR BALLET: TCHAIKOVSKY’S CHILDREN’S ALBUM, OP. 39 by Eleni Persefoni Stavrianou ____________________________________ Copyright © Eleni Persefoni Stavrianou 2021 A DMA Critical Essay Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2021 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Doctor of Musical Arts Creative Project and Lecture-Recital Committee, we certify that we have read the Critical Essay prepared by: titled: and recommend that it be accepted as fulfilling the Critical Essay requirement for the Degree of Doctor of Musical Arts. _________________________________________________________________ Date: ____________ _________________________________________________________________ Date: ____________ _________________________________________________________________ Date: ____________ submission of the final copies of the essay to the Graduate College. I hereby certify that I have read this Critical Essay prepared under my direction and recommend that it be accepted as fulfilling the Critical Essay requirement. -
A SEASON of Dance Has Always Been About Togetherness
THE SEASON TICKET HOLDER ADVANTAGE — SPECIAL PERKS, JUST FOR YOU JULIE KENT, ARTISTIC DIRECTOR 2020/21 A SEASON OF Dance has always been about togetherness. Now more than ever, we cannot“ wait to share our art with you. – Julie Kent A SEASON OF BEAUTY DELIGHT WONDER NEXTsteps A NIGHT OF RATMANSKY New works by Silas Farley, Dana Genshaft, Fresh, forward works by Alexei Ratmansky and Stanton Welch MARCH 3 – 7, 2021 SEPTEMBER 30 – OCTOBER 4, 2020 The Kennedy Center, Eisenhower Theater The Harman Center for the Arts, Shakespeare Theatre The Washington Ballet is thrilled to present an evening of works The Washington Ballet continues to champion the by Alexei Ratmansky, American Ballet Theatre’s prolific artist-in- advancement and evolution of dance in the 21st century. residence. Known for his musicality, energy, and classicism, the NEXTsteps, The Washington Ballet’s 2020/21 season opener, renowned choreographer is defining what classical ballet looks brings fresh, new ballets created on TWB dancers to the like in the 21st century. In addition to the 17 ballets he’s created nation’s capital. With works by emerging and acclaimed for ABT, Ratmansky has choreographed genre-defining ballets choreographers Silas Farley, dancer and choreographer for the Mariinsky Ballet, the Royal Danish Ballet, the Royal with the New York City Ballet; Dana Genshaft, former San Swedish Ballet, Dutch National Ballet, New York City Ballet, Francisco Ballet soloist and returning TWB choreographer; San Francisco Ballet, The Australian Ballet and more, as well as and Stanton Welch, Artistic Director of the Houston Ballet, for ballet greats Nina Ananiashvili, Diana Vishneva, and Mikhail energy and inspiration will abound from the studio, to the Baryshnikov. -
In the Shadow of Billy the Kid: Susan Mcsween and the Lincoln County War Author(S): Kathleen P
In the Shadow of Billy the Kid: Susan McSween and the Lincoln County War Author(s): Kathleen P. Chamberlain Source: Montana: The Magazine of Western History, Vol. 55, No. 4 (Winter, 2005), pp. 36-53 Published by: Montana Historical Society Stable URL: http://www.jstor.org/stable/4520742 . Accessed: 31/01/2014 13:20 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Montana Historical Society is collaborating with JSTOR to digitize, preserve and extend access to Montana: The Magazine of Western History. http://www.jstor.org This content downloaded from 142.25.33.193 on Fri, 31 Jan 2014 13:20:15 PM All use subject to JSTOR Terms and Conditions In the Shadowof Billy the Kid SUSAN MCSWEEN AND THE LINCOLN COUNTY WAR by Kathleen P. Chamberlain S C.4 C-5 I t Ia;i - /.0 I _Lf Susan McSween survivedthe shootouts of the Lincoln CountyWar and createda fortunein its aftermath.Through her story,we can examinethe strugglefor economic control that gripped Gilded Age New Mexico and discoverhow women were forced to alter their behavior,make decisions, and measuresuccess againstthe cold realitiesof the period. This content downloaded from 142.25.33.193 on Fri, 31 Jan 2014 13:20:15 PM All use subject to JSTOR Terms and Conditions ,a- -P N1878 southeastern New Mexico declared war on itself. -
Billy the Kid and the Lincoln County War 1878
Other Forms of Conflict in the West – Billy the Kid and the Lincoln County War 1878 Lesson Objectives: Starter Questions: • To understand how the expansion of 1) We have many examples of how the the West caused other forms of expansion into the West caused conflict with tension between settlers, not just Plains Indians – can you list three examples conflict between white Americans and of conflict and what the cause was in each Plains Indians. case? • To explain the significance of the 2) Can you think of any other groups that may Lincoln County War in understanding have got into conflict with each other as other types of conflict. people expanded west and any reasons why? • To assess the significance of Billy the 3) Why was law and order such a problem in Kid and what his story tells us about new communities being established in the law and order. West? Why was it so hard to stop violence and crime? As homesteaders, hunters, miners and cattle ranchers flooded onto the Plains, they not only came into conflict with the Plains Indians who already lived there, but also with each other. This was a time of robberies, range wars and Indian wars in the wide open spaces of the West. Gradually, the forces of law and order caught up with the lawbreakers, while the US army defeated the Plains Indians. As homesteaders, hunters, miners and cattle ranchers flooded onto the Plains, they not only came into conflict with the Plains Indians who already lived there, but also with each other. -
Review of Inventing Billy the Kid: Visions of the Outlaw in America, 1881-1981 by Stephen Tatum
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Great Plains Quarterly Great Plains Studies, Center for Summer 1984 Review of Inventing Billy the Kid: Visions of the Outlaw in America, 1881-1981 By Stephen Tatum Kent L. Steckmesser California State University-Los Angeles Follow this and additional works at: https://digitalcommons.unl.edu/greatplainsquarterly Part of the Other International and Area Studies Commons Steckmesser, Kent L., "Review of Inventing Billy the Kid: Visions of the Outlaw in America, 1881-1981 By Stephen Tatum" (1984). Great Plains Quarterly. 1798. https://digitalcommons.unl.edu/greatplainsquarterly/1798 This Article is brought to you for free and open access by the Great Plains Studies, Center for at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Great Plains Quarterly by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. 182 GREAT PLAINS QUARTERLY, SUMMER 1984 biography was formulated as a "romance." As a "bad" badman, a threat to the moral order, the Kid had to die so that civilization-repre sented by Sheriff Pat Garrett-could advance. This formula of conflict and resolution by death can be detected in dime novels and early magazine accounts, which dwell on the Kid's unheroic appearance and bloodthirsty char acter. After a period of meager interest, by the mid-1920s a quite different figure was being molded by biographers and film makers. This was the prototypical "good" badman, one who personifies a kind of idealism. In Walter Noble Burns's key biography in 1926 and in a 1930 film, the Kid becomes a redeemer who helps small farmers. -
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 -
Feminist Scholarship Review: Women in Theater and Dance
Trinity College Trinity College Digital Repository Feminist Scholarship Review Women and Gender Resource Action Center Spring 1998 Feminist Scholarship Review: Women in Theater and Dance Katharine Power Trinity College Joshua Karter Trinity College Patricia Bunker Trinity College Susan Erickson Trinity College Marjorie Smith Trinity College Follow this and additional works at: https://digitalrepository.trincoll.edu/femreview Part of the Feminist, Gender, and Sexuality Studies Commons, and the Theatre and Performance Studies Commons Recommended Citation Power, Katharine; Karter, Joshua; Bunker, Patricia; Erickson, Susan; and Smith, Marjorie, "Feminist Scholarship Review: Women in Theater and Dance" (1998). Feminist Scholarship Review. 10. https://digitalrepository.trincoll.edu/femreview/10 Peminist Scfiofarsliip CR§view Women in rrlieater ana(])ance Hartford, CT, Spring 1998 Peminist ScfioCarsfiip CJ?.§view Creator: Deborah Rose O'Neal Visiting Lecturer in the Writing Center Trinity College, Hartford, Connecticut Editor: Kimberly Niadna Class of2000 Contributers: Katharine Power, Senior Lecturer ofTheater and Dance Joshua Kaner, Associate Professor of Theater and Dance Patricia Bunker, Reference Librarian Susan Erickson, Assistant to the Music and Media Services Librarian Marjorie Smith, Class of2000 Peminist Scfzo{a:rsnip 9.?eview is a project of the Trinity College Women's Center. For more information, call 1-860-297-2408 rr'a6fe of Contents Le.t ter Prom. the Editor . .. .. .... .. .... ....... pg. 1 Women Performing Women: The Body as Text ••.•....••..••••• 2 by Katharine Powe.r Only Trying to Move One Step Forward • •.•••.• • • ••• .• .• • ••• 5 by Marjorie Smith Approaches to the Gender Gap in Russian Theater .••••••••• 8 by Joshua Karter A Bibliography on Women in Theater and Dance ••••••••.••• 12 by Patricia Bunker Women in Dance: A Selected Videography .••• .•... -
Henri Matisse, Textile Artist by Susanna Marie Kuehl
HENRI MATISSE, TEXTILE ARTIST COSTUMES DESIGNED FOR THE BALLETS RUSSES PRODUCTION OF LE CHANT DU ROSSIGNOL, 1919–1920 Susanna Marie Kuehl Submitted in partial fulfillment of the requirements for the degree Master of Arts in the History of Decorative Arts Masters Program in the History of Decorative Arts The Smithsonian Associates and Corcoran College of Art + Design 2011 ©2011 Susanna Marie Kuehl All Rights Reserved To Marie Muelle and the anonymous fabricators of Le Chant du Rossignol TABLE OF CONTENTS Page Acknowledgements . ii List of Figures . iv Chapter One: Introduction: The Costumes as Matisse’s ‘Best Spokesman . 1 Chapter Two: Where Matisse’s Art Meets Textiles, Dance, Music, and Theater . 15 Chapter Three: Expression through Color, Movement in a Line, and Abstraction as Decoration . 41 Chapter Four: Matisse’s Interpretation of the Orient . 65 Chapter Five: Conclusion: The Textile Continuum . 92 Appendices . 106 Notes . 113 Bibliography . 134 Figures . 142 i ACKNOWLEDGEMENTS As in all scholarly projects, it is the work of not just one person, but the support of many. Just as Matisse created alongside Diaghilev, Stravinsky, Massine, and Muelle, there are numerous players that contributed to this thesis. First and foremost, I want to thank my thesis advisor Dr. Heidi Näsström Evans for her continual commitment to this project and her knowledgeable guidance from its conception to completion. Julia Burke, Textile Conservator at the National Gallery of Art in Washington DC, was instrumental to gaining not only access to the costumes for observation and photography, but her energetic devotion and expertise in the subject of textiles within the realm of fine arts served as an immeasurable inspiration.