DOCSLIB.ORG

Issue-19.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Issue-19.Pdf WHERE TO GO NEXT: ABU DHABI / DES MOINES / PORTLAND | WINTER 2018 CONTEMPORARY ARTS, PERFORMANCE, AND THOUGHT Amy Potter is a soloist with the Oklahoma City Ballet. Photograph by Shevaun Williams for ArtDesk MILK PUNCH by Billy Rucks Stir together one pint each of half & half and milk. Add brandy and/or rum, four tablespoons of sugar, and one big teaspoon of vanilla extract. Refrigerate overnight. Seriously strong—but you won’t know until it’s too late! THE OKLAHOMA CITY BALLET LOOKS TO THE PAST, PRESENT, AND FUTURE. | BY MICHAEL DUTY WINTER 2018 BY MICHAEL DUTY The Future of the Ballet THE OKLAHOMA CITY BALLET LOOKS TO THE PAST, PRESENT, AND FUTURE. | BY MICHAEL DUTY ndurance requires partnerships, and artistic institutions require business acumen. These two fundamental principles have successfully contributed to the cultural landscape and, LIFT OFF specifically, ballet in Oklahoma. In 1963, Seth Bradley, Amy Potter, and Jefferson Payne are husband-and-wife ballet duo Yvonne Chouteau and Miguel dancers with the Oklahoma City Ballet. Bradley, of TerekhovE joined forces with businessman John Kirkpatrick New Windsor, New York, is a former ArtDesk magazine and his wife Eleanor to found the Oklahoma City Ballet, intern and teaches dance at Oklahoma Contemporary and this collaboration continues to shape the future of the Art Center. Potter, of Roanoke, Virginia, performed company more than fifty years later. in Swan Lake for the 2017 Green Box Arts Festival in Chouteau, one of the five globally recognized American Green Mountain Falls, Colorado. Payne is from Boston, Indian prima ballerinas from Oklahoma known as the Massachusetts, and has danced with the Boston Ballet “Five Moons,” was herself a powerful mix: raised in Vinita, and the Minnesota Ballet. Oklahoma, with a Shawnee-Cherokee heritage, she also Photograph by Shevaun Williams for ArtDesk claimed a rich French ancestry. ARTDESK 01 ERIN BAIANO ERIN SHEVAUN WILLIAMS SHEVAUN SHARLEE ROTHER SHARLEE ROTHER SHARLEE TEAMWORK MAKES THE DREAM WORK Chouteau, honored with the inaugural John Kirkpatrick co-founded the Oklahoma City National Cultural Treasures Award in 2004, Ballet with Yvonne Chouteau (pictured together, broadly established the importance of ballet in right) and Miguel Terekhov. Their daughters (above, the Oklahoma City community, founding the right), Elizabeth A. Impallomeni and Christina University of Oklahoma School of Dance as well. Conway, were backstage during opening night of Today, Oklahoma City Ballet board president Sally the 2017–18 season, the week the ballet’s school Nichols Starling says that a vibrant arts community was renamed in their mother’s honor. The American is an essential part of Oklahoma City’s identity, and Ballet Theatre-certified Oklahoma City Ballet Yvonne the history and future of the company encourages Chouteau School is now home to more than 350 this. After all, she says, “how many other state students, beginning as young as three years old. capitols have a mural of five native prima ballerinas Christian Keesee (opposite page), president of in their rotunda?” Kirkpatrick Family Fund and publisher of ArtDesk—is The ballet’s steady influence has been a the grandson of Kirkpatrick. collaboration between the creativity of its leadership, the company’s professional dancers, the city itself, and a committed board of trustees. 02 ARTDESK WINTER 2018 ERIN BAIANO ERIN SHARLEE ROTHER SHARLEE WILLIAMS SHEVAUN The acquisition and recent opening of the new In the fall of 2017, a $2 million gift by the dance center is a compelling testament to the Kirkpatrick Philanthropies pushed the total board’s ability to work quickly to achieve success. funds raised thus far to more than $7 million. This The board had already been working toward a capital particular gift re-energizes the momentum first The ballet is an campaign to address building needs when the set by Chouteau, Terekhov, and the Kirkpatrick American Energy Partners fitness center became family fifty-five years ago. Funded collaboratively available in December 2016. After working through by the Kirkpatrick Family Fund, the Kirkpatrick organization my a period of high debt, Starling says, the board was Foundation (publisher of ArtDesk), and the determined to acquire the facility debt free but also Christian Keesee Charitable Trust, the gift creates knew they would need to act quickly. an endowment for the John Kirkpatrick Executive grandfather cared for It was a daunting task; acquiring the building Director position. The gift also renames the ballet’s would cost nearly $5 million, but the campaign got school after Yvonne Chouteau, who died in 2016. off to a quick start with a lead gift of $2 million from “The ballet is an organization my grandfather immensely. Susan E. Brackett. By mid-February, the paperwork cared for immensely,” says Christian Keesee, had been signed, and the Oklahoma City Ballet president of the Kirkpatrick Family Fund and would soon have a new home. grandson of the Kirkpatricks. “To pay tribute to his ARTDESK 03 Company rehearsals at the Susan E. Brackett Dance Center in Oklahoma City ERIN BAIANO ERIN work by naming the directorship after him—and Fortunately for all concerned, they chose the the school after his dear friend Yvonne—is a fitting latter. The vision in 2008 was a bold one, especially way to bring the ballet forward.” for a company that was deeply in debt, but it was This is just act one in a comprehensive capital a vision that was born out of Mills’ experience campaign that has been dubbed the Turning dancing in regional ballet companies and his tenure Pointe, co-chaired by Starling and her father, Larry guiding a dance company in Colorado. MOBLEY JORDAN Nichols. The campaign is divided into three acts: “Most people expected us to fail,” he says. “Most the first was the acquisition of the dance center; of the city did not believe that we could turn things act two is completing renovations to the building around. But we did.” and creating an operating endowment. Act three The board officially appointed Mills as will be devoted to funding a new black box theater Oklahoma City Ballet’s artistic director Most of the city did not within the center where the company can stage beginning with the 2009–10 season. Current productions that are smaller and more intimate board president Sally Nichols Starling credits than those at the Civic Center Music Hall in new leadership and the steady philanthropy believe that we could downtown Oklahoma City. of key partners with much of the success the company has achieved, saying, “The product on turn things around. n illustrious past notwithstanding, the stage has been exceptional.” the company faced an uncertain but By combining classics, such as Swan Lake, with transformative period nearly ten years works by leading contemporary choreographers But we did. ago.A In a nutshell, as artistic director Robert such as Jiří Kylián and Helen Pickett in a single Mills describes it, “sometimes sheer human season, the Oklahoma City Ballet is intent on perseverance takes over everything, especially building a new audience instead of simply —ROBERT MILLS when that perseverance is directed toward not winning back past ticket holders. The 2017–18 failing.” The company was in turmoil, and, as he season concludes in April with a triple bill of recalls, failure was simply not an option. “The board contemporary works, including one that Mills considered three options,” Mills says. “Merging created as part of his recent participation in the with the Tulsa Ballet, shutting the company down, National Choreographers Initiative, an intensive or moving forward with a three-year plan.” three-week workshop in southern California that selects only four choreographers each year. The continued support of key community The progress made by the Oklahoma City members and a growing recognition of the dance Ballet is impressive. Season performances have community creates an environment in which doubled, the operating budget has tripled, and the the Oklahoma City Ballet can flourish. Although Summer Intensive—an annual program started in the Turning Pointe is an expansion into the 2009—draws hundreds of aspiring dancers from future, the ballet’s campaign also thoughtfully across the country. The company’s classes and keeps John Kirkpatrick and Yvonne Chouteau’s outreach programs serve more than 5,000 people legacy at the forefront—a continuation of annually, and the new Susan E. Brackett Dance cultural history that feeds the momentum of the Center expands the company’s home from 8,000 Oklahoma City Ballet. square feet to 29,000 square feet. In 2015, Pointe, a leading ballet industry publication, profiled Two productions remain in the 2017–18 season: The the company’s resurrection and transformation, Little Mermaid / February 16–18, 2018 and Petite writing, “Some might call it bravado. Others Mort: A Triple Bill / April 13–15, 2018. Visit SHARLEE ROTHER SHARLEE would say fightin’ spirit.” okcballet.org to purchase tickets. 04 ARTDESK WINTER 2018 WINTER 2018 NecessitiesWHAT TO SEE, WHAT TO READ, AND WHAT’S HAPPENI NG WHERE © LOUVRE ABU DHABI PHOTOGRAPH BY ROLAND HALBE ROLAND BY PHOTOGRAPH DHABI ABU LOUVRE © Universal Pictures After a decade in the making,Louvre Abu Dhabi is finally open. Set on the from France (the name “Louvre” is on loan for thirty years too). Notably, waterfront of man-made Saadiyat Island in the United Arab Emirates capital, the layout favors chronology over geography; you’ll see old Qurans, Torahs, the museum’s structure appears as a sci-fi shell that looks like the locked and Bibles laid side by side. The biggest “wow” though comes while leaves of palms in an oasis. French architect Jean Nouvel’s work, though, experiencing the building itself. Leaving the art behind, visitors access the isn’t without controversy; labor rights issues dogged the project for years.
Load more

Recommended publications
  • A WORLD WITHOUT MEDS an RD ORIGINAL
    JUNE 2014 DAVE BARRY ON TODAY’S MAN From YOU CAN DATE BOYS WHEN YOU’RE FORTY ... 15 WHAT DRIVES SUCCESS IN AMERICA From THE NEW YORK TIMES ... 110 A WORLD WITHOUT MEDS An RD ORIGINAL ... 64 THE LITTLE BOAT THAT SAILED THROUGH TIME An RD CLASSIC ... 44 CONFESSIONS OF A CHEESY TOURIST From THE HUFFINGTON POST ... 48 THE FIFTY CHILDREN THEY SAVED An RD ADAPTATION ... 92 YOU BE THE JUDGE .............................................. 25 LAUGHTER, THE BEST MEDICINE ...................... 76 PHOTO OF LASTING INTEREST ......................... 120 WORD POWER ..................................................... 145 QUOTABLE QUOTES ........................................... 152 Removable bookmark brought to you by What’s the Gecko’s favorite book? The Wonderful Lizard of Oz. For another joke, text GEICO to 51684. For more savings, contact GEICO today. geico.com | 1-800-947-AUTO (2886) | Local Offi ce You will receive 1 text message. Message and data rates may apply. Text HELP for help. Your information will not be sold or used for any other purpose. Some discounts, coverages, payment plans and features are not available in all states or all GEICO companies. GEICO is a registered service mark of Government Employees Insurance Company, Washington, D.C. 20076; a Berkshire Hathaway Inc. subsidiary. GEICO Gecko image © 1999-2013. © 2013 GEICO Contents JUNE 2014 Cover Story 64 A WORLD WITHOUT MEDS Imagine surgeons running out of anesthesia, cancer patients searching for drugs, and doctors scrambling for antibiotics. We’re already there. KATHERINE EBAN Strangers Who Changed My Life 78 THE FOLKS AT MOE’S DINER A roomful of people I didn’t know taught me about patriotism, gratitude, and love.
    [Show full text]
  • Iowa State Capitol Complex Master Plan I
    Iowa State Capitol Complex I Master Plan January 7, 2010 (Amended December 2020) State of Iowa Department of Administrative Services & Capitol Planning Commission Confluence Zimmer Gunsul Frasca Architects LLP Jeffrey Morgan Architecture Studio Tilghman Group Snyder and Associates [ This page intentionally left blank ] Iowa State Capitol Complex Master Plan Master Complex Capitol State Iowa Contents ii Preface 78 Architectural Design 82 Utilities 1 Chapter 1 - The Vision 84 Parking 9 Chapter 2 - Principal Influences on the Plan 88 Transit 10 Historical Development 92 Pedestrian and Bicycle Circulation 16 Capitol Neighborhood 99 Sustainable Development Principles 23 Chapter 3 - Capitol Complex 107 Chapter 4 - Making the Vision a Reality 24 Concept 111 Acknowledgements 28 Approaches and Gateways 30 View Corridors and Streets 117 Appendix A - Transportation Plan 38 Access and Circulation 131 Appendix B - Facility Needs Assessment 45 Landscape Framework Summary 58 Monuments and Public Art 155 Appendix C - Capitol Complex Planning History 62 Site Amenities 64 Signs and Visitor Information 164 Appendix D - Annual Review & Update of Iowa State Capitol Complex 2010 72 Buildings Master Plan i ii Iowa State Capitol Complex Master Plan Master Complex Capitol State Iowa Preface iii Introduction Amended December 2016, 2020 The Iowa State Legislature appropriated funds to the Department of Administrative than fiscal years. Services for updating the 2000 Master Plan for physical facilities on the Iowa State Capitol Complex. The resulting 2010-2060 plan was prepared in close collaboration Beginning in 2015, the Capitol Planning Commission committed to keeping the with the Capitol Planning Commission for its consideration and acceptance. The Master Plan viable and current by annually reviewing the Plan to note accomplished consultant team was led by Confluence and Zimmer Gunsul Frasca Architects goals as well as recognizing evolving changes in conditions and assumptions.
    [Show full text]
  • The BALLET RUSSE De Monte Carlo
    The RECORD SHOP Phil Hart, Mgr. presents The BALLET RUSSE de Monte Carlo IN THE PORTLAND AUDITORIUM Thursday, November 16,1944 AT 8:30 P. M. * PLEASE NOTE the following cast changes, due to a leg injury sustained by MR. FRANKLIN. In Le Bourgeois Gentilhornrne Cleonte M. Nicholas MAGALLANES In Gaite Parisienne Tbe Baron M. Nihita TALIN In Danses Concertantes Leon DANIELIAN in place of Frederic FRANKLIN In Rodeo Tbe Champion Roper Mr. Herbert BLISS PROGRAM II. A • "*j 3 • ,. y LE BOURGEOIS GENTILHOMME Choreography by George Balanchine Music by Richard Strauss Scenery and costumes by Eugene Berman Scenery executed by E. B. Dunkel Studios Costumes executed by Karinska, Inc. SERENADE This ballet depicts one episode from Moliere's immortal farce, "Le Bourgeois Gentilhomme." A young man, Cleonte, is in love with M. Jourdain's daughter, Luetic M. Jourdain disapproves of the match, as Cleonte is not of noble birth and it is M. Choreography by George BALANCHINE Music by P. I. Tschaikowsky Jourdain's lifetime ambition to shed his middle-class status and rise to aristocracy. Cleonte and his valet, Coviel, impersonate respectively the son of the Great Turk and his ambassador, and under this disguise Cleonte asks for the hand of Lucile. Lucile, at first, unaware of Cleonte's disguise, bitterly resents the wedlock and not Costumes by Jean LURCAT Costumes executed by H. MAHIEU, Inc. until Cleonte raises his mask does she willingly consent. In exchange for the hand of his bride, Cleonte makes M. Jourdain a Mamamouchi—a great dignitary of Turkey—"than which there is nothing more noble in the world," by means of an imposing ceremony.
    [Show full text]
  • 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
    [Show full text]
  • Architecture of Downtown Des Moines: Some Highlights from the Twentieth Century and Beyond
    Paula Mohr is an architectural historian and directs the certified local government program in Iowa. She is a graduate of the Cooperstown Museum Studies program and the architectural history program at the University of Virginia. Paula is the local co-chair for FORUM 2018. Architecture of Downtown Des Moines: Some Highlights from the Twentieth Century and Beyond By Paula Mohr In its 170-some years, the evolution of Des Moines’ commercial core has paral- leled that of many American cities. Fort Des Moines, an early foothold in terms of Euro-American settlement, today survives only as an archaeological site. Early commercial buildings of wood frame on both the east and west sides of the Des Moines River were replaced with brick later in the nineteenth century. At the turn of the twentieth century another wave of development introduced tall buildings or skyscrapers. In the midst of all this change, we can see the impact of external forces, including architectural ideas from Chicago, the City Beautiful Movement and the contributions of nationally and internationally renowned architects. The “book” on Des Moines’ architecture is still being written. As a result of this constant renewal and rebuild- Youngerman Block (1876), also by Foster, features ing, only a handful of nineteenth century buildings a façade of “Abestine Stone,” a nineteenth-century survive in Des Moines’ downtown. In the Court artificial stone manufactured by the building’s Avenue entertainment area across the river from owner, Conrad Youngerman. The five-story Des the FORUM conference hotel are several notable Moines Saddlery Building (c. 1878), just around examples.
    [Show full text]
  • Jan Feb Mar Apr 2021 from the Director
    FROM THE DIRECTOR JAN FEB MAR APR 2021 FROM THE DIRECTOR Submit your story I am sure you would agree, let us put 2020 behind us and anticipate a better year in 2021. With this expectation in mind, your Art Center teams are moving ahead with major plans for the new year. Our exhibitions We continue to include The Path to Paradise: Judith Schaechter’s accept personal Stained-Glass Art; Justin Favela: Central American; stories in response and Louis Fratino: Tenderness revealed along with to Black Stories. Iowa Artists 2021: Olivia Valentine. An array of print gallery and permanent collections projects, including Enjoy this story an exhibition that showcases our newly conserved submission from painting by Francisco Goya, Don Manuel Garcia de Candace Williams. la Prada, 1811, and another that features our works by Claes Oldenburg, will augment and complement Seen. I felt seen as I walked these projects. The exhibitions will continue to through the Black Stories address our goals of being an inclusive and exhibition with my friend. welcoming institution, while adding to the scholarship As history and experiences of the field, engaging our local communities in were shared through art, meaningful ways, and providing a site for the I remembered my mom community to gather together, at least virtually taking my sister and I to (for now), to share ideas and perspectives. the California African- Our Black Stories project has done just this American Museum often. as we continue to receive personal stories from She would buy children’s the community for possible inclusion in a books written by Black publication.
    [Show full text]
  • ARTICLES of INTEREST May 8, 2020 QUOTE(S)
    ARTICLES OF INTEREST May 8, 2020 QUOTE(S) OF THE WEEK “I would rather live in a world where my life is surrounded by mystery than live in a world so small that my mind could comprehend it.” − Harry Emerson Fosdick “Realists are, as a rule, only men in the rut of routine who are incapable of transcending a narrow circle of antiquated notions. But their adverse opinion does carry some weight and can do great harm to a new project — at least until the innovation is strong enough to push the "realists" and their moldy notions aside.” − Theodore Herzl “It is ... through the world of the imagination which takes us beyond the restrictions of provable fact, that we touch the hem of truth.” − Madeleine L'Engle “The possible's slow fuse is lit by the Imagination.” − Emily Dickinson “You cannot rely upon what you have been taught. All you have learned from history is old ways of making mistakes. There is nothing that history can tell you about what we must do tomorrow. Only what we must not do.” − Edwin H. Land “Imagination is the eye of the soul.” − Joseph Joubert “It isn't all over; everything has not been invented; the human adventure is just beginning.” − Gene Roddenberry VIDEO(S) OF THE WEEK Watch: Quibi's Meg Whitman on launching a streaming service in a pandemic AdAge.com Make Your Own Paper Prawn Using This Pattern Designed by Artist Lisa Lloyd Colossal Pixar Shares Recipe Videos On How To Recreate Dishes From Well-Loved Films DesignTaxi.com Fast Comedy presents: a master class for videoconferencing Fast Company Breaking Down Barriers for
    [Show full text]
  • Jan Feb Mar 2018
    JAN FEB MAR 2018 FROM THE DIRECTOR A collaborative effort between Findley Elementary School students, their teacher Lisa Hesse, and artist Dave Eppley, whose major site-specific installation is included in the In late September, The Links, Drawing in Space exhibition, resulted in Mile-a-Minute Rainbow Incorporated, a not-for-profit corporation Ivy, 2017, being installed on the Richard Meier building during of African-American women leaders, held the month of November. their 60th anniversary celebration at the Art Center. The evening also showcased the many works by African-American artists in our permanent collections. It was an especially rewarding collaboration for everyone involved. The Links is now continuing this special partnership with a gift of $1,000 to support an education- based internship at the Art Center in 2018 for African-American students. The Art Center, like many museums across the country, is striving to introduce young persons of color to employment in the field in an attempt to increase their numbers in the museum career pipeline. This project will help do so. Another exciting partnership occurred in October with the Iowa Civil Rights Commission. The group held a board meeting at the Art Center where the members toured our recent exhibition, I, too, am America, with Assistant Curator Jared Ledesma. Later in October, the Iowa Civil Rights Commission organized a public symposium, which featured a break-out session entitled, I, too, am America, inspired by the show. This is a wonderful example of the power of art to inspire, illuminate understanding, and engage broad audiences. In early November, the Art Center celebrated the creation of a temporary, large-scale mural on the exterior of the Richard Meier building with a public reception.
    [Show full text]
  • Retha Swanepoel, Gensler
    I S S ( THE ART AND SCIENCE OF) U E 03 THE POSSIBLE ISSUE 03 ( THE ART AND SCIENCE OF ) THE POSSIBLE 4 (THE ART AND SCIENCE OF) THE POSSIBLE If work is a thing we do rather than a place we go, why do we still spend so much time at the office? In a world where computers and their algorithmic minds can far outstrip us in crunching data, humans are valued P54 more than ever for our idiosyncrasies, our creativity and the connections we make. And the magic really happens when we’re together. P18 So today’s offices have to be better: not just a functional backdrop, they must actively draw us in, and out of ourselves, nurture our wellbeing, inspire us, help us to flourish in environments that are ever more saturated with technology. P28 That technology doesn’t need to overwhelm us if we apply it intelligently and sensitively. Data is what we make of it. The funny thing is, the more we use our robot assistants, THE ART AND SCIENCE OF the more we can refocus on what makes us human. Tom Smith, WSP “Great design will always be about human creativity. The computer doesn’t take that away, it just augments it. It’s like having a very geeky designer on the team” Arjun Kaicker, Zaha Hadid Architects / page 52 Editor-in-chief Julie Guppy Editorial consultants Mark Bessoudo, Cover illustration by Noma Bar Published by Wordmule © WSP Editor Katie Puckett Fredrik Bergström, David Cooper, Bridget wordmule.co.uk 1600 René-Lévesque Blvd.
    [Show full text]
  • Ballets Russes Press
    A ZEITGEIST FILMS RELEASE THEY CAME. THEY DANCED. OUR WORLD WAS NEVER THE SAME. BALLETS RUSSES a film by Dayna Goldfine and Dan Geller Unearthing a treasure trove of archival footage, filmmakers Dan Geller and Dayna Goldfine have fashioned a dazzlingly entrancing ode to the rev- olutionary twentieth-century dance troupe known as the Ballets Russes. What began as a group of Russian refugees who never danced in Russia became not one but two rival dance troupes who fought the infamous “ballet battles” that consumed London society before World War II. BALLETS RUSSES maps the company’s Diaghilev-era beginnings in turn- of-the-century Paris—when artists such as Nijinsky, Balanchine, Picasso, Miró, Matisse, and Stravinsky united in an unparalleled collaboration—to its halcyon days of the 1930s and ’40s, when the Ballets Russes toured America, astonishing audiences schooled in vaudeville with artistry never before seen, to its demise in the 1950s and ’60s when rising costs, rock- eting egos, outside competition, and internal mismanagement ultimately brought this revered company to its knees. Directed with consummate invention and infused with juicy anecdotal interviews from many of the company’s glamorous stars, BALLETS RUSSES treats modern audiences to a rare glimpse of the singularly remarkable merger of Russian, American, European, and Latin American dancers, choreographers, composers, and designers that transformed the face of ballet for generations to come. — Sundance Film Festival 2005 FILMMAKERS’ STATEMENT AND PRODUCTION NOTES In January 2000, our Co-Producers, Robert Hawk and Douglas Blair Turnbaugh, came to us with the idea of filming what they described as a once-in-a-lifetime event.
    [Show full text]
  • Miguel Terekhov Collection
    Miguel Terekhov Collection Inventory Prepared by Jessie Hopper Last Revision - June 2013 Table of Contents Collection Summary.............................................................................................................. 1 Biographical Note.................................................................................................................. 1 Scope and Content Note....................................................................................................... 1 Organization of the Miguel Terekhov Collection................................................................ 2 Restrictions........................................................................................................................... 2 Index Terms............................................................................................................................ 2 Administrative Information.................................................................................................... 3 Detailed Description of the Collection................................................................................. 4 Ballets Russes Archives at the University of Oklahoma School of Dance Collection Summary Repository Ballets Russes Archives at the University of Oklahoma School of Dance Collection Miguel Terekhov Title Miguel Terekhov Collection Dates 1928-2012 Bulk 1935-1997 Dates Quantity 8 boxes, 5 linear feet Abstract Miguel Terekhov, a Uruguayan dancer, was a member of both de Basil's Original Ballet Russe and the Ballet Russe de
    [Show full text]
  • Ballets Russes
    CINEMIEN Film & Video Distribution ABC Distribution Amsteldijk 10 Kaasstraat 4 1074 HP Amsterdam 2000 Antwerpen t. 020 – 577 6010 t. 03 – 231 0931 www.cinemien.nl www.abc-distribution.be [email protected] [email protected] presenteren / présentent: BALLETS RUSSES EEN FILM VAN / UN FILM DE DAYNA GOLDFINE & DAN GELLER Persmappen en beeldmateriaal van al onze actuele titels kunnen gedownload van onze site: www.cinemien.nl of www.abc-distribution.be Link door naar PERS en vul in; gebruikersnaam: ‘pers’, wachtwoord: ‘cinemien’ BALLETS RUSSES– synopsis (NL) Een schitterende documentaire over een revolutionaire dansgroep die bekend staat als het Ballet Russe. De groep is ontstaan uit een groep Russische vluchtelingen die nooit in Rusland hebben gedanst en splitste zich later op in twee rivaliserende dansgroepen: de ‘Original Ballet Russe’ en de ‘Ballet Russe de Monte Carlo’. De documentaire begint bij de oprichting in 1909 door de befaamde Serge Diaghilev, beschrijft de oprichting van de Ballet Russe de Monte Carlo na de dood van Diaghilev in 1929, het ontstaan van een tweede Ballets Russes groep, de voorspoedige jaren ’30 en ’40 toen het Ballet Russe door Amerika toerde, tot de ondergang in de jaren ’50 en ’60 door stijgende kosten, groeiende ego’s, competitie van buiten en intern wanbeleid. Niet alleen choreografen als Balanchine en Massine, maar ook schilders als Matisse, Dali en Picasso werkten voor de revolutionaire Ballets Russes. Om over componisten als Claude Debussy en Igor Stravinsky nog maar te zwijgen. Wereldsterren als Alicia Markova, Irina Baranova en Marc Platt halen herinneringen op. Velen van de Ballets Russes dansers van weleer zijn nu tachtig of negentig, maar zijn nog steeds actief in de balletwereld.
    [Show full text]