SATURDAY Continued

Total Page:16

File Type:pdf, Size:1020Kb

SATURDAY Continued wbâil®00 xxi DECEMBER Isth, 1933. wcuu Reflections in the Water; I've told Every ws and Weather. 9.45 till Close Down, See Little Star; Climbing up the Golden Stairs; ngenberg. 1.0 a.m. (Sunday), Close Down. Down in the Valley; My Lucky Day. 12.30 tEDR1KSSTAD.-See Oslo. continued a.m„ Selection of Waltzes; Sweet Dreams, I DEC 23rd SATURDAY Pretty Lady (Downey); Ding, Donn, Ding tEIBURG.-See Stuttgart. (Hargreaves); Hold your Man (Freed); In the Valley of the Moon (Tobias); Waltz, Si ZNEVA.-See Radio-Suisse Romande. Part II: Chamber by Ruin Rhein (Vio- petite (Gaston); My Moonlight Madonna EN0A.-See Turin. Announcement-t. 7.55, Concert (coutil.). (Fildch); Waltzing alone with you (Gerald). Overture, Mor ll ll g, Noon and Night lin), Robert Grote ('Cello) and Hans Maass (Pianoforte): Melody for Violin and Piano- 1.0, I.B.C. Good-night Melody and Close -El W 1TZ.-Ste Breslau. (Suppé); Mexico (de Groot); Potpourri (arr. Down. de Groot). 8.40, The Singing Singers. 8.55, forte (Gluck); Intermezzo (Granados); 'Cello )TEBORG.-See Stockholm. Concert (contd.). Die Schenbrunner (Lan- and Pianoforte: Polonaise (Zaremba). 4.0, Programme to he announced. 4.20, Concert MADRID 1AZ.-See Vienna. ner); In a Chine›e Temple Garden (Ketel- bey); ln Hongkong Street (Humphries); by Liselotte Mann (Contralto), Heinz Hoersch EMI, 707 ko/s, 424.3 metres; 2 kW.-7.0 AMAR. -See Oslo. Brautzug der Marionette!' (Rathke); Mat- (Tenor), Willy Schneider (Bass) and Willy P.m., Chimes, Exchange, Topical Talk, Talk, tinata (Leoncavallo); The Clock is playing Jansen (Bandonion), and Members of the Dance Music, Talk on Mental Hygiene and HAMBURG (Blaauw); So schifin ale es einmal war Station Orchestra. 5.0 to 5.35, See Frank. Dance Music (contd.). 8.15, Radio Journal. (Dauber) 9.30, Talk. 9.40, Dat doet de fuit. 5.36, Fiddle Solos. 5.45, Announce- 8.30, Interval. 9.16, English Lesson. 9.30, 6 kc/s, 372 metres; 1.5 kW. Relayed by deur dicht-Revue (Meyer Hamel and Aldo), ments. 6.0, Transmission for all German Chimes, Time and Radio Journal. 9.45 (ap- roman, 1,112 kc, s, 269.8 metres; Flensburg relayed from the Cirque Carré, Amsterdam. Stations, relayed from Munich. 7.0 to 9.20, prox.), Two One-Act Christmas Plays: id Hanover, 1,319 kc is, 227.4 metres, and 11.10, Gramophone Music. 11.40 (approx.), See Frankfurt. 9.20, See Stuttgart. 9.30, (a) Una Nochebuena (Eduardo Zamacois), el, 1,292 kc/s, 232.2 metres.-10.0 a.m., Close Down. News. 9.45, Gramophone Music. 10.0, Con- (b) Los maitines de Nochebuena (Jose San - iydn Concert on Gramophone Records: cert by the Station Orchestra, conducted by Lonja). In the interval, Guitar Recital by mpliony No. 13 in G major; Andante from HORBY.-See Stockholm. Kuhn: Prelude to Christelfiein (Pfitzner); Trinidad Garcia Aguado. 11.45, Radio Jour- e Surprise Symphony. 10.30, Concert of Symphonic Picture. Marche!' (Enna); Noc- nal. 12 Midnight, Chimes and Close Down. glut Music, relayed from Heilsberg. In turne for Strings (Dvorak); Turandot Suite, e intervals at 11.5 p.m., Notes for house- HUIZEN Op. 41 (Busoni); Hans im Glück (Bendel). MALMO.-See Stockholm. ves, and 11.10, Time Signal, Weather Re- 160 ko/s, 1,875 metres; 7 kW. until 3.40 p.m. 11.0, La Traviata-Opera in Three Acts MILAN.-See Twin. éoè •rt, and Shipping Notes. 11.20, Concert Transmitted from Kootwijk on 50 kW. from (Verdi), by the Cast of the Scala Milan on om Heilsberg (contd.). 12 Noon, Ex - 3.40 p.m.-11.55 a.m., Concert by the K.R.O. Gramophone Records. 1.0 a.m. (Sunday), MORAVSKA-OSTRAVA ange Quotations. 12.10, Weather Report Sextet. 1.40 p.m., Programme for Children. Close Down. td Sports Notes. 12.20, Concert relayed 3.40, Interval. 3.55, Gramophone Music. 4.10, 1,137 le's, 263.8 metres; 11 kW.-3.0 p.m., LAUSANNE.-See Radio-Suisse Romande. am Berlin (Deutsohlandsender). 1.15, Handwriting Lesson. 4.40, Gramophone Concert by the Station Orchestra, conducted sws. 1.35, Concert of Waltzes on Gramo- Music. 4.55, Sports Talk. 5.10, Concert by by Plichta: Overture to The Opera Ball tone Records: Waltz from Symphony, Op. the K.R.O. Boys, conducted by Lusten- LEIPZIG (Heuberger); Winter Song (Demaret); (Tchaikovsky); Parla -Waltzer (Arditi); houwer: limner Mitt (Küssel); In Grinzing 770 kc/s, 389.6 metres; 120 kW. Relayed by Waltz Fantasia (Tichy); Polka. Christmas altz in A major, Op. 42 (Chopin); Roses (Sicezynski); Irgendwo (Heymann); Reses of Dresden, 941 Ne i's, 319 metres.-12.15 P.m., Humoresque (Rose); Potpourri (Geiger); om the South (Jolt. Strauss); Waltz Picardy (Wood-Chapelier); Waltz ,front News. 12.25, Request Gramophone Music. Furiant (Malit); Polka, Marian (Balling). 3rahms); Fascination (Jos. Strauss); Kleiner Mann was nun? (Batmen); Aubade 1.0, News. 1.10, Market Prices and Show 3.50, See Prague. 4.50, Talk: Christmas ma-Waltzer (Lincke). 2.0, Exchange printanière (Lacombe); Du besitzt mein Herz Report. 1.15, Book Criticism: Segen der Meek in South Moravia. 5.5, News, 5.15, notations. 2.40, Shipping Notes and Air (Strecker); My little Geisha (Barney); Ende (Ernst Metelmann). 1.30, Programme See Prague. 5.25, Hugo Wolf Song Recital raffle Report. 2.50, Ice Report. 3.0, Cou- Melody (Schebek); Sei gegrüsst (v. Mory); for Children. 2.15, Review of the Week. by Marta Zapletolivá. 6.0, See Prague. 6.25, rt relayed from Heilsberg. 4.0 to 5.0, See Schrammeln, spielt mir nun em' Tanz (Nütz. 2.30, Agricultural Notes. 2.45, Economic See Brno. 7.0, See Bratislava. 9.0, See erlin (Funkstunde). 5.0, Egon Hill- lader). 6.0, Press Review. 6.25, Concert Notes. 3.0, German and Scandinavian Folk Prague. 9.15, Variety Programme huy Paul, )(Mere reads from ltis own Works. (contd.): Dort wo die Welder grün' (Broth. Dances by the Etmlé Orchestra: Rhineland Vera Borska, and the Station Orchestra. 25, Naval Programme. 6.40 (from sky); Sing a little Ditty in the Morning Folk Dances; (hein Mann ¡st gefahren ins conducted by Plichta. 10.30 (approx.), Close lei), Religious Address. 5.50, Weather. (Burrows); I live for Love, from Ball at the Hen; Dreigespann; Leier-Tanz; Hand Quad- Down, 0, Transmission for all German Sta. Savoy (Abraham). 6.40, Police Notes, 6.55, rille; Saxon Dance; Wendisch-Lausitzer Quad- ons, relayed from Munich. 7.5, Alle Talk. 7.15, Concert by the K.R.O. Orchestra. rille; Hans, Neil' da! BuntesKarree; %Ved - MOSCOW lann an Bord (All Hands on Deck)-alusi- conducted by van 't Woud. 7.40, Variety ding Dance; Triestampf; Schein godeo Dag; KOMINTERN RW1, 202.5 Ito /s, 1,481 metres; al Programme by the hamburg Phil- Progi amme. 8.10, News. 8.40, Russian Vingakerstanz; Short Schottische; Auf den 500 kW.-3.0 p.m., News. 3.30, Talk: armonic Orchestra, conducted by Eiben- Ciginy Concert. conducted by Jura Junin Ecken; Danish Folk Dance, 3.50, Radio Re- Bolshevik Strategy and Tactics 1905-1907. port from the Erzgehirge. 4.10, Concert of chütz, the Small Station Orchestra, con- Wolkonsky: Kosaken (arr. lurk»; Gypsy 4.30, Red Army Programme. 5.30, Mezzo- ucted by Adolf Seeker and Gerhard Maass, Potpourri (Jemmy); Twelve Robbers; Even- Light Music by the Emile Orchestra: Over- Soprano Song Recital for Collective Farm he Station Mixed Quartet and Soloists. 9.0, ing Bells; Two Russian Melodies. 8.55, Reci- ture, The Princess in the Golden Slippers; Workers. 6.30, Talk. 7.0, Reading. 8.0, line and News. 9.30, Dance Music by the Waltz Intermezzo; Rin Wunsch (Hartung); tations. 9.10, Orchestral Concert: Overture, Talk in German: The Foundations of the mall Station Orchestra, conducted by Ger. Orpheus t the Underworld (Offenbach); Christmas Potpourri (Thiele). 4.30, Talk by Soviet Union. 8.55, Chimes from Red Square. Dr. Heinrich Schwarz. 4.50, Musical Pro- ard Mitasz. 11.0, Dance Music by the Georg Waltz Accelerations (Jolt. Strauss); Der 9.5, Talk in French: Urbanism in Soviet gramme, relayed from Breslau. 6.10, A Iettelmann Band. relayed from the Ilaue rausendkünstler (Blankenburg). 9.30, Russian Russia, 10.5, Talk in Spanish: The Work áegler. 12 Midnight, Close Down. Modern Dictionary. 5.25, Talk: Christmas Concert (contd.): Ataman Tschurkin; Neue of the Bolsheviks under the Czarist Regime. Eve. 6.0, Transmission for all German Blumen (Tschernjaysky): Hab' Mitleid Stations, relayed from Munich. 7.0, To- MOTA LA.-See Stockholm. IA NOV ER.-See Hamburg. (Bakaleiitikov); Czardas (Kempner); Soldiers' day's News. 7.10, Concert by the Leipzig Songs. 9.45, Gramophone Music. 9.50, Orch- M UH LAC KE R.-See Stuttgart. Symphony Orchestra, conducted by Weis- HEILSBERG estral Concert (contd.): Selection from Rose hach. 9.0, News. 9.20, Sports Notes and Marie (Friuli). 10.10, News, 10.15, Orchestral ,085 kc,is, 276.5 metres; 60 kW. Relayed by News. 9.30, Serenade relayed from Munich. MUNICH Concert (contd.): Slav Dance (Chabrier); mnzig, 671 ko/s, 447.1 metres.-12.5 p.m., 12 Midnight, Close Down. 716 kc/s, 419 metres; 1.5 kW. Relayed by iramophonb Concert of Christmas Music. In Ilymn to the Sun (Rimsky-Korsakov); Augsburg and Kaiserslautern, 536 ke/s, 560 he intervals at 12.20 and 1.0, News. 1.30, Melody (Eilenberg); Petersburger Schlitten- L1NZ.-See Vienna. metres; and Nurnberg, 1,256 IQ fs, 239 'rogramme arranged by the Post Office, with fahrt (Eilenberg). 9.30, Russian Concert metres.-3.0 p.m., See Leipzig. 3.50, Radio lramophone Records. 2.0, Agricultural (contd.): Talor (arr.
Recommended publications
  • 20Th-Century Repertory
    Mikrokosmos List 650. - 2 - October 2019 ....20TH-CENTURY REPERTORY 1 Absil: Clarinet Quartet/Pelemans, Willem: Clar Quartet/Cabus, Peter: Clar ZEPHYR Z 18 A 10 Quartet/Moscheles: Prelude et fugue - Belgian Clarinet Quartet (p.1982) S 2 Albrecht, Georg von: 2 Piano Sonatas; Prelude & Fugue; 3 Hymns; 5 Ostliche DA CAMERA SM 93141 A 8 Volkslieder - K.Lautner pno 1975 S 3 Alpaerts, Flor: James Ensor Suite/Mortelmans: In Memoriam/E.van der Eycken: DECCA 173019 A 8 Poeme, Refereynen - cond.Weemaels, Gras, Eycken S 4 Amelsvoort: 2 Elegies/Reger: Serenade/Krommer-Kramar: Partita EUROSOUND ES 46442 A 15 Op.71/Triebensee: Haydn Vars - Brabant Wind Ensemble 1979 S 5 Antoine, Georges: Pno Quartet Op.6; Vln Sonata Op.3 - French String Trio, MUSIQUE EN MW 19 A 8 Pludermacher pno (p.1975) S 6 Badings: Capriccio for Vln & 2 Sound Tracks; Genese; Evolutions/ Raaijmakers: EPIC LC. 3759 A 15 Contrasts (all electronic music) (gold label, US) 7 Baervoets: Vla Con/P.-B.Michel: Oscillonance (2 vlns, pno)/C.Schmit: Preludes for EMI A063 23989 A 8 Orch - Patigny vla, Pingen, Quatacker vln, cond.Defossez (p.1980) S 8 Baily, Jean: 3 Movements (hn, tpt, pf, string orch)/F.M.Fontaine: Concertino, DGG 100131 A 8 Fantasie symphonique (orch) - cond.Baily S 9 Balanchivadze: Pno Con 4 - Tcherkasov, USSR RTVSO, cond.Provatorov , (plain MELODIYA C10. 9671 A 25 Melodiya jacket) S 10 Banks, Don: Vln Con (Dommett, cond.P.Thomas)/ M.Williamson: The Display WORLD RECO S 5264 A 8 (cond.Hopkins) S 11 Bantock: Pierrot Ov/ Bridge: Summer, Hamlet, Suite for String Orch/ Butterworth:
    [Show full text]
  • Finnish Dance in Focus 2016-2017
    P 2 FINNISH DANCE IN FOCUS 2016–2017 EDITORIAL CONTENTS FINNISH DANCE IN FOCUS 2016–2017 P 3 Kristiina Männikkö FINNISH DANCE IN FOCUS 2016–2017 VOLUME SEVENTEEN DANCE IS SPREADING 20–26 Publisher: Dance Info Finland Tallberginkatu 1 C/93, 00180 Helsinki FAR AND WIDE A dance artist who Tel. +358 (0)9 6121 812 \ became a filmmaker [email protected] By the Pool – Thomas Freundlich. www.danceinfo.fi events gather Thomas Editor-in-chief: Sanna Rekola Finnish dance field first began to find its feet and grow properly around 30 years ago, \ artists, politicians, [email protected] and those efforts are now bearing fruit. Many of those who were in the fledgeling stages Freundlich Editor: Sanna Kangasluoma of their careers and who were only just beginning to form their own groups then, are activists, and audi- [email protected] still active and celebrating major anniversaries as artists now. And there’s certainly ence in the pool. 28–32 Editorial board: Hannele Jyrkkä, plenty to celebrate, now that the realisation of a major goal is in sight: the decision Sanna Kangasluoma, Pirjetta Mulari, to build the Dance House in Helsinki has been made, with doors set to open in 2020. \ Inka Reijonen, Sanna Rekola Choreographer Reetta-Kaisa Iles ponders over whether you could even say that dance feels like too narrow a definition for what those trained as dance artists do Writers: Niko Hallikainen, Hannele Jyrkkä, nowadays (see p. 34). Dance often also involves making music, song, theatre, perfor- Mikko Sanna Kangasluoma, Eeva Kauppila, Katarina mance art or installation art.
    [Show full text]
  • THE COUNTRY DANCER Is Published Twice a Year
    The magazine of Calendar of Events THE COUNTRY DANCE SOCIETY OF AMERICA EDITOR March 25, 1961 SQUARE DANCE - DICK FORSCHER & CLIFF BULLARD THE May Gadd (in cooperation with the McBurney YMCA), New York C.D.S. ASSISTANT EDITORS April or May C.D.S. THEATER BENEFIT, New York. Details counTRY A.C. King Diana Lockard Maxwell Reiskind to be announced. DAnCER CONTRIBUTING EDITORS April 6 - 8 26th ANNUAL MOUNTAIN FOLK FESTIVAL, Berea, Penn Elizabeth Schrader Evelyn K. Wells Ky. The Festival is affiliated with the J. Donnell Tilghman Roberta Yerkes Country Dance Society o! America. April 14 - 16 C.D.S. SPRING HOUSE PARTY WEEKEND, Hudson ART EDITOR Guild Farm, Andover, New Jersey. Genevieve Shimer April 29 tentative C.D.S. SPRING FrnTIVAL in New York THE COUNTRY DANCER is published twice a year. Subscription is June 2.3 - 26 DANCE WEEKEND at PII{E)iOODS, Boston C.D.S. by membership in the Country Dance Society of America (annual Centre. dues $5, educational institutions and libraries $3.) Inquiries and subscriptions should be sent to the Secretary, Country Dance August 6 - 20 PllmUOODS CAMP: 'lWO DANCE WEEKS, National Society of America, 55 Christopher Street, New York 14, N.Y. C.D.S., Buzzards Bay, Mass. Tel: ALgonquin 5-8895. August 20 - 27 PIN»>OODS CAMP: FOLK MUSIC AND ~ORDER WEEK, Copyright 1961 by the Country Dance Society Inc. National C.D.S., Buzzards Bay, Mass. , Table of Contents lll@llll§lll§lll§lll§lll§lll§lll§ lll§lll§lll§lll§lll§lll§ Page PICTURE CREDITS By Gloria Berchielli, New York: Jack-in-the­ Calendar of Events •••••••••••••••••••••••••••• 3 Green, p.8.
    [Show full text]
  • LITTLE MAN FIX Danish Folk Dance for 2 Couples Record MH 1054 The
    LITTLE MAN IN A FIX Danish Folk Dance for 2 couples Record MH 1054 The Danish name for this dance is "Bitte Mand i Knibe". This has been a favorite with folk dancers everywhere. FffiMA.TION: Couples standing side by side, scattered all over the floor and facing another couple. If there is an extra couple, that couple is the "Little man in a fix". It is not necessary to have an extra couple to do the dance, however. PARTl: Couple run forward towards each other and the men hook left elbows. The men have their right hand around their partners1 waists••lady has left hand on manls shoulder. In this position both couples turn in a place with light running steps counterclockwise for 16 steps. (DO Nor lEE A GOOSEKJCK SfEP CR STAMP ~ just run lightly). PART 2: The two men release hooked elbows and join left hands only at the same time take arm from around ladyls waist and just hold her hand. The two ladies now run under the arch formed by the men, both moving counterclockwise until they get through the arch, then turning to own partner face center of their awn set and both girls join right hands across the set. In this position, the whole set now runs lightly around counterclockwise. The, whole figure take 16 steps to do. PARr 3: Partners join inside hands (manls right - left of lady) and beginning with the outside foot (mans left, 1adyl s right), do 4 open waltz steps anywhere around the room. In'doing this they turn slightly face to face and back to back, but very slightly and mO\Te around the room at will.
    [Show full text]
  • Dialogues Between a Violin and a Body
    Kurs: AA1022 Examensarbete master, folkmusik 30 hp 2021 Konstnärlig masterexamen i musik Institutionen för folkmusik Handlare: Olof Misgeld Coline Genet Dialogues between a violin and a body How to be a dancing musician on stage ? Skriftlig reflektion inom självständigt arbete Inspelning av det självständiga, konstnärliga arbetet finns dokumenterat i det tryckta exemplaret av denna text på KMH:s bibliotek . Contents Abstract . .3 PREFACE . .4 1 Introduction . .5 2 Background and concepts . .6 2.1 Performances . .6 2.2 Master and doctoral thesis in artistic research . .7 2.3 Other inspiring artists . .7 2.4 Scientific works . .8 2.5 Concepts . .9 3 Chapter 1: Discovery, dialogue . 14 3.1 Material - The French bourrée ..................... 14 3.2 Construction of the performance . 15 3.3 Space and creativity . 16 4 Chapter 2: Freedom, improvisation . 17 4.1 Upstream work for dance improvisation . 17 4.2 Construction of the performance . 19 4.3 Borders of folk dance and music . 20 5 Chapter 3: Technique, precision, understanding . 21 5.1 Dance meter vs. musical meter . 21 5.1.1 Method . 21 5.1.2 Waltz styles . 22 5.1.3 Polyrhythmic layers: The case of the bourrée . 24 5.2 Dancing and playing at the same time . 26 5.2.1 Common posture . 27 5.2.2 Tune the different meters up . 28 5.2.3 Exercises . 29 5.3 Results . 30 Conclusion . 31 Bibliography 32 References . 33 Appendices . 34 1 The Dancing Musicians - John. B. Vallely 2 Acknowledgement I would like to thank Olof Misgeld and Ellika Frisell for supervising this project, inspiring and supporting
    [Show full text]
  • Dance in Copenhagen, C. 1750-1840
    Dance in Copenhagen Dance in Copenhagen, c. 1750-1840 By Henning Urup The subject of this article is dance forms in Denmark, and especially in Copenhagen, in the period c. 1750-1840. The account is based on the preseryed source material, and this involves an important methodological problem. Dance is a transitory phenomenon in the form of motion in the present. The written sources are descriptions of something seen and experienced, or instructions on how the dance/music is to be executed. It has always been diffiCldt to write dan ces down, and for that reason many dan ces have never been recorded on paper. In the European musical tradition, the notation of mus ic plays a central role, and the concept ofthe work is ofte n tied to the notation. By analog)' with this, incomplete or inadequate dance notation poses a problem. Musical notation gives us information about pitch and durations as well as dynamics and phrasing. The notation of dance requires similar infor­ mation, but also indications of body movemen ts, orien tations of arms and legs and progressions of movement through space. Dance notation therefore becomes complicated, and the various systems of notation are usually associated with specific dance forms and styles where. because of certain shared assumptions, one does not need to write down too much. Elements that are self-evident in the tra­ dition in question are usually omitted. Many important details have thus never been written down, and this poses an important problem for later researchers. The relationship of the author to dance and music is of great importance in interpreting the source material.
    [Show full text]
  • ICTM Abstracts Final2
    ABSTRACTS FOR THE 45th ICTM WORLD CONFERENCE BANGKOK, 11–17 JULY 2019 THURSDAY, 11 JULY 2019 IA KEYNOTE ADDRESS Jarernchai Chonpairot (Mahasarakham UnIversIty). Transborder TheorIes and ParadIgms In EthnomusIcological StudIes of Folk MusIc: VIsIons for Mo Lam in Mainland Southeast Asia ThIs talk explores the nature and IdentIty of tradItIonal musIc, prIncIpally khaen musIc and lam performIng arts In northeastern ThaIland (Isan) and Laos. Mo lam refers to an expert of lam singIng who Is routInely accompanIed by a mo khaen, a skIlled player of the bamboo panpIpe. DurIng 1972 and 1973, Dr. ChonpaIrot conducted fIeld studIes on Mo lam in northeast Thailand and Laos with Dr. Terry E. Miller. For many generatIons, LaotIan and Thai villagers have crossed the natIonal border constItuted by the Mekong RIver to visit relatIves and to partIcipate In regular festivals. However, ChonpaIrot and Miller’s fieldwork took place durIng the fInal stages of the VIetnam War which had begun more than a decade earlIer. DurIng theIr fIeldwork they collected cassette recordings of lam singIng from LaotIan radIo statIons In VIentIane and Savannakhet. ChonpaIrot also conducted fieldwork among Laotian artists living in Thai refugee camps. After the VIetnam War ended, many more Laotians who had worked for the AmerIcans fled to ThaI refugee camps. ChonpaIrot delIneated Mo lam regIonal melodIes coupled to specIfic IdentItIes In each locality of the music’s origin. He chose Lam Khon Savan from southern Laos for hIs dIssertation topIc, and also collected data from senIor Laotian mo lam tradItion-bearers then resIdent In the United States and France. These became his main informants.
    [Show full text]
  • Forever • UK 5,00 £ Switzerland 8,00 CHF USA $ Canada 7,00 $; (Euro Zone)
    edition ENGLISH n° 284 • the international DANCE magazine TOM 650 CFP) Pina Forever • UK 5,00 £ Switzerland 8,00 CHF USA $ Canada 7,00 $; (Euro zone) € 4,90 9 10 3 4 Editor-in-chief Alfio Agostini Contributors/writers the international dance magazine Erik Aschengreen Leonetta Bentivoglio ENGLISH Edition Donatella Bertozzi Valeria Crippa Clement Crisp Gerald Dowler Marinella Guatterini Elisa Guzzo Vaccarino Marc Haegeman Anna Kisselgoff Dieudonné Korolakina Kevin Ng Jean Pierre Pastori Martine Planells Olga Rozanova On the cover, Pina Bausch’s final Roger Salas work (2009) “Como el musguito en Sonia Schoonejans la piedra, ay, sí, sí, sí...” René Sirvin dancer Anna Wehsarg, Tanztheater Lilo Weber Wuppertal, Santiago de Chile, 2009. Photo © Ninni Romeo Editorial assistant Cristiano Merlo Translations Simonetta Allder Cristiano Merlo 6 News – from the dance world Editorial services, design, web Luca Ruzza 22 On the cover : Advertising Pina Forever [email protected] ph. (+33) 09.82.29.82.84 Bluebeard in the #Metoo era (+39) 011.19.58.20.38 Subscriptions 30 On stage, critics : [email protected] The Royal Ballet, London n° 284 - II. 2020 Les Ballets de Monte-Carlo Hamburg Ballet: “Duse” Hamburg Ballet, John Neumeier Het Nationale Ballet, Amsterdam English National Ballet Paul Taylor Dance Company São Paulo Dance Company La Scala Ballet, Milan Staatsballett Berlin Stanislavsky Ballet, Moscow Cannes Jeune Ballet Het Nationale Ballet: “Frida” BALLET 2000 New Adventures/Matthew Bourne B.P. 1283 – 06005 Nice cedex 01 – F tél. (+33) 09.82.29.82.84 Teac Damse/Keegan Dolan Éditions Ballet 2000 Sarl – France 47 Prix de Lausanne ISSN 2493-3880 (English Edition) Commission Paritaire P.A.P.
    [Show full text]
  • Transmissions and Traces: Rendering Dance
    INAUGURAL CONFERENCE Transmissions and Traces: Rendering Dance Oct. 19-22, 2017 HOSTED BY THE DEPARTMENT OF DANCE Sel Fou! (2016) by Bebe Miller i MAKE YOUR MOVE GET YOUR MFA IN DANCE AT THE UNIVERSITY OF MICHIGAN We encourage deep engagement through the transformative experiences of dancing and dance making. Hone your creative voice and benefit from an extraordinary breadth of resources at a leading research university. Two-year MFA includes full tuition coverage, health insurance, and stipend. smtd.umich.edu/dance CORD program 2017.indd 1 ii 7/27/17 1:33 PM DEPARTMENT OF DANCE dance.osu.edu | (614) 292-7977 | NASD Accredited Congratulations CORD+SDHS on the merger into DSA PhD in Dance Studies MFA in Dance Emerging scholars motivated to Dance artists eager to commit to a study critical theory, history, and rigorous three-year program literature in dance THINKING BODIES / AGILE MINDS PhD, MFA, BFA, Minor Faculty Movement Practice, Performance, Improvisation Susan Hadley, Chair • Harmony Bench • Ann Sofie Choreography, Dance Film, Creative Technologies Clemmensen • Dave Covey • Melanye White Dixon Pedagogy, Movement Analysis Karen Eliot • Hannah Kosstrin • Crystal Michelle History, Theory, Literature Perkins • Susan Van Pelt Petry • Daniel Roberts Music, Production, Lighting Mitchell Rose • Eddie Taketa • Valarie Williams Norah Zuniga Shaw Application Deadline: November 15, 2017 iii DANCE STUDIES ASSOCIATION Thank You Dance Studies Association (DSA) We thank Hughes, Hubbard & Reed LLP would like to thank Volunteer for the professional and generous legal Lawyers for the Arts (NY) for the support they contributed to the merger of important services they provide to the Congress on Research in Dance and the artists and arts organizations.
    [Show full text]
  • DOCTORAL THESIS the Dancer's Contribution: Performing Plotless
    DOCTORAL THESIS The Dancer's Contribution: Performing Plotless Choreography in the Leotard Ballets of George Balanchine and William Forsythe Tomic-Vajagic, Tamara Award date: 2013 General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 02. Oct. 2021 THE DANCER’S CONTRIBUTION: PERFORMING PLOTLESS CHOREOGRAPHY IN THE LEOTARD BALLETS OF GEORGE BALANCHINE AND WILLIAM FORSYTHE BY TAMARA TOMIC-VAJAGIC A THESIS IS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF PHD DEPARTMENT OF DANCE UNIVERSITY OF ROEHAMPTON 2012 ABSTRACT This thesis explores the contributions of dancers in performances of selected roles in the ballet repertoires of George Balanchine and William Forsythe. The research focuses on “leotard ballets”, which are viewed as a distinct sub-genre of plotless dance. The investigation centres on four paradigmatic ballets: Balanchine’s The Four Temperaments (1951/1946) and Agon (1957); Forsythe’s Steptext (1985) and the second detail (1991).
    [Show full text]
  • Partake: the Journal of Performance As Research Volume 3, Issue 1 – Spring 2020 ISSN: 2472-0860
    PARtake: The Journal of Performance as Research Volume 3, Issue 1 – Spring 2020 ISSN: 2472-0860 The Implications of Using Interactive Artifacts to Bridge the Divide Between Audience and Stage in a Conventional Hall Setting Maja Fagerberg Ranten—Roskilde University Mads Hobye, PhD—Roskilde University Nina Gram, PhD—Royal Danish Theatre Figure 1. Audience controlling the backdrop with the installation In Case of Emotion. (Photography by Mads Hobye). Introduction Within theatre settings like the Royal Danish Theatre,1 there is a tradition for a divide between the audience and the performing stage in which the audience rarely physically or verbally interrupt or affect the performance on stage. Similarly, breaking the fourth wall in the sense of the performers engaging with the audience is typically considered a special “trick” that is only to be used occasionally. The “conventional divide” should, thus, be understood as a context similar to the Royal Danish Theatre consisting of a conventional “passive” spectatorship hall setting in which the performances are played out (hereby simply referred to as “the divide”). Sarah Bay-Cheng, et al. define the conventional theatre set-up as “…putting the audience in the dark in front of a brightly lit stage…”2 We have explored how using interactive physical artifacts can give the audience Volume 3, Issue 1 – Spring 2020 – Fagerberg Ranten, Hobye, and Gram 2 the ability to either change or sense the performance in alternative ways, and still preserve the conventional divide. Through the three experiments, we see three distinct implications that are at play and need to be taken into consideration in the design process.
    [Show full text]
  • Hubbard Street Dance Chicago Announces 40Th Anniversary
    Hubbard Street Dance Chicago announces 40th Anniversary Season programming Four programs featuring full evenings of works by four of the company’s most celebrated choreographers. For immediate release April 10, 2017 • High resolution photos available Media contact • Hayley Ross, Communication Coordinator 312-850-9744 X 141 • [email protected] CHICAGO – Hubbard Street Dance Chicago and Artistic Director Glenn Edgerton are excited to announce the main company’s 2017–18 season performances in Chicago celebrating the company’s 40 year history. Tickets to the three engagements at the Harris Theater for Music and Dance in Millennium Park located at 205 East Randolph Street, and a fourth performance at the Auditorium Theatre, located at 50 E Congress Pkwy, will be available to subscribers for renewal beginning April 13 as a Season 40 subscription; Season 40 subscriptions and single tickets will be available for purchase following the Season 39 Summer Series, June 8–11, 2017. Says Glenn Edgerton: “Hubbard Street’s Season 40 programming expresses both looking back at what the company has accomplished over the past four decades, while also looking forward at the potential of the company for freshness and innovation.” The Season 40 Fall Series, September 21–24, 2017 at the Harris Theater, features an immersive and interactive dance installation curated by Peter Chu and Edgerton, covering all spaces of the Harris Theater; the first performance of its kind in Hubbard Street’s four decade history. Chu, a former dancer for Canadian dance company Kidd Pivot, and Artistic Director of chuthis., has choreographed for several Chicago dance companies including Giordano Dance Chicago, as well as Hubbard Street 2.
    [Show full text]