Jacquline Rafferty Bio Copy 2
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2019-2020 Season Overview JULY 2020
® 2019-2020 Season Overview JULY 2020 Report Summary The following is a report on the gender distribution of choreographers whose works were presented in the 2019-2020 seasons of the fifty largest ballet companies in the United States. Dance Data Project® separates metrics into subsections based on program, length of works (full-length, mixed bill), stage (main stage, non-main stage), company type (main company, second company), and premiere (non-premiere, world premiere). The final section of the report compares gender distributions from the 2018- 2019 Season Overview to the present findings. Sources, limitations, and company are detailed at the end of the report. Introduction The report contains three sections. Section I details the total distribution of male and female choreographic works for the 2019-2020 (or equivalent) season. It also discusses gender distribution within programs, defined as productions made up of full-length or mixed bill works, and within stage and company types. Section II examines the distribution of male and female-choreographed world premieres for the 2019-2020 season, as well as main stage and non-main stage world premieres. Section III compares the present findings to findings from DDP’s 2018-2019 Season Overview. © DDP 2019 Dance DATA 2019 - 2020 Season Overview Project] Primary Findings 2018-2019 2019-2020 Male Female n/a Male Female Both Programs 70% 4% 26% 62% 8% 30% All Works 81% 17% 2% 72% 26% 2% Full-Length Works 88% 8% 4% 83% 12% 5% Mixed Bill Works 79% 19% 2% 69% 30% 1% World Premieres 65% 34% 1% 55% 44% 1% Please note: This figure appears inSection III of the report. -
Dracula Media Kit R3
FOR IMMEDIATE RELEASE October 11, 2011 Contact: Erika Overturff, (402) 541-6946 ROMANTIC, CHILLING 'DRACULA' OPENS BALLET NEBRASKA'S SECOND SEASON OMAHA -- He's evil, drinks blood, and sleeps in a coffin. Could there really be more to Count Dracula than those Halloween clichés? Yes, says Ballet Nebraska in Dracula, its season-opening performance at 8 pm October 28 at Omaha's Orpheum Theater. The ballet portrays the vampire count as both a monster and as a man with emotions and vulnerabilities, choreographer Winthrop Corey said. Corey, artistic director of Alabama's Mobile Ballet, said he began the creative process by reading both Bram Stoker's classic 1897 horror novel and scholars' commentaries about it. His research raised a question in his mind: What made Dracula who he was? "Bram Stoker never told us how Dracula got to be a vampire," he said. "I say that he is a man who, through circumstances we don't know, is turned into a monster. Yet he is still a man inside this monster's body, who can kill, but who can also fall in love. And therein lies the ballet; I designed it around that." To develop the choreography, Corey said, he started with the relationship between Count Dracula and the novel's two key female characters: the flirtatious Lucy and her more insightful best friend, Mina. "What I did was narrow it down to three characters -- Lucy, Mina and Dracula -- and the difference between his relationship with Lucy and his relationship with Mina," he said. "One of them he kills and makes a vampire bride; the other one he actually falls in love with. -
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. -
2.Documentals, Pel.Lícules, Concerts, Ballet, Teatre
2.DOCUMENTALS, PEL.LÍCULES, CONCERTS, BALLET, TEATRE..... L’aparició del format DVD ha empès a que molts teatres, televisions, productores, etc hagin decidit reeeditar programes que havien contribuït a popularitzar i divulgar diferents aspectes culturals. També permet elaborar documents que en altres formats son prohibitius, per això avui en dia, hi ha molt a on triar. En aquest arxiu trobareu: -- Documentals a) dedicats a Wagner o la seva obra b) dedicats a altres músics, obres, cantants, directors, ... -- Grabacions de concerts i recitals a) D’ obres wagnerianes b) D’ altres obres i compositors -- Pel.lícules que ens acosten al món de la música -- Ballet clàssic -- Teatre clàssic Associació Wagneriana. Apartat postal 1159 Barcelona Http://www. associaciowagneriana.com. [email protected] DOCUMENTALS A) DEDICATS A WAGNER O LA SEVA OBRA 1. “The Golden Ring” DVD: DECCA Film de la BBC que mostre com es va grabar en disc La Tetralogia en 1965, dirigida per Georg Solti. El DVD es centre en la grabació del Götterdämmerung. Molt recomenable 2. Sing Faster. The Stagehands’Ring Cycle. DVD: Docurama Filmat per John Else presenta com es va preparar el montatge de la Tetralogia a San Francisco. Interesant ja que mostra la feina que cal realitzar en diferents àmbits per organitzar un Anell, però malhauradament la producció escenogrficament és bastant dolenta. 3. “Parsifal” DVD: Kultur. Del director Tony Palmer, el que va firmar la biografia deplorable del compositor Wagner, aquest documental ens apropa i allunya del Parsifal de Wagner. Ens apropa en les explicacions de Domingo i ens allunya amb les bestieses de Gutman. Prescindible. B) DEDICATS A ALTRES MÚSICS, OBRES, CANTANTS, DIRECTORS, .. -
The Shubert Foundation 2020 Grants
The Shubert Foundation 2020 Grants THEATRE About Face Theatre Chicago, IL $20,000 The Acting Company New York, NY 80,000 Actor's Express Atlanta, GA 30,000 The Actors' Gang Culver City, CA 45,000 Actor's Theatre of Charlotte Charlotte, NC 30,000 Actors Theatre of Louisville Louisville, KY 200,000 Adirondack Theatre Festival Glens Falls, NY 25,000 Adventure Theatre Glen Echo, MD 45,000 Alabama Shakespeare Festival Montgomery, AL 165,000 Alley Theatre Houston, TX 75,000 Alliance Theatre Company Atlanta, GA 220,000 American Blues Theater Chicago, IL 20,000 American Conservatory Theater San Francisco, CA 190,000 American Players Theatre Spring Green, WI 50,000 American Repertory Theatre Cambridge, MA 250,000 American Shakespeare Center Staunton, VA 30,000 American Stage Company St. Petersburg, FL 35,000 American Theater Group East Brunswick, NJ 15,000 Amphibian Stage Productions Fort Worth, TX 20,000 Antaeus Company Glendale, CA 15,000 Arden Theatre Company Philadelphia, PA 95,000 Arena Stage Washington, DC 325,000 Arizona Theatre Company Tucson, AZ 50,000 Arkansas Arts Center Children's Theatre Little Rock, AR 20,000 Ars Nova New York, NY 70,000 Artists Repertory Theatre Portland, OR 60,000 Arts Emerson Boston, MA 30,000 ArtsPower National Touring Theatre Cedar Grove, NJ 15,000 Asolo Repertory Theatre Sarasota, FL 65,000 Atlantic Theater Company New York, NY 200,000 Aurora Theatre Lawrenceville, GA 30,000 Aurora Theatre Company Berkeley, CA 40,000 Austin Playhouse Austin, TX 20,000 Azuka Theatre Philadelphia, PA 15,000 Barrington Stage Company -
Nicolle Greenhood Major Paper FINAL.Pdf (4.901Mb)
DIVERSITY EN POINTE: MINIMIZING DISCRIMINATORY HIRING PRACTICES TO INCREASE BALLET’S CULTURAL RELEVANCE IN AMERICA Nicolle Mitchell Greenhood Major paper submitted to the faculty of Goucher College in partial fulfillment of the requirements for the degree of Master of Arts in Arts Administration 2016 Abstract Title of Thesis: DIVERSITY EN POINTE: MINIMIZING DISCRIMINATORY HIRING PRACTICES TO INCREASE BALLET’S CULTURAL RELEVANCE IN AMERICA Degree Candidate: Nicolle Mitchell Greenhood Degree and Year: Master of Arts in Arts Administration, 2016 Major Paper Directed by: Michael Crowley, M.A. Welsh Center for Graduate and Professional Studies Goucher College Ballet was established as a performing art form in fifteenth century French and Italian courts. Current American ballet stems from the vision of choreographer George Balanchine, who set ballet standards through his educational institution, School of American Ballet, and dance company, New York City Ballet. These organizations are currently the largest-budget performing company and training facility in the United States, and, along with other major US ballet companies, have adopted Balanchine’s preference for ultra thin, light skinned, young, heteronormative dancers. Due to their financial stability and power, these dance companies set the standard for ballet in America, making it difficult for dancers who do not fit these narrow characteristics to succeed and thrive in the field. The ballet field must adapt to an increasingly diverse society while upholding artistic integrity to the art form’s values. Those who live in America make up a heterogeneous community with a blend of worldwide cultures, but ballet has been slow to focus on diversity in company rosters. -
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. -
The Portland Ballet Presents 'The Enchanted Toyshop' and 'Tourbillon
FOR IMMEDIATE RELEASE CONTACT: Laura Grimes, [email protected], 971.322.9452 The Portland Ballet presents ‘The Enchanted Toyshop’ and ‘Tourbillon,’ a new work by Anne Mueller with Portland State University Orchestra, Ken Selden, music director PROGRAM DETAILS John Clifford’s The Enchanted Toyshop (2003) Anne Mueller’s Tourbillon (2017), a world premiere Both performed with the PSU Orchestra, under the direction of Ken Selden Dates: Nov. 24-26, 2017 Times: 2:30 & 7:30 p.m. Friday-Saturday, Nov. 24-25; 1 & 5 p.m. Sunday, Nov. 26 Where: Lincoln Performance Hall at PSU, 1620 SW Park at Market, Portland, OR Tickets: $5-$35, on sale beginning Oct. 20 Runtime: One hour 45 minutes (including one 20-minute intermission) Information: theportlandballet.org or 503-750-3157 Discounts: • First-Show Friday: Tickets for the 2:30 p.m. show on Friday, Nov. 24, will be only $5 youth/student, $10 adult • Family Package: For TIER 1 pricing, when purchasing two adult and two or more youth tickets, all youth tickets will be $5 off • Group Discount: 10 or more tickets will receive 10% off • Good deals: Limited Arts Card and Arts for All tickets Special Opportunities: • Swag bags: Young people will receive special gift bags. • Activities: The fun starts in the lobby with photo opportunities and activities for kids. • Meet the cast: Audience members are invited to stay after every performance to meet the cast, take photos with them, and have their programs signed. PORTLAND, Ore. – After last year’s sold-out shows, The Portland Ballet is reviving its holiday hit, The Enchanted Toyshop, Thanksgiving weekend in a double bill that will also feature a new ballet, Tourbillon, by co-artistic director Anne Mueller. -
Miami City Ballet 37
Miami City Ballet 37 MIAMI CITY BALLET Charleston Gaillard Center May 26, 2:00pm and 8:00pm; Martha and John M. Rivers May 27, 2:00pm Performance Hall Artistic Director Lourdes Lopez Conductor Gary Sheldon Piano Ciro Fodere and Francisco Rennó Spoleto Festival USA Orchestra 2 hours | Performed with two intermissions Walpurgisnacht Ballet (1980) Choreography George Balanchine © The George Balanchine Trust Music Charles Gounod Staging Ben Huys Costume Design Karinska Lighting Design John Hall Dancers Katia Carranza, Renato Penteado, Nathalia Arja Emily Bromberg, Ashley Knox Maya Collins, Samantha Hope Galler, Jordan-Elizabeth Long, Nicole Stalker Alaina Andersen, Julia Cinquemani, Mayumi Enokibara, Ellen Grocki, Petra Love, Suzette Logue, Grace Mullins, Lexie Overholt, Leanna Rinaldi, Helen Ruiz, Alyssa Schroeder, Christie Sciturro, Raechel Sparreo, Christina Spigner, Ella Titus, Ao Wang Pause Carousel Pas de Deux (1994) Choreography Sir Kenneth MacMillan Music Richard Rodgers, Arranged and Orchestrated by Martin Yates Staging Stacy Caddell Costume Design Bob Crowley Lighting Design John Hall Dancers Jennifer Lauren, Chase Swatosh Intermission Program continues on next page 38 Miami City Ballet Concerto DSCH (2008) Choreography Alexei Ratmansky Music Dmitri Shostakovich Staging Tatiana and Alexei Ratmansky Costume Design Holly Hynes Lighting Design Mark Stanley Dancers Simone Messmer, Nathalia Arja, Renan Cerdeiro, Chase Swatosh, Kleber Rebello Emily Bromberg and Didier Bramaz Lauren Fadeley and Shimon Ito Ashley Knox and Ariel Rose Samantha -
Giselle Saison 2015-2016
Giselle Saison 2015-2016 Abonnez-vous ! sur www.theatreducapitole.fr Opéras Le Château de Barbe-Bleue Bartók (octobre) Le Prisonnier Dallapiccola (octobre) Rigoletto Verdi (novembre) Les Caprices de Marianne Sauguet (janvier) Les Fêtes vénitiennes Campra (février) Les Noces de Figaro Mozart (avril) L’Italienne à Alger Rossini (mai) Faust Gounod (juin) Ballets Giselle Belarbi (décembre) Coppélia Jude (mars) Paradis perdus Belarbi, Rodriguez (avril) Paquita Grand Pas – L’Oiseau de feu Vinogradov, Béjart (juin) RCS TOULOUSE B 387 987 811 - © Alexander Gouliaev - © B 387 987 811 TOULOUSE RCS Giselle Midis du Capitole, Chœur du Capitole, Cycle Présences vocales www.fnac.com Sur l’application mobile La Billetterie, et dans votre magasin Fnac et ses enseignes associées www.theatreducapitole.fr saison 2015/16 du capitole théâtre 05 61 63 13 13 Licences d’entrepreneur de spectacles 1-1052910, 2-1052938, 3-1052939 THÉÂTRE DU CAPITOLE Frédéric Chambert Directeur artistique Janine Macca Administratrice générale Kader Belarbi Directeur de la danse Julie Charlet (Giselle) et Davit Galstyan (Albrecht) en répétition dans Giselle, Ballet du Capitole, novembre 2015, photo David Herrero© Giselle Ballet en deux actes créé le 28 juin 1841 À l’Académie royale de Musique de Paris (Salle Le Peletier) Sur un livret de Théophile Gautier et de Jules-Henri Vernoy de Saint-Georges D’après Heinrich Heine Nouvelle version d’après Jules Perrot et Jean Coralli (1841) Adolphe Adam musique Kader Belarbi chorégraphie et mise en scène Laure Muret assistante-chorégraphe Thierry Bosquet décors Olivier Bériot costumes Marc Deloche architecte-bijoutier Sylvain Chevallot lumières Monique Loudières, Étoile du Ballet de l’Opéra National de Paris maître de ballet invité Emmanuelle Broncin et Minh Pham maîtres de ballet Nouvelle production Ballet du Capitole Kader Belarbi direction Orchestre national du Capitole Philippe Béran direction Durée du spectacle : 2h25 Acte I : 60 min. -
FRIDAY, JANUARY 25, 2019 Phoenix Art Museum EVENING EVENTS
FRIDAY, JANUARY 25, 2019 Phoenix Art Museum EVENING EVENTS 6:30 pm Cocktails | Greenbaum Lobby 7:30 pm The Making of The Firebird | Great Hall 8:00 pm Dinner and Dancing | Great Hall HONORARY CHAIRS Billie Jo & Judd Herberger The Phoenix-Scottsdale landscape was changed forever Chair: Adrienne Schiffner in 1948 when Bob and Katherine “Kax” Herberger moved Co-Chairs: Barbara Ottosen & Daryl Weil their young family here from Minnesota. Soon, the couple began giving the growing city what it needed to Gala Committee be vibrant: Art. Ellen Andres-Schneider, Joan Berry, Salvador Bretts- “Kax” was an artist and collector. She and Bob wanted Jamison, Carol Clemmensen, Jacquie Dorrance, Mary their sons, Gary and Judd, to enjoy the arts, and Ehret, Barbara Fenzl, Susie Fowls, Stephanie Goodman, encouraged their support of arts groups. Molly Greene, Kate Groves, Linda Herold, Gwen Hillis, Keryl Koffler, Jan Lewis, Sharron Lewis, Linda Lindgren, Over the past 70 years, the Herberger family has Miranda Lumer, Betty McRae, Janet Melamed, Richard launched and supported many of the Valley’s arts Monast, Doris Ong, Camerone Parker McCulloch, Carol organizations including, the Herberger Theater Schilling, Leslie Smith, Colleen Steinberg, Ellen Stiteler, Center, Phoenix Art Museum, Phoenix Theatre, Valley Vicki Vaughn, Ruth & John Waddell, Nancy White Shakespeare Festival, Arizona Opera, The Phoenix Symphony, Valley Youth Theatre, Childsplay, and our own Artistic Director: Ib Andersen Ballet Arizona. In addition, Billie Jo and Judd have been Executive Director: Samantha Turner major supporters of the Scottsdale Waterfront’s Canal Convergence, Release the Fear, and Kids Read USA. Development Staff: Jami Kozemczak, Natalie Salvione, Elyse Salisz and Ellen Bialek “Mother taught us that involving young people in the arts is most important,” says Judd. -
May 19 – June 30, 2021
LOUISVILLE BALLET MAY 19 – JUNE 30, 2021 CHORSHOW Louisville Ballet Studio Company Dancer Louisville Ballet Studio Elizabeth Abbick Company Artist from “The Movement” / Sarah Bradley from “Circadian” / ChorShow 2021 ChorShow 2021 #CHORSHOW 2021 Featuring new works by Danielle Rowe, Justin Michael Hogan, Sanjay Saverimuttu, Natalie Orms, and Brandon Ragland. Cinematography & Post Production by KERTIS: Producers: Aaron Mikel & Sawyer Roque Videographers: Aaron Mikel & Alan Miller Editors: Kaylee Everly, Tobias Van Kleeck, & Wesley Bacon Lighting: Jesse Alford Costume Design: Alexandra Ludwig Stage Manager: Kim Aycock Technical Director: Brian Sherman Louisville Ballet would like to thank our generous donors for making this production possible. Louisville Ballet would also like to thank The Fund for the Arts for its generous investment in our Organization and support for our fellow arts organizations across the state. We also deeply appreciate the Kentucky Arts Council, the state arts agency, which provides operating support to Louisville Ballet with state tax dollars and federal funding from the National Endowment for the Arts, as well as significant advocacy on behalf of Louisville Ballet and our fellow arts organizations across The Commonwealth. 2 NOTES FROM THE ROBERT ARTISTIC DIRECTOR CURRAN Welcome to the final, original film of our fully digital Season of Illumination, Choreographers’ Showcase, fondly known as #ChorShow, a program created by and for our Louisville Ballet dancers. This always popular, often sold out, in-studio production might feel a little different this year, but the process and the intimacy remain. As always the final production features new works by dancers from the Company, as well as a piece by San Francisco-based guest choreographer, Danielle Rowe, this time created remotely, from a screen to our studio.