SF Ballet Nutcracker 2018
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Bolshoi Theater
FOR IMMEDIATE RELEASE Contact: Dick Caples Tel: 212.221.7909 E-mail: [email protected] Lar Lubovitch awarded the 20th annual prize for best choreography by the Prix Benois de la Danse at the Bolshoi Theater. He is the first head of an American dance company ever to be so honored. New York, NY, May 23, 2012 – Last night at the Bolshoi Theater in Moscow, Lar Lubovitch was awarded the 20th annual prize for best choreography by the Prix Benois de la Danse. Lubovitch is the first head of an American dance company ever presented with the award. He was honored for his creation of Crisis Variations, which premiered at the Baryshnikov Arts Center in New York City on November 9, 2011. The work, for seven dancers, is set to a commissioned score by composer Yevgeniy Sharlat, and the score was performed live at its premiere by the ensemble Le Train Bleu, under the direction of conductor Ransom Wilson. To celebrate the occasion, the Lar Lubovitch Dance Company performed the duet from Meadow for the audience of 2,500 at the Bolshoi. The dancers in the duet were Katarzyna Skarpetowska and Brian McGinnis. The laureates for best choreography over the previous 19 years include: John Neumeier, Jiri Kylian, Roland Petit, Angelin Preljocaj, Nacho Duato, Alexei Ratmansky, Boris Eifman, Wayne McGregor, Sidi Larbi Cherkaoui, and Jorma Elo. Other star performers and important international figures from the world of dance received prizes at this year’s award ceremony. In addition to the award for choreography given to Lubovitch, the winners in other categories were: For the best performance by a ballerina: Alina Cojocaru for the role of Julie in “Liliom” at the Hamburg Ballet. -
A Tribute to Marcia Dale Weary and the Central Pennsylvania Youth Ballet
Albright College Gingrich Library Albright College Gingrich Library Albright College Gingrich Library Albright College Gingrich Library Albright College Gingrich Library Albright College Gingrich Library Albright College Gingrich Library Albright College Gingrich Library Albright College Gingrich Library Albright College Gingrich Library Albright College Gingrich Library Albright College Gingrich Library Albright College Gingrich Library Albright College Gingrich Library Albright College GingrichNOTICE: Library The copyright law of the United States (Title 17, United States Code) governs the making of reproductions of copyrighted material. One specified condition is that the reproduction is not to be than private study, or later uses a reproduction for purposes in excess of Albright College Gingrich Library Albright College Gingrich Library Albrightmay College be liable Gingrich for copyright Library infringement. RESTRICTIONS: This student work may be read, quoted from, cited, and reproduced for purp Albright College Gingrich Library Albright College Gingrich Library Albright College Gingrich Library scholarship, or research. by the author. oses of research. It may not be published in full except by permission Albright College Gingrich Library Albright College Gingrich Library Albright College Gingrich Library “used ” If a user makes a request for, Albright College Gingrich Library Albright College Gingrich Library Albright College Gingrich Library for any purpose other “fair use, Albright College Gingrich Library Albright College Gingrich -
View Printable Playbill
As Time Goes By Fall Ballet George Balanchine Sasha Janes THEATER 16/17 Twyla Tharp One Hundred Thirty-Third Program of the 2016-17 Season _______________________ Indiana University Ballet Theater presents Fall Ballet Divertimento No. 15 Choreography by George Balanchine Staged by Elyse Borne Music by Wolfgang Amadeus Mozart Saudade Choreography by Sasha Janes Music by Arvo Pärt As Time Goes By Choreography by Twyla Tharp Staged by Richard Colton Music by Joseph Haydn Patrick Mero, Lighting Designer _________________ Musical Arts Center Friday Evening, September Thirtieth, Seven Thirty O’Clock Saturday Afternoon, October First, Two O’Clock Saturday Evening, October First, Seven Thirty O’Clock music.indiana.edu Friday | September 30, 2016 | 7:30 p.m. Divertimento No. 15 Choreography by George Balanchine* ©The George Balanchine Trust Music by Wolfgang Amadeus Mozart Original Lighting by Mark Stanley Original Costumes by Barbara Karinska Scenery and costumes courtesy of Ballet West Adam Sklute, Artistic Director Costume Design by David Heuvel Premiere: May 31, 1956 | New York City Ballet Mozart Festival, Stratford, Connecticut Staged by Elyse Borne Tal Samuel, Conductor Shawn Stevens, Ballet Mistress Christian Claessens, Ballet Master Allegro Danielle Cesanek, Georgia Dalton, Anna Grunewald Emily Smith, Raffaella Stroik Andrew Copeland, Tyler Dowdy, Glenn Kelich and Caroline Atwell, Colleen Buckley, Leah Gaston, Natalia Mieczykowski Lily Overmyer, Ginabel Peterson-Padilla, Lauren Smolka, Anna Lisa Wilkins Theme and Variations Theme Tyler -
Nixon Has Tight Grip Onchicagoactivities
• « > /4 MNfly etatf? todty wd (g. , Distribution •igbt, dunce of tfaondentoniu. High abort M, Low tosfgbt, Today M*, Mostly bir tomorrow, Hlgb, M, See weather, tide* 1 Independent Daily f 14,200 page 2. I J issued Dally. Monday through Friday, entered at Second Class Matter 7c PER COPY PAGE ONE VOLUME 82, NO. 247 at the Post Olllct at Red Bank. N. J., under the Act of March 3. 1879. RED BANK, N. J., WEDNESDAY, JULY 27, 1960 Convention Town: Morning Scene Nixon Has Tight Grip By JIM BISHOP Author of "The Day Lincoln Was Shot;" "The Day Christ Died" CHICAGO — The cab driver inches through the OnChicagoActivities morning rain. He looks at the low scud of clouds and murmurs: "Them delegates got here with one shirt and a five dollar bill and they ain't changed either.' Lodge Seen He makes it along Balbo to Michigan Avenue and a fat cop stops him and holds him in the left-turn lane. Ike Cites Military Choice For Across the street is the Sheraton-Blackstone. On the fourth floor, little mounds of confetti hud- Veep Spot dle in corners of the ledges. A vagrant wind Strength, Prosperity catches some of it and it spins down like salt, too CHICAGO (AP) — With late for Nixon, too early for Eisenhower. Behind (CHICAGO (AP) — President n iron grasp on its every Eisenhower says it is "irrefutable Swiss Cheese Look the ledge is suite 408. In 1920, this was the truth" that the nation is enjoy- ignificant activity, Vice "smoke-filled room" where the nomination of Sen. -
Introduction
THE NEW YORK PUBLIC LIBRARY FOR THE PERFORMING ARTS THE OLIVE WONG PROJECT PERFORMANCE COSTUME DESIGN RESEARCH GUIDE INTRODUCTION COSTUME DESIGN AND PERFORMANCE WRITTEN AND EDITED BY AILEEN ABERCROMBIE The New York Public Library for the Perform- newspapers, sketches, lithographs, poster art ing Arts, located in Lincoln Center Plaza, is and photo- graphs. In this introduction, I will nestled between four of the most infuential share with you some of Olive’s selections from performing arts buildings in New York City: the NYPL collection. Avery Fisher Hall, Te Metropolitan Opera, the Vivian Beaumont Teater (home to the Lincoln There are typically two ways to discuss cos- Center Teater), and David H. Koch Teater. tume design: “manner of dress” and “the history Te library matches its illustrious location with of costume design”. “Manner of dress” contextu- one of the largest collections of material per- alizes the way people dress in their time period taining to the performing arts in the world. due to environment, gender, position, economic constraints and attitude. Tis is essentially the The library catalogs the history of the perform- anthropological approach to costume design. ing arts through collections acquired by notable Others study “the history of costume design”, photographers, directors, designers, perform- examining the way costume designers interpret ers, composers, and patrons. Here in NYC the the manner of dress in their time period: where so many artists live and work we have the history of the profession and the profession- an opportunity, through the library, to hear als. Tis discussion also talks about costume sound recording of early flms, to see shows designers’ backstory, their process, their that closed on Broadway years ago, and get to relationships and their work. -
Kleidung / Mode / Couture / Kostümdesign Im Film: Eine Erste Bibliographie 2011
Repositorium für die Medienwissenschaft Hans Jürgen Wulff; Ludger Kaczmarek Kleidung / Mode / Couture / Kostümdesign im Film: Eine erste Bibliographie 2011 https://doi.org/10.25969/mediarep/12753 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Wulff, Hans Jürgen; Kaczmarek, Ludger: Kleidung / Mode / Couture / Kostümdesign im Film: Eine erste Bibliographie. Hamburg: Universität Hamburg, Institut für Germanistik 2011 (Medienwissenschaft: Berichte und Papiere 122). DOI: https://doi.org/10.25969/mediarep/12753. Erstmalig hier erschienen / Initial publication here: http://berichte.derwulff.de/0122_11.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ Medienwissenschaft / Hamburg: Berichte und Papiere 122, 2011: Mode im Film. Redaktion und Copyright dieser Ausgabe: Ludger Kaczmarek, Hans J. Wulff. ISSN 1613-7477. URL: http://www.rrz.uni-hamburg.de/Medien/berichte/arbeiten/0122_11.html Letzte Änderung: 20.2.2011. Kleidung / Mode / Couture / Kostümdesign im Film: Eine erste Bibliographie. Zusammengest. v. Hans J. Wulff u. Ludger Kaczmarek Inhalt: da, wo die Hobos sind, er riecht wie einer: Also ist er Einleitung einer. Warum sollte man jemanden für einen anderen Bibliographien halten als den, der er zu sein scheint? In Nichols’ Direktoria Working Girl (1988) nimmt eine Sekretärin heimlich Texte für eine Zeit die Rolle ihrer Chefin an, und sie be- nutzt auch deren Garderobe und deren Parfüm. -
New York City Ballet Annual Report
New York City Ballet Annual Report Recusant and flameproof Randie reasonless her biospheres Latinised or lyophilize ardently. Inaudibly concavo-concave, Randall study breechblock and shone glaciations. Which Beck supersaturating so anciently that Trent limits her workshop? She brings many styles to the studio, from her own extensive studies of Balanchine, Vaganova, Cecchetti, Royal Ballet, and ABT. Professional Division and Summer Intensive Program, with other top dancers originating from countries as far away as Turkey, Switzerland, France, and Denmark. What is the difference between Russian ballet and French ballet? The NYCB does little to curb these actions. Set body class for different user state. Sam Viersen Family Foundation, Inc. This ballet style is often performed barefoot. How much do they cost? On Monday, a public viewing was being held at the Abyssinian Baptist Church, where Tyson was a member. But opting out of some of these cookies may have an effect on your browsing experience. Sterling Hyltin is a dancer with the New York City Ballet. Later that month, Opera Atelier artistic director Marshall Pynkoski, set designer Gerard Gauci, and Tafelmusik Baroque Orchestra conductor David Fallis provided a preview of the engagement at Alliance Française featuring soprano Mireille Asselin and harpsichordist Christopher Bagan. Director Adam Sklute announced the promotion of Jared Oaks to Music Director. Zoe has trained in and taught several dance forms including modern, ballet, jazz, contemporary, and improvisation. Scholarship Fund because CSF put me in the settings where a whole village of nurturers trained me to be the person I am. Gene Kelly is perhaps the biggest dancing star to come out of Hollywood. -
Love and Ballet at Pacific Northwest Ballet Encore Arts Seattle
June 2018 June 2018 Volume 31, No. 7 Paul Heppner Publisher Susan Peterson Design & Production Director Ana Alvira, Robin Kessler, Stevie VanBronkhorst Production Artists and Graphic Design Mike Hathaway Sales Director Brieanna Bright, Joey Chapman, Ann Manning Seattle Area Account Executives Amelia Heppner, Marilyn Kallins, Terri Reed San Francisco/Bay Area Account Executives Carol Yip Sales Coordinator Leah Baltus Editor-in-Chief Andy Fife Publisher Dan Paulus Art Director Gemma Wilson, Jonathan Zwickel Senior Editors Amanda Manitach Visual Arts Editor Paul Heppner President Mike Hathaway Vice President Kajsa Puckett Vice President, Marketing & Business Development Genay Genereux Accounting & Office Manager Shaun Swick Senior Designer & Digital Lead Barry Johnson Digital Engagement Specialist Ciara Caya Customer Service Representative & Administrative Assistant Corporate Office 425 North 85th Street Seattle, WA 98103 p 206.443.0445 f 206.443.1246 [email protected] 800.308.2898 x105 www.encoremediagroup.com Encore Arts Programs is published monthly by Encore Media Group to serve musical and theatrical events in the Puget Sound and San Francisco Bay Areas. All rights reserved. ©2018 Encore Media Group. Reproduction without written permission is prohibited. 2 PACIFIC NORTHWEST BALLET PACIFIC NORTHWEST BALLET Kent Stowell and Peter Boal June 1–10, 2018 Francia Russell Artistic Director Marion Oliver McCaw Hall Founding Artistic Directors PRINCIPALS Karel Cruz Lindsi Dec Rachel Foster Benjamin Griffiths William Lin-Yee James Moore -
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. -
Season Guide
2019 REPERTORY SEASON GUIDE The epitome of elegance. Experts can make complicated steps look effortless — and that’s what we can do for you. Throughout the Bay Area and Northern California — from San Francisco to Lake Tahoe, Carmel to Wine Country — THE STEPS ARE our agents are second to none. EFFORTLESS THE EXPERIENCE IS ALAIN PINEL APR.COM Over 30 Real Estate Offices Serving The San Francisco Bay Area 866.468.0111 The epitome of elegance. Experts can make complicated steps look effortless — and that’s what we can do for you. Throughout the Bay Area and Northern California — from San Francisco to Lake Tahoe, Carmel to Wine Country — THE STEPS ARE our agents are second to none. EFFORTLESS THE EXPERIENCE IS ALAIN PINEL APR.COM Over 30 Real Estate Offices Serving The San Francisco Bay Area 866.468.0111 ©2018 California©2018 Closet Company, Inc. All rights reserved. Franchises independently owned and operated. Experience a California Closets system custom designed specifically for you and the way you live. Visit us online or in our showroom today to arrange for a complimentary in-home design consultation. 800.274.6754 californiaclosets.com CA177_SFBallet_Brooks2_9.7x12.7_1118.inddSFB season guide fp template.indd 1 1 11/29/1811/29/18 2:18 9:53 PM AM SAN FRANCISCO BALLET 2019 REPERTORY SEASON GUIDE 47 Season & Donor News 76 SF Ballet Staff Ticket FAQ 79 Season Sponsors Upcoming Events 83 Great Benefactors 52 PROGRAM 01 Don Quixote 84 Artistic Director’s Council 55 PROGRAM 02 Kaleidoscope 87 Institutional Support Divertimento No. 15 Appassionata 90 SF Ballet Endowment Foundation 09 Anima Animus 93 Thank You to Our Volunteers 58 PROGRAM 03 In Space and Time 96 A Conversation with Glenn McCoy 09 Welcome to the Season The Fifth Season 11 SF Ballet Leadership Snowblind 12 Board of Trustees Études Endowment Foundation Board 61 PROGRAM 04 The Sleeping Beauty 14 Artists of the Company 64 PROGRAM 05 Lyric Voices 44 SF Ballet Orchestra Your Flesh Shall Be a Great Poem Bound To Yuri Possokhov World Premiere San Francisco Ballet | Vol. -
Exegesis for Phd in Creative Practice SVEBOR SEČAK Shakespeare's Hamlet in Ballet—A Neoclassical and Postmodern Contemporary Approach
Exegesis for PhD in Creative Practice SVEBOR SEČAK Shakespeare's Hamlet in Ballet—A Neoclassical and Postmodern Contemporary Approach INTRODUCTION In this exegesis I present my PhD project which shows the transformation from a recording of a neoclassical ballet performance Hamlet into a post-postmodern artistic dance video Hamlet Revisited. I decided to turn to my own choreography of the ballet Hamlet which premiered at the Croatian National Theatre in Zagreb in 2004, in order to revise it with a goal to demonstrate the neoclassical and the contemporary postmodern approach, following the research question: How to transform an archival recording of a neoclassical ballet performance into a new artistic dance video by implementing postmodern philosophical concepts? This project is a result of my own individual transformations from a principal dancer who choreographs the leading role for himself, into a more self-reflective mature artist as a result of aging, the socio-political changes occurring in my working and living environment, and my academic achievements, which have exposed me to the latest philosophical and theoretical approaches. Its significance lies in establishing communication between neoclassical and postmodern approaches, resulting in a contemporary post-postmodern artistic work that elucidates the process in the artist's mind during the creative practice. It complements my artistic and scholarly work and is an extension built on my previous achievements implementing new comprehensions. As a life-long ballet soloist and choreographer my area of interest is the performing arts, primarily ballet and dance and the dualism between the abstract and the narrative approaches 1 Exegesis for PhD in Creative Practice SVEBOR SEČAK Shakespeare's Hamlet in Ballet—A Neoclassical and Postmodern Contemporary Approach to ballet works1. -
2004 Annual Report
2004 Annual Report Mission Statement Remembering Balanchine Peter Martins - Ballet Master in Chief Meeting the Demands Barry S. Friedberg - Chairman New York City Ballet Artistic NYCB Orchestra Board of Directors Advisory Board Balanchine 100: The Centennial Celebration 2003-2004 The Centennial Celebration Commences & Bringing Balanchine Back-Return to Russia On to Copenhagen & Winter Season-Heritage A Warm Welcome in the Nation's Capital & Spring Season-Vision Exhibitions, Publications, Films, and Lectures New York City Ballet Archive New York Choreographic Institute Education and Outreach Reaching New Audiences through Expanded Internet Technology & Salute to Our Volunteers The Campaign for New York City Ballet Statements of Financial Position Statements of Activities Statements of Cash Flows Footnotes Independent Auditors' Report All photographs by © Paul Kolnik unless otherwise indicated. The photographs in this annual report depict choreography copyrighted by the choreographer. Use of this annual report does not convey the right to reproduce the choreography, sets or costumes depicted herein. Inquiries regarding the choreography of George Balanchine shall be made to: The George Balanchine Trust 20 Lincoln Center New York, NY 10023 Mission Statement George Balanchine and Lincoln Kirstein formed New York City Ballet with the goal of producing and performing a new ballet repertory that would reimagine the principles of classical dance. Under the leadership of Ballet Master in Chief Peter Martins, the Company remains dedicated to their vision as it pursues two primary objectives: 1. to preserve the ballets, dance aesthetic, and standards of excellence created and established by its founders; and 2. to develop new work that draws on the creative talents of contemporary choreographers and composers, and speaks to the time in which it is made.