Season Six Nut Media Release
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2019-2020 Season Overview JULY 2020
® 2019-2020 Season Overview JULY 2020 Report Summary The following is a report on the gender distribution of choreographers whose works were presented in the 2019-2020 seasons of the fifty largest ballet companies in the United States. Dance Data Project® separates metrics into subsections based on program, length of works (full-length, mixed bill), stage (main stage, non-main stage), company type (main company, second company), and premiere (non-premiere, world premiere). The final section of the report compares gender distributions from the 2018- 2019 Season Overview to the present findings. Sources, limitations, and company are detailed at the end of the report. Introduction The report contains three sections. Section I details the total distribution of male and female choreographic works for the 2019-2020 (or equivalent) season. It also discusses gender distribution within programs, defined as productions made up of full-length or mixed bill works, and within stage and company types. Section II examines the distribution of male and female-choreographed world premieres for the 2019-2020 season, as well as main stage and non-main stage world premieres. Section III compares the present findings to findings from DDP’s 2018-2019 Season Overview. © DDP 2019 Dance DATA 2019 - 2020 Season Overview Project] Primary Findings 2018-2019 2019-2020 Male Female n/a Male Female Both Programs 70% 4% 26% 62% 8% 30% All Works 81% 17% 2% 72% 26% 2% Full-Length Works 88% 8% 4% 83% 12% 5% Mixed Bill Works 79% 19% 2% 69% 30% 1% World Premieres 65% 34% 1% 55% 44% 1% Please note: This figure appears inSection III of the report. -
Dracula Media Kit R3
FOR IMMEDIATE RELEASE October 11, 2011 Contact: Erika Overturff, (402) 541-6946 ROMANTIC, CHILLING 'DRACULA' OPENS BALLET NEBRASKA'S SECOND SEASON OMAHA -- He's evil, drinks blood, and sleeps in a coffin. Could there really be more to Count Dracula than those Halloween clichés? Yes, says Ballet Nebraska in Dracula, its season-opening performance at 8 pm October 28 at Omaha's Orpheum Theater. The ballet portrays the vampire count as both a monster and as a man with emotions and vulnerabilities, choreographer Winthrop Corey said. Corey, artistic director of Alabama's Mobile Ballet, said he began the creative process by reading both Bram Stoker's classic 1897 horror novel and scholars' commentaries about it. His research raised a question in his mind: What made Dracula who he was? "Bram Stoker never told us how Dracula got to be a vampire," he said. "I say that he is a man who, through circumstances we don't know, is turned into a monster. Yet he is still a man inside this monster's body, who can kill, but who can also fall in love. And therein lies the ballet; I designed it around that." To develop the choreography, Corey said, he started with the relationship between Count Dracula and the novel's two key female characters: the flirtatious Lucy and her more insightful best friend, Mina. "What I did was narrow it down to three characters -- Lucy, Mina and Dracula -- and the difference between his relationship with Lucy and his relationship with Mina," he said. "One of them he kills and makes a vampire bride; the other one he actually falls in love with. -
Adapting Piano Music for Ballet: Tchaikovsky's Children's Album, Op
Adapting Piano Music for Ballet: Tchaikovsky's Children's Album, Op. 39 Item Type text; Electronic Dissertation Authors Stavrianou, Eleni Persefoni Citation Stavrianou, Eleni Persefoni. (2021). Adapting Piano Music for Ballet: Tchaikovsky's Children's Album, Op. 39 (Doctoral dissertation, University of Arizona, Tucson, USA). Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 06/10/2021 04:39:03 Item License http://rightsstatements.org/vocab/InC/1.0/ Link to Item http://hdl.handle.net/10150/660266 ADAPTING PIANO MUSIC FOR BALLET: TCHAIKOVSKY’S CHILDREN’S ALBUM, OP. 39 by Eleni Persefoni Stavrianou ____________________________________ Copyright © Eleni Persefoni Stavrianou 2021 A DMA Critical Essay Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2021 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Doctor of Musical Arts Creative Project and Lecture-Recital Committee, we certify that we have read the Critical Essay prepared by: titled: and recommend that it be accepted as fulfilling the Critical Essay requirement for the Degree of Doctor of Musical Arts. _________________________________________________________________ Date: ____________ _________________________________________________________________ Date: ____________ _________________________________________________________________ Date: ____________ submission of the final copies of the essay to the Graduate College. I hereby certify that I have read this Critical Essay prepared under my direction and recommend that it be accepted as fulfilling the Critical Essay requirement. -
The Shubert Foundation 2020 Grants
The Shubert Foundation 2020 Grants THEATRE About Face Theatre Chicago, IL $20,000 The Acting Company New York, NY 80,000 Actor's Express Atlanta, GA 30,000 The Actors' Gang Culver City, CA 45,000 Actor's Theatre of Charlotte Charlotte, NC 30,000 Actors Theatre of Louisville Louisville, KY 200,000 Adirondack Theatre Festival Glens Falls, NY 25,000 Adventure Theatre Glen Echo, MD 45,000 Alabama Shakespeare Festival Montgomery, AL 165,000 Alley Theatre Houston, TX 75,000 Alliance Theatre Company Atlanta, GA 220,000 American Blues Theater Chicago, IL 20,000 American Conservatory Theater San Francisco, CA 190,000 American Players Theatre Spring Green, WI 50,000 American Repertory Theatre Cambridge, MA 250,000 American Shakespeare Center Staunton, VA 30,000 American Stage Company St. Petersburg, FL 35,000 American Theater Group East Brunswick, NJ 15,000 Amphibian Stage Productions Fort Worth, TX 20,000 Antaeus Company Glendale, CA 15,000 Arden Theatre Company Philadelphia, PA 95,000 Arena Stage Washington, DC 325,000 Arizona Theatre Company Tucson, AZ 50,000 Arkansas Arts Center Children's Theatre Little Rock, AR 20,000 Ars Nova New York, NY 70,000 Artists Repertory Theatre Portland, OR 60,000 Arts Emerson Boston, MA 30,000 ArtsPower National Touring Theatre Cedar Grove, NJ 15,000 Asolo Repertory Theatre Sarasota, FL 65,000 Atlantic Theater Company New York, NY 200,000 Aurora Theatre Lawrenceville, GA 30,000 Aurora Theatre Company Berkeley, CA 40,000 Austin Playhouse Austin, TX 20,000 Azuka Theatre Philadelphia, PA 15,000 Barrington Stage Company -
Nicolle Greenhood Major Paper FINAL.Pdf (4.901Mb)
DIVERSITY EN POINTE: MINIMIZING DISCRIMINATORY HIRING PRACTICES TO INCREASE BALLET’S CULTURAL RELEVANCE IN AMERICA Nicolle Mitchell Greenhood Major paper submitted to the faculty of Goucher College in partial fulfillment of the requirements for the degree of Master of Arts in Arts Administration 2016 Abstract Title of Thesis: DIVERSITY EN POINTE: MINIMIZING DISCRIMINATORY HIRING PRACTICES TO INCREASE BALLET’S CULTURAL RELEVANCE IN AMERICA Degree Candidate: Nicolle Mitchell Greenhood Degree and Year: Master of Arts in Arts Administration, 2016 Major Paper Directed by: Michael Crowley, M.A. Welsh Center for Graduate and Professional Studies Goucher College Ballet was established as a performing art form in fifteenth century French and Italian courts. Current American ballet stems from the vision of choreographer George Balanchine, who set ballet standards through his educational institution, School of American Ballet, and dance company, New York City Ballet. These organizations are currently the largest-budget performing company and training facility in the United States, and, along with other major US ballet companies, have adopted Balanchine’s preference for ultra thin, light skinned, young, heteronormative dancers. Due to their financial stability and power, these dance companies set the standard for ballet in America, making it difficult for dancers who do not fit these narrow characteristics to succeed and thrive in the field. The ballet field must adapt to an increasingly diverse society while upholding artistic integrity to the art form’s values. Those who live in America make up a heterogeneous community with a blend of worldwide cultures, but ballet has been slow to focus on diversity in company rosters. -
Qurrat Ann Kadwani: Still Calling Her Q!
1 More Next Blog» Create Blog Sign In InfiniteBody art and creative consciousness by Eva Yaa Asantewaa Tuesday, May 6, 2014 Your Host Qurrat Ann Kadwani: Still calling her Q! Eva Yaa Asantewaa Follow View my complete profile My Pages Home About Eva Yaa Asantewaa Getting to know Eva (interview) Qurrat Ann Kadwani Eva's Tarot site (photo Bolti Studios) Interview on Tarot Talk Contact Eva Name Email * Message * Send Contribute to InfiniteBody Subscribe to IB's feed Click to subscribe to InfiniteBody RSS Get InfiniteBody by Email Talented and personable Qurrat Ann Kadwani (whose solo show, They Call Me Q!, I wrote about Email address... Submit here) is back and, I hope, every bit as "wicked smart and genuinely funny" as I observed back in September. Now she's bringing the show to the Off Broadway St. Luke's Theatre , May 19-June 4, Mondays at 7pm and Wednesdays at 8pm. THEY CALL ME Q is the story of an Indian girl growing up in the Boogie Down Bronx who gracefully seeks balance between the cultural pressures brought forth by her traditional InfiniteBody Archive parents and wanting acceptance into her new culture. Along the journey, Qurrat Ann Kadwani transforms into 13 characters that have shaped her life including her parents, ► 2015 (222) Caucasian teachers, Puerto Rican classmates, and African-American friends. Laden with ▼ 2014 (648) heart and abundant humor, THEY CALL ME Q speaks to the universal search for identity ► December (55) experienced by immigrants of all nationalities. ► November (55) Program, schedule and ticket information ► October (56) ► September (42) St. -
The Portland Ballet Presents 'The Enchanted Toyshop' and 'Tourbillon
FOR IMMEDIATE RELEASE CONTACT: Laura Grimes, [email protected], 971.322.9452 The Portland Ballet presents ‘The Enchanted Toyshop’ and ‘Tourbillon,’ a new work by Anne Mueller with Portland State University Orchestra, Ken Selden, music director PROGRAM DETAILS John Clifford’s The Enchanted Toyshop (2003) Anne Mueller’s Tourbillon (2017), a world premiere Both performed with the PSU Orchestra, under the direction of Ken Selden Dates: Nov. 24-26, 2017 Times: 2:30 & 7:30 p.m. Friday-Saturday, Nov. 24-25; 1 & 5 p.m. Sunday, Nov. 26 Where: Lincoln Performance Hall at PSU, 1620 SW Park at Market, Portland, OR Tickets: $5-$35, on sale beginning Oct. 20 Runtime: One hour 45 minutes (including one 20-minute intermission) Information: theportlandballet.org or 503-750-3157 Discounts: • First-Show Friday: Tickets for the 2:30 p.m. show on Friday, Nov. 24, will be only $5 youth/student, $10 adult • Family Package: For TIER 1 pricing, when purchasing two adult and two or more youth tickets, all youth tickets will be $5 off • Group Discount: 10 or more tickets will receive 10% off • Good deals: Limited Arts Card and Arts for All tickets Special Opportunities: • Swag bags: Young people will receive special gift bags. • Activities: The fun starts in the lobby with photo opportunities and activities for kids. • Meet the cast: Audience members are invited to stay after every performance to meet the cast, take photos with them, and have their programs signed. PORTLAND, Ore. – After last year’s sold-out shows, The Portland Ballet is reviving its holiday hit, The Enchanted Toyshop, Thanksgiving weekend in a double bill that will also feature a new ballet, Tourbillon, by co-artistic director Anne Mueller. -
Summer Ballet Workshop
Racheal Nye is a Principal of Kansas City Ballet School, where she oversees the Pre-Professional Division’s Daytime Program and is a Children’s Coach for company productions. She is a graduate of the Kirov Academy in Washington D.C., where she attended on full scholarship and studied with Nikolai Morozov, Alla Sizova, and Elena Vinogradova. She then joined Ballet Internationale in Indianap- Summer olis and continued training with Irina Kolpakova and Vladien Semenov. In 2000, Racheal joined Nevada Ballet Theatre and was promoted Ballet to principal in 2006. Racheal has danced leading roles in Giselle, Swan Lake, Don Quixote, and Cinderella, Balanchine’s Serenade Workshop and Who Cares? and has performed internationally including Lux- embourg, Korea, and Portugal. Her students have been awarded scholarships to international ballet schools as well as received recognition in both Regionals and Finals of the Youth America Grand Prix competition. She is Pilates and PBT certified. Ryan Nye Originally from central Maine, Ryan received his training from renowned Kirov Ballet Dancer, Andrei Bossov as well as The Royal Winnipeg Ballet School Pro- fessional Division. Upon graduating from Royal Winnipeg Ballet, Ryan attended the Banff Summer Arts Festival where he performed the principal role in Fernand Nault’s Carmina Burana. Ryan went on to dance for Festival Ballet of Providence, Eugene Ballet, and Ballet Idaho where he was promoted to Principal Dancer in 2011. In 2012, Ryan joined Kansas City Ballet where he danced many principal roles, including Jerome Robbins’ Fancy Free, Septime Webre’s ALICE (in wonderland), Michael Pink’s Dracula as well as Devon Carney’s Swan Lake, Giselle, and The Nutcracker. -
Nutcracker Media Release R1
FOR IMMEDIATE RELEASE November 14, 2014 Contact: Erika Overturff (Founder and Artistic Director), (402) 541-6946 Print-quality photos are available for download here. BALLET NEBRASKA'S NUTCRACKER BLENDS NEW FEATURES, OLD FAVORITES The premiere of a new French scene and the debut of a new Sugar Plum Fairy and are among the features of this year's edition of Ballet Nebraska's The Nutcracker. “I’m always looking for ways to maintain the ballet’s story and charm, while adding fresh touches,” said artistic director Erika Overturff, who choreographs and stages the holiday classic, as well as dancing the role of the Snow Queen. “Personalizing the ballet for your own company and audience is something that every company has done since the beginning – it’s part of the tradition of The Nutcracker.” The French scene – often called “Mirletons” or “Dance of the Reed Flutes” – gets a makeover this year, with new concept, choreography and costumes, Overturff said. “I was listening to the music and thinking about things we associate with France,” she said, “and I thought: What could be more French than cooking? I don’t want to spoil the surprise, but I can tell you that the new scene involves a ballerina, a chef with a lot of assistants, and a cake.” A signature role in The Nutcracker, Overturff said, is that of the Sugar Plum Fairy – the benign ruler of the Kingdom of Sweets, who welcomes the young heroine, Clara, and commands a series of spectacular dances in her honor. Making her debut as the Sugar Plum Fairy this year is Vivi DiMarco, a dancer in her third season with Ballet Nebraska. -
Executive Summary 2018-2019 SCHOOL YEAR
Executive Summary 2018-2019 SCHOOL YEAR 2018-19 Snapshot • 1st - 5th grade students in Dallas, Polk and Warren Counties participated in almost 30,000 community-based or in-class arts and WITH THANKS TO: cultural experiences with 15 nonprofit organizations. • 26 schools and school districts received Connecting Kids and Culture funding. • Connecting Kids and Culture provided $3.25 per student to provide for arts, culture or heritage experiences. PROGRAM PROGRAM Overview Need Courtesy of funding provided by the In the mid-2000s, school budgets and curriculum requirements meant fewer students Principal Charity Classic®, Bravo Greater were participating in field experiences and in-class presentations. Arts and culture Des Moines and the Community organizations also noticed the decline of school trips to their events and facilities. As Foundation of Greater Des Moines research shows, early exposure to the arts enhances student learning, develops critical jointly administer Connecting Kids and thinking skills and prepares students for advanced learning and the future job market. Culture. The program provides financial support for 1st-5th grade students to attend arts, culture and heritage field and in-class experiences in Dallas, Polk and Warren counties. PROGRAM Impact Seeing the overwhelming need by schools and the declining student attendance at Central Iowa arts and cultural organizations, Bravo Greater Des Moines and the Community of Foundation of Greater Des Moines partnered to create Connecting Kids & Culture. Granting funds directly to schools allows administrators and teachers the ability to select the arts and cultural experiences that will enhance in-classroom learning. Arts and culture organizations also benefit from the increase in students participating in their programs and facilities. -
New E-Items Added 1 5 to 1 11 2016 1 Title Author Publisher Published
New E-items Added 1 5 to 1 11 2016 Title Author Publisher Published Location Call Number Class Subject First Baptist Church, Charlotte, N.C., 1832- McLean, Carrie L. Washburn Press, 1917 Ebooks - LU BX 6480 C BX BX - Christian 1916 [electronic resource] / compiled by users only 34 F 53 Denominations. Carrie L. McLean. 1917 EB History of Steele Creek Church [electronic Douglas, John, Isha Books, 2013 Ebooks - LU BX 9211 C BX BX - Christian resource] : Mecklenburg County, N.C. / users only 265 S 74 Denominations. compiled and written by Rev. John Douglas ; 1901 EB revised and extended to the close of the 19th century by the Historical Committee. Historical sketch of New Hope Church, in Craig, D. I. (David Isha Books, 2013 Ebooks - LU BX 9211 N BX BX - Christian Orange County, N.C. [electronic resource] / by Irwin), 1849-1925, users only 47 C 7 1891 Denominations. Rev. D.I. Craig. EB Spanish archives of New Mexico [electronic Twitchell, Ralph Torch Press, 1914 Ebooks - LU CD 3394 T CD CD - resource] : compiled and chronologically Emerson, 1859-1925, users only 9 1914 EB Diplomatics, arranged with historical, genealogical, Archives, Seals. geographical, and other annotations, by authority of the state of New Mexico / by Ralph Emerson Twitchell. Franklin County, Illinois, war history, 1832- Baird, S. Sylvester. Pub. by H.W. 1920 Ebooks - LU D 505 B 35 D D - General 1919 [electronic resource] : containing a brief Trovillion for users only 1920 EB World History. review of the world war--complete history of the Franklin Franklin County's activities--photographs and County War service records of Franklin County's soldiers, History Society, sailors and marines--ind Tulsa County in the world war [electronic Lampe, William T., 1919 Ebooks - LU D 57085 O D D - General resource] / comp. -
TDF Stages Home About TDF Stages Contact TDF
Search Our Site... Bringing the Power of the Performing Arts to Everyone TDF LOGIN WINTER SALE: Become a member to save on ckets to theatre, dance and music! Find out if you qualify to join TDF. Home > Arcle > 15 Dance Performances to See This February Adjust Text Size: TDF Stages Home About TDF Stages Contact TDF Stages Newsleer Signup Masters of the Stage TDF Theatre Diconary 15 Dance Performances to See This February By SUSAN REITER FRI JAN 31, 2020 • DANCE • 0 COMMENTS SHARE THIS Catch two takes on Swan Lake, the Martha Graham Dance Company and a wide range of internaonal dance troupes this month --- February is overflowing with worthy dance performances from all over the world. The Joyce goes global with companies from Brazil, Argenna and France; the Harkness Dance Fesval is showcasing a different internaonal troupe each week; and the St. Petersburg Ballet Theatre makes its U.S. debut with Swan Lake at BAM. There are plenty of domesc dance-makers too, including New York City Ballet and the Martha Graham Dance Company. Of the 15 performances we're highlighng, at press me we have TDF member discounts to three, and we expect to have others in the coming weeks. It's best to check our offers daily as cket availability changes frequently. --- New York City Ballet: Winter Season 2020 David H. Koch Theater at Lincoln Center, 20 Lincoln Center Plaza, enter at 63rd Street Runs through March 1. The company interrupts its mixed-repertory programs for 12 performances of Peter Marns' Swan Lake (February 14-23).