DOCSLIB.ORG

Hit a High Note in Savings

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Hit a High Note in Savings . DIME SAVINGS BANK- FLOWERS Brooklyn Academy of Music id24 / Dies 6011 /66 . : mniAgriqr,tip , - c.cr74r MAI 0 EPEE Poo/szeinets /or 0 1!/all Oa! lad yl (9') I , J. i = J. 1 .)- A ,; Vol Smos n5G11 204 IS / /act eah t coNe I 0 Liztz L_f_J 0 at-YJff Vat suers soft*. (144 z w..-, I. =IMW oIR.1/coR lveL stat-sepws04011 1 / / I 3 1',71, j"-r-i s CITAZ oi tti (es) J r. ) 1 I I , ) . at W .1 r rt - - rQifl a.10s Rata af") ix) BINS Late 374 35/ I ikEirr Map 0 HARP 0 /am / 174477) 1,r (0,5(41°)I You hear this music when you watch the Dime TV commercials. © Ron Lockhart, Inc. used by his permission Hit a high note in savings. 111 THE DIME SAVINGS BANK OF NEW YORK MEMBER FDIC ° 00019- o rlk , T4C-1 ABRAHAM The Brooklyn Academy of Music presents the cf) r Pennsylvania Ballet =-Th-42' Sandra Applebaum Dana Arey Karen Brown Alba Calzada Joan Cooper Joanne Dan to Marcia Darhower Gregory Drotar Kimberly Dye Tamara Hadley Mark Hochman David Jordan David Kloss Dane LaFontsee Barry Leon Sherry Lowenthal Michelle Lucci James Mercer Edward Myers Anya Patton Leslie Peck Reva Pincusoff Lawrence Rhodes Constance Ross Barbara Sandonato Janek Schergen Jerry Schwender Gretchen Warren Robin Welch Missy Yancey Linda Zettle Barbara Weisberger Benjamin Harkarvy Executive Artistic Director Artistic Director Robert Rodham Maurice Kaplow THE Regisseur Music Director Fiona Fuerstner Nicholas Cernovitch a BIG Ballet Mistress Lighting Designer CAPE with the Pennsylvania Orchestra WHIRL The Pennsylvania Ballet is supported by the Pennsylvania Ballet Association and major grants from the National Endowment for A swirl of wool to slip the Arts, the Pennsylvania Council on the Arts, the Ford Founda- tion, the William into and go. Just another Penn Foundation, Community Funds and the A.W. Mellon Educational and Charitable Trust. great look from A&S exciting fashion collections. AT THE A&S NEAREST YOU Pennsylvania Ballet is a resident company of the Brooklyn Academy of Music - oo 0\ Program 177114', The place Thursday, November 14, 1974 (7:30pm)/Opera House to come... SERENADE Choreography by George Balanchine for low-cost, Costume Design by Karinska Music by Peter I. Tchaikovsky high-quality Lighting by David K.H. Elliott Serenade is a landmark, It signaled, 38 years ago, the beginning of family protection! American classic dance history. It was the first ballet created by Balanchine for what was to become the New York City Ballet, re- ceiving its world premiere at the Adolphi Theater in New York on March 1, 1935. Of the ballet, Balanchine has written, "I choreo- graphed to the music with the pupils I happened to have at a par- The ticular time. Later... I elaborated on the small accidental bits I had included in class and made the whole more dramatic, more theatri- Williamsburgh cal, in synchronizing it to the music with additional movement, but always using the little things that ordinarily might be overlooked.. Savings Many people think there is a concealed story in the ballet. There is not. There are, simply, dancers in motion to a beautiful piece of music. The story is the music's story, a serenade, a dance... in the Bank light of the moon." Incorporated 1851 Marcia Darhower Michelle Lucci Joanne Danto Brooklyn Offices: Jerry Schwender Gregory Drotar 1 Hanson Place at Flatbush Ave., Brooklyn, N.Y. 11243 and Broadway at Driggs Ave., Brooklyn, N.Y. 11211 86th St. and 23rd Ave., Brooklyn, N.Y. 11214 New Lots and Pennsylvania Ayes., Sandra Applebaum Dana Arey Karen Brown Joan Cooper Brooklyn N.Y. 11207 Kimberly Dye Linda Karash Sherry Lowenthal Anya Patton Leslie Peck Reva Pincusoff Constance Ross Angela Schmidt Robin Welch Missy Yancey Linda Zettle Nassau Offices: Hempstead Turnpike at Center Lane, David Jordan James Mercer Edward Myers Janek Schergen Levittown, N.Y. 11756 682 Dogwood Ave., Franklin Square, N.Y. 11010 INTERMISSION Queens Offices: 63rd Drive at Saunders St., Rego Park, N.Y. 11374 (New Premiere) 136-65 Roosevelt Avenue, Flushing, N.Y. 11354 ZIG-ZAG York Opening early 1975: 107-15 Continental Ave., Forest Hills N.Y. 11375 Choreography by Lar Lubovitch Lighting by Nicholas Cernovitch Manhattan Offices: Music by Igor Stravinsky 74 Wall St. at Pearl St. New York, N.Y. 10005 Sonata for Two Pianos 345 East 86th St., New York, N.Y. 10028 (Orchestration by Peter Nocella) Suites 1 and 2 Two dances performed in succession by the same dancers. Inquire about Lawrence Rhodes Tamara Hadley Dana Arey Sherry Lowenthal Savings Bank Angela Schmidt Gretchen Warren Karen Brown Reva Pincusoff Sonata Life Insurance Statement Several Replies All Together at any office Eight Easy Pieces March Waltz Polka Andante without Espanole Balalaika Neopolitan Gallop obligation! INTERMISSION --W . Program Thursday, - continued Verrett November 14, 1974 THE MOOR'S PAVANE Variation of the Theme of Othello vs Choreography by Jose Limon Costume Design by Pauline Lawrence Lighting by Nicholas Cernovitch Music by Henry Purcell Arranged by Simon Sadoff Gutierrez Staged by Laura Glen A choice you won't have to make. Because whether you This ballet with by Jose Limon won the Dance Mag- fancy Metropolitan Opera Mezzo-Soprano Shirley Verrett choreography azine award for outstanding creation in the field of American dance. pianist, Horacio or Tchaikovsky Competition winning The dance takes its theme from the basic plot of Othello, which is Gutierrez, you can see both for less than you'd expect to told completely within the form of the dance. The four characters pay for either one. With the Brooklyn Academy's amazing are on the stage at the rise of the curtain and they never leave. Here fall Subscription Sale, you can buy a two concert sub- is portrayed the tragedy of Everyman when he is caught in the pat- scription to these two fine recitals for as little as $6. Just tern of tragic living. The ballet is therefore timeless in its implication. drop the blank below in the mail today, or bring it to our box office. With a sale like this, we expect to be sold out before long. The Moor Lawrence Rhodes His Wife Alba Calzada His Friend Dane LaFontsee Presented by Arrangement with Hurok Concerts A 2 Concert Subscription Series in the Opera House His Friend's Wife Barbara Sandonato INTERMISSION ShirleyVerrett Mezzo Soprano Friday, December 6, 1974 at 8:00 pm RHAPSODY (New York Premiere) 11 AN AMERICAN Choreography by Robert Rodham Sets by Robert Mitchell Horacio Gutierrez Lighting by David K. H. Elliott Piano Music by George Gershwin Friday, January 10, 1975 at 8:00 pm "Three Preludes" "Rhapsody in Blue" Costumes by Hal George Piano Solo Karl Fogmeg Program subject to change. "I heard it as sort of musical kaleidoscope of America - of our vast Please reserve Verrett Gutierrez Subscriptions as follows: melting pot, of our unduplicated national pep, of our blues, our metropolitan madness." Orchestra subscriptions @$ 8 = $ Geroge Gershwin 1st Balcony subscriptions @$ 7 = $ The young composer-pianist was only 25 then as he performed the his kaleidoscope, "Rhapsody in Blue," with 2nd Balconysubscriptions @$ 6 = $ world premiere of id Paul Whiteman conducting. The world premiere of "Three Preludes" followed two years later. Now, these American musical master- I enclose a check payable to BAM for Total $ works are heard again in An American Rhapsody commemorating the75th anniversary of the birth of the composer,George Gershwin, Name as well as the 50th anniversary of the premiere of "Rhapsody in Blue." Address City State Zip Telephone(day) (eve) The Pennsylvania Ballet will return to the Brooklyn Academy of Music for its second resident season March 13 through 16. Two return with a stamped self-addressed envelope to: separate programs will be presented. Tickets for all four March performances will be available through the BAM Box Office as Brooklyn Adademy of Music well as Ticketron, Bloomingdale's, A&S, and Broadway's Edison 30 Lafayette Avenue, Brooklyn, N.Y. 11217 Theatre. Call 636-4100 for further information. BAM (212) 636-4100 NEXT IN THE LEPERCQ SPACE The The next event in BAM's Dance Series will be the Rudy Perez Dance Theater November 21-24 in the LepercqSpace. veryfamous restaurant With a company of nine dancers, Mr. Perez's Dance Theater will perform six works, including a New York in i1 LI; Premiere, "Pedestrian Mall." Most of the pieces use sound In 1879 Brooklyn was a separate city and we began a collages which Mr. Perez has assembled himself. Mr. Perez New York dining tradition. The distinction of the food. the attracted patrons has a flair for the experimental that is sure to appeal to unhurried service and the elegant atmosphere from far and wide. Now we are a Landmark, a nostalgic audiences. ; example of a golden era in New York's history. Today. as in the past. our patrons arrive with anticipation and Rudy Perez, a veteran of the dance revolution of the leave warm and happy. It's our claim to fame. sixties, is considered one of the most imaginative and Brooklyn's Landmark Seafood and Steak House (Est. 1879). innovative choreographers in the country. A native New Yorker, he has studied with the New Dance Group. GAGE&TOLLNER 372 Fulton Street (nr. Boro Ha 111875-5181. Lunch and Dinner except Sunday. Martha Graham, Merce Cunningham, and Erick Hawkins Amex & Diners. among others. He has also taught and performed with the company in university residencies throughout the .U.S. At present Mr. Perez is artist-in-residence at Marymount as well as guest teacher at Brooklyn Manhattan College 4 Staff for the Pennsylvania Ballet College, for he counts teaching every bit as important as as performing.
Load more

Recommended publications
  • Alvin Ailey American Dance Theater
    DANCE ALVIN AILEY AMERICAN DANCE THEATER Gaillard Municipal Auditorium May 25 at 7:00pm; May 26 at 8:00pm; May 27 at 2:00pm Founder Alvin Ailey Artistic Director Emerita Judith Jamison Artistic Director Robert Battle Associate Artistic Director Masazumi Chaya Company Members Guillermo Asca Yannick Lebrun Kirven James Boyd Alicia Graf Mack Hope Boykin Michael Francis McBride Sean A. Carmon Rachael McLaren Sarah Daley Aisha Mitchell Ghrai DeVore Akua Noni Parker Antonio Douthit Briana Reed Belen Estrada Samuel Lee Roberts Renaldo Gardner Renee Robinson Vernard J. Gilmore Kelly Robotham Jacqueline Green Kanji Segawa Daniel Harder Glenn Allen Sims Demetia Hopkins Linda Celeste Sims Michael Jackson, Jr. Jermaine Terry Megan Jakel Marcus Jarrell Willis Guest Artist Matthew Rushing Executive Director Sharon Gersten Luckman The 2012 Dance Series is presented by BlueCross BlueShield of South Carolina. Additional support for the 2012 Dance Series is provided by The Harkness Foundation for Dance. Major funding for Alvin Ailey American Dance Theater is provided by the New York State Council on the Arts, the New York City Department of Cultural Affairs, American Express, Bank of America, Bristol-Myers Squibb, Diageo, FedEx Corporation, Ford Foundation, The Hearst Foundations, J.P. Morgan, Prudential Financial, Inc., The Shubert Foundation, The Starr Foundation, Target, and Wells Fargo. Toyota Motor Sales U.S.A., Inc. is the Official Vehicle Partner of Alvin Ailey American Dance Theater. 36 DANCE ALVIN AILEY AMERICAN DANCE THEATER PROGRAM A May 25 at 7:00pm ARDEN COURT (1981) Choreography by Paul Taylor Music by William Boyce Restaged by Cathy McCann Buck Set and costumes by Gene Moore Lighting by Jennifer Tipton First performed by the Paul Taylor Dance Company in 1981 Dancers Linda Celeste Sims, Glenn Allen Sims, Antonio Douthit, Kirven James Boyd, Rachael McLaren, Alicia Graf Mack, Michael Francis McBride, Samuel Lee Roberts, Jermaine Terry Generous support for this Company premiere was provided by Harlan B.
    [Show full text]
  • Nederlands Dans Theater Bambill
    1994 NEXT WAVE FESTIVAL 1994 NEXT WAVE COVER AND POSTER ARTIST ROBERT MOSKOWITZ NEDERLANDS DANS THEATER BAMBILL BROOKLYN ACADEMY OF MUSIC Harvey Lichtenstein, President & Executive Producer presents in the BAM Opera House October 17, 1994, 7pm; October 18-22, 8pm and in the BAM Majestic Theater October 24-29, 8pm; October 30, 3pm NEIERLANIS IANS THEATER Artistic Director: JIRI KYLIAN Managing Director: MICHAEL DE Roo Choreographers: JIRI KYLIAN & HANS VAN MANEN Musical Director: CHRISTOF ESCHER Executive Artistic Directors: GLENN EDGERTON (NDT1), GERALD TIBBS (NDT2), ARLETTE VAN BOVEN (NDT3) Assistants to the Artistic Directors: HEDDA TWIEHAUS (NDT 2) & GERARD LEMAITRE (NDT 3) Rehearsal Assistant to the Rehearsal/Video Director Artistic Director Director ROSLYN ANDERSON ULF ESSER HANS KNILL Company Organization Musical Coordinator/ Manager (NDT 2) (NDT1&3) Pianist CARMEN THOMAS CARINA DE GOEDEREN RAYMOND LANGEWEN Guest Choreographers (1994/95 season) MAURICE BEJART CHRISTOPHER BRUCE MARTHA CLARKE PATRICK DELCROIX WILLIAM FORSYTHE LIONEL HoCtIE PAUL LIGHTFOOT JENNIFER MULLER OHAD NAHARIN GIDEON OBARZANEK PHILIPPE TREHET PATRIZIA TUERLINGS Guest Teachers BENJAMIN HARKARVY (Guest teacher, North American tour) CHRISTINE ANTHONY KATHY BENNETS JEAN-PIERRE BONNEFOUX OLGA EVREINOFF IVAN KRAMAR IRINA MILOVAN JAN NUYTS ALPHONSE POULIN LAWRENCE RHODES MARIAN SARSTADT Technical Director Marketing & Publicity Joop CABOORT KEES KORSMAN & EVELINE VERSLUIS Costume Department Tour Management JOKE VISSER WANDA CREMERS Pianist Dance Fitness Therapist Chiropractor
    [Show full text]
  • 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.
    [Show full text]
  • Resource Guide for Educators
    RESOURCE GUIDE FOR EDUCATORS AILEYDANCE. PHOTO BY JOE EPSTEIN 1 A LETTER FROM OUR EXECUTIVE DIRECTOR “Dance came from the people and must always be delivered back to the people.” - Alvin Ailey Dear Educator, For over sixty years, Alvin Ailey American Dance Theater has carried out the credo of its founder through performances, school and community programs, professional training of young dancers, classes for the public, and more. To Mr. Ailey, dance was more than a series of steps; it was a means of expressing emotion, of telling one’s story, of honoring the past and rejoicing in what is to come. In fulfillment of his legacy, we strive to offer abundant opportunities for young people to experience the possibilities of dance, no matter who they are or where they come from. We hope the exercises and activities suggested in this resource guide will provide you and your students with a creative and interactive inlet to the world of dance and the work of the Alvin Ailey American Dance Theater, or help you prepare them to attend a dance performance. By bringing your students to an Ailey performance, participating in an Ailey Arts In Education residency, or simply sharing with them the joy and practice of dance, you are engaging the next generation in the Ailey legacy; one expressly dedicated to expanding the minds, talents, and dreams of young people. Thank you for your contribution, and enjoy! Sincerely, Bennett Rink Executive Director, Alvin Ailey Dance Foundation 2 RESOURCE GUIDE FOR EDUCATORS AILEYDANCE. PHOTO BY JOE EPSTEIN The content and suggested activities in this guide can be integrated into an established school curriculum.
    [Show full text]
  • Mdaa 2021 Spring Workshop Faculty
    MDAA 2021 SPRING WORKSHOP FACULTY BALLET Alexis Drabek received her early dance training in Colorado and was awarded scholarships to the summer programs of School of American Ballet and Pacific Northwest Ballet. She attended Interlochen Arts Academy in Michigan and was a NFAA/ARTS awardee in both Ballet and Modern. Ms. Drabek earned her Bachelor of Fine Arts degree from the Juilliard School in NYC, where she trained under the country’s top ballet and modern teachers including Benjamin Harkarvy, Hector Zaraspe, Stephen Pier, Alexandra Wells, Lupe Serrano, Alphonse Poulin, Laura Glenn, Carolyn Adams, Linda Kent, Jacqulyn Buglisi and Christine Dakin. As part of the Juilliard Dance Ensemble, Ms. Drabek performed works by Colin Connor, Adam Hougland, Jose Limon, Igal Perry, Abdul Rahim-Jackson, Maurice Wainrot and Reginald Yates. Ms. Drabek also danced with Desmond Richardson at the Guggenheim’s Work & Process: Picasso Dances, choreographed by George Faison. She has performed with David Taylor Dance Theater, Kim Robards Dance, Diablo Ballet, Oakland Ballet, Company C Contemporary Ballet, and BRIAH Danse, performing leading roles in works by Charles Anderson, Patrick Corbin, Jayne Persch, James Sewell, Twyla Tharp and Antony Tudor. Ms. Drabek also served as Ballet Mistress for Company C Contemporary Ballet and BRIAH Danse, assisting many choreographers including Maurice Causey, Dennis Nahat, Peter Anastos, and Susan Jaffe. Ms. Drabek currently lives in Lakewood, Colorado and is on faculty at the Colorado Ballet Academy. Jazz/Musical Theater Sean McKnight brings over 20 years of experience in professional theatre to The Hybrid Agency. Together with owner/founder Rikky Fishbein, their clients appear nightly on Broadway, in national touring companies, and on stages across the world as well as appearing regularly on TV and film.
    [Show full text]
  • Dancer and Choreographer Banning Bouldin Brings Her Contemporary Dance Collective New Dialect to OZ Nashville
    Dancer and choreographer Banning Bouldin brings her contemporary dance collective New Dialect to OZ Nashville August 21, 2014 John Pitcher A decade ago, anyone in Nashville who wanted to study contemporary dance had just one option: leave town. The city, for all its progress in the other arts, remained a modern dance Mojave, an arid landscape that provided few opportunities to young dancers who wanted to follow in the footsteps of Merce Cunningham, Trisha Brown and Alvin Ailey. One young artist who became part of Nashville's dance diaspora was Banning Bouldin, whose contemporary dance collective New Dialect performs Thursday evening at OZ Nashville. As a child growing up in Music City, Bouldin was able to study classical dance at Nashville Ballet. But she had to move to New York and later to Europe to pursue her passion in contemporary dance. "I left Nashville at age 17 and didn't return for more than 10 years," says Bouldin, who studied dance at The Juilliard School in New York City before launching into a successful contemporary dance career that included stints with Hubbard Street 2 and Aszure Barton & Artists. "I finally came back to Nashville in 2010 and realized that things were different. There seemed to be a real interest in contemporary art." Indeed, much had changed in Nashville while Banning was away. Homegrown institutions such as the Alias Chamber Ensemble and Zeitgeist Gallery had been cultivating a taste for contemporary music and art among the city's arts aficionados. Even the Nashville Ballet had been flirting with artistic adventure, introducing such innovative contemporary dance series as Attitude and Emergence.
    [Show full text]
  • The Dance Teacher: the Ideal Case and Daily Reality J
    The Dance Teacher: The Ideal Case and Daily Reality J. H. A. Van Rossum The dance teacher is a central figure in the world of dance; the impact of the dance teacher on the career of a young dancer can be decisive. A dance teacher is more often than not described as authoritarian. The present study investigated the vari- ous dimensions of the dance teacher’s behavior. To map the teacher’s behavior, a dance-adapted version of the Leadership Scale for Sport (LSS; Chelladurai & Saleh, 1980) was constructed as the Leadership Scale for Dance (LSD). The LSD was administered to both teachers and students of the dance department of the Amsterdam Theatre School. In addition, dance teachers were asked to rate daily class behaviors of the themselves as teachers, and dance students were asked to rate their current dance teacher. While the characteristics of the ideal teacher were very similar for both teachers and students, large differences appeared in the rating of daily class activities. Ratings of the teachers and dance classes are interpreted within the framework given by the LSD scales, that is, as indications of the behav- ior characteristics of the ideal dance teacher. Introduction Professional dancers usually start their training for a professional career early, often at the age of 8 or 9 years. Over the following 10 years, increasing amounts of energy, time, and attention are invested in the dance career (Van Rossum, 2001a). During this period, the role of the dance teacher is of great importance and cannot be underestimated. In the domain of sports, parents are about as important in the career of a talented athlete as is the coach (Van Rossum, 1995); within the domain of dance, the role of the dance teacher (comparable to the sports coach) is of much more importance when compared to that of the dancer’s parents (Van Rossum, 2001a).
    [Show full text]
  • Carolina Performing Arts 2010/11
    CAROLINA PERFORMING ARTS 2010/11 BeijingDance/LDTX Tuesday & Wednesday, April 12 & 13 at 7:30pm carolina performing arts 10/11 1 carolina performing arts 10/11 3 Dear Friends For the last several months, we at Carolina Performing Arts have been working to finalize the schedule for our 2011-12 season. Every year, I find this process exhilarating and challenging, rewarding and frustrating. Our 2010-11 season has been filled with performances from legendary, established artists such as Yo-Yo Ma, Chick Corea and McCoy Tyner, as well as emerging voices like Nicola Benedetti, Sidi Larbi Cherkaoui (with his Sutra), and the young virtuosi who make up Gidon Kremer’s Kremerata Baltica. And there is much more to come in these last months. As we work to craft our new season, selecting works that engage, delight and enliven our 2010/11 SEASON audiences, I am constantly reminded of the budgetary considerations that make curating a season so difficult. As you probably know, the costs associated with bringing the caliber of art we have all come to expect from this series far exceed the revenue brought in from ticket sales alone. As we handpick each performance, I am constantly forced to consider cost, to weigh our curatorial mission against our bottom line, to ask myself, “Can we afford to bring this work to our audiences?” Many exciting artists do not make the cut. All told, ticket sales make up about 45% of the money needed to keep Carolina Performing Arts running. In a surrealist thought experiment, my colleagues in development and I often wonder what our season would look like at 45%.
    [Show full text]
  • Alvin Ailey American Dance Theater
    Tuesday, April 21, 2015, 8pm Wednesday, April 22, 2015, 8pm Thursday, April 23, 2015, 8pm Friday, April 24, 2015, 8pm Saturday, April 25, 2015, 2pm & 8pm Sunday, April 26, 2015, 3pm Zellerbach Hall Alvin Ailey American Dance Theater Alvin Ailey, Founder Judith Jamison, Artistic Director Emerita Robert Battle, Artistic Director Masazumi Chaya, Associate Artistic Director The Company Hope Boykin Daniel Harder Akua Noni Parker Jeroboam Bozeman Jacquelin Harris Danica Paulos Sean A. Carmon Collin Heyward Belen Pereyra Elisa Clark Demetia Hopkins-Greene Jamar Roberts Sarah Daley Michael Jackson, Jr. Samuel Lee Roberts Ghrai DeVore Megan Jakel Kanji Segawa Antonio Douthit-Boyd Yannick Lebrun Glenn Allen Sims Kirven Douthit-Boyd Alicia Graf Mack Linda Celeste Sims Samantha Figgins Renaldo Maurice Jermaine Terry Vernard J. Gilmore Michael Francis McBride Fana Tesfagiorgis Jacqueline Green Rachael McLaren Marcus Jarrell Willis Matthew Rushing, Rehearsal Director and Guest Artist Bennett Rink, Executive Director Major funding for Alvin Ailey American Dance Theater is provided by the National Endowment for the Arts, the New York State Council on the Arts, the New York City Department of Cultural Affairs, American Express, BET Networks, Bloomberg, BNY Mellon, Diageo, FedEx Corporation, Ford Foundation, The Howard Gilman Foundation, The Hearst Foundations, Prudential Financial, Inc., The Shubert Foundation, Southern Company, Target, and Wells Fargo. These performances are made possible, in part, by Corporate Sponsor Mechanics Bank and Patron Sponsors Sheri and Paul Siegel. Cal Performances’ – season is sponsored by Wells Fargo. CAL PERFORMANCES 15 PROGRAM A Tuesday, April 21, 2015, 8pm Friday, April 24, 2015, 8pm Zellerbach Hall PROGRAM A ODETTA iNTERMiSSioN Bad Blood PAuSE Caught iNTERMiSSioN Revelations ODETTA (2014, Bay Area première) Choreography Matthew Rushing Assistants to the Choreographer Renee Robinson and Michael Jackson, Jr.
    [Show full text]
  • 2019 / 2020 Season | Press Kit Move T O Live
    2 0 1 9 / 2 0 2 0 S E A S O N | P R E S S K I T M O V E T O L I V E A B O U T M O V E M E N T M I G R A T I O N Based in Charlotte, NC, Movement Migration is a collective of seasoned dance artists collaborating to create and perform dynamic and poignant dance works that portray the depths of the human experience. The dances are shared with audiences locally and globally in performance and educational venues. Directed by Kim Jones, the ensemble’s members are steeped in the celebrated traditions of classical ballet and modern dance, each having achieved professional expertise in distinct technical training and performance disciplines. The group members come from many places in the world and span four decades in age. From these varied backgrounds, the artists bring their passions, freedom, and inexplicable beauty of expression. “Migration” signals the transformation and convergence of technical training and individual approaches into a collective creativity that traverses cultural boundaries and transfers movement knowledge from person to person and community to community. R E C E N T P E R F O R M A N C E S S E E F U L L P E R F O R M A N C E H I S T O R Y H E R E > > UNC CHARLOTTE DANCE MODERN DANCE SERIES CONCERT Roxbury Theater, NY, 2018 Belk Theater, NC, 2019 DAP FESTIVAL RESIDENCY PERFORMANCE Civic Theatre, Pietrasanta, Italy, Open Door Studios, NC, 2019 2018 NEW BALLET ENSEMBLE CHARLOTTE DANCE FESTIVAL Orpheum Theater, TN, 2019 Center for Dance, NC, 2018 BECHTLER ENSEMBLE AND WAKE FOREST DANCE FESTIVAL DANCE Joyner Park, NC, 2017 Queens University, NC, 2019 UNC CHARLOTTE DANCE DANCE AT SOCRATES CONCERT Socrates Park, NY, 2019 Belk Theater, NC, 2017 ST.
    [Show full text]
  • CORPO, IMAGEM E PENSAMENTO COREOGRÁFICO
    CORPO, IMAGEM e PENSAMENTO COREOGRÁFICO Da Pesquisa Coreográfica Contemporânea Enquanto Discurso: Os Exemplos de Lisa Nelson, Mark Tompkins, Olga Mesa e João Fiadeiro Sílvia Tengner Barros Pinto Coelho Tese de Doutoramento em Ciências da Comunicação, especialidade Comunicação e Artes AGOSTO 2015 2 Tese apresentada para cumprimento dos requisitos necessários à obtenção do grau de Doutor em Ciências da Comunicação, ramo de Comunicação e Artes, realizada sob a orientação científica do Professor Doutor José Augusto Bragança de Miranda. Investigação apoiada pela FCT (SFRH/BD/74099/2010) 3 4 Para os meus pais 5 6 Agradecimentos Agradeço, do fundo do coração: a orientação, inspiração e amizade do Prof. Doutor José Bragança de Miranda, o afecto, a disponibilidade e a atenção de Miguel Castro Caldas, João Fiadeiro, Lisa Nelson, Mark Tompkins, Olga Mesa, Fernanda Eugénio, Erin Manning, Brian Massumi, André Lepecki, Paula Caspão, Ana Mira, Liliana Coutinho, Ana Bigotte Vieira, Gonçalo Alegria, Carlos Oliveira, Marie-Pier Boucher, Rita Natálio, Ricardo Seiça Salgado, Joana Braga, Carolina Campos, Daniel Pizamiglio, Márcia Lança, Cláudia Dias, Rui Catalão, Mariana Tengner Barros, Ana Monteiro, Cátia Leitão, David Guéniot e Patrícia Almeida. Agradeço também a disponibilidade e atenção de Maria José Fazenda, Paulo Filipe Monteiro, Sofia Neuparth, Peter Michael Dietz, Vera Mantero, Francisco Camacho, Howard Sonnenklar, Julyen Hamilton, Deborah Hay e Nancy Stark Smith. Agradeço ainda a dinâmica dos vários grupos de leitura em que participei, tanto em Montréal, como em Lisboa, do grupo de tradução e de outros grupos de trabalho que se formaram no contexto do AND_Lab, do baldio – estudos de performance e do Sense Lab de Montréal.
    [Show full text]
  • National Endowment for the Arts Annual Report 1981
    National Endowment for the Arts National Endowment for the Arts Washington, D.C. 20506 Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1981. The fiscal year covered in this report preceded my tenure as chairman. Respectfully, F.S.M. Hodsoll Chairman The President The White House Washington, D.C. May 1982 Contents Chairman’s Statement 3 The Agency and Its Functions 4 National Council on the Arts 5 Programs 6 Dance 8 Design Arts 38 Expansion Arts 64 Folk Arts 118 Inter-Arts 140 International 166 Literature 170 Media Arts: Film/Radio/Television 192 Museum 228 Music 282 Opera-Musical Theater 358 Theater 374 Visual Arts 406 Policy and Planning 462 Challenge Grants 464 Endowment Fellows 474 Research 478 Special Constituencies 480 Office for Partnership 486 Artists in Education 488 Partnership Coordination 497 State Programs 500 Financial Summary 505 History of Authorizations and Appropriations 507 I , i li,ili~il|illlililil|liilil ill, i ,,I, llili,, lil I i iill,a liiilili,L,,i I i,i,i i,i,i ..... ii, 3 Chairman’s Statement sympathetic to the very real needs of our cultural What follows reflects much more than an outline of programs and a listing of grants. Rather, it organizations." Calling on us to redouble our efforts to leverage new private support for the presents a picture ~f the vitality of America’s artistic life--stretching from Alaska to Florida, arts, the President quoted Henry James: "It is art that makes life, makes interest, makes impor­ from Maine to Hawaii.
    [Show full text]