Gennadi Nedvigin trained at the Bolshoi and had a 19-year dance career at San Francisco Ballet; Atlanta Ballet has lately been concentrating on contemporary works. Nedvigin will be implementing the ultra-classicist Vaganova Method, developed at and for the Mariinsky Ballet.
Atlanta Magazine Published:12.07.16
Marina Harss looks at the special qualities of this first star part for young male dancers, and she talks to a 12-year-old who’s sharing the role at New York City Ballet this year.
The New Yorker Published:12.06.16
“I came to Australia with a shaved head and a swollen foot. … It’s been extreme hard work, extreme dedication, and also extreme loneliness. This isn’t my home. But it feels so comfortable and I’ve been made to feel so welcome.”
Sydney Morning Herald Published:12.08.16
“The 27-year-old Ukrainian … has been cast in two hot upcoming titles: Kenneth Branagh’s all-star adaptation of Murder on the Orient Express and the spy thriller Red Sparrow from Fox, appearing alongside Jennifer Lawrence and Joel Edgerton.”
Hollywood Reporter Published:12.05.16
“This year we celebrate four extraordinary dance heroes: New York City Ballet principal Tiler Peck, choreographer Lar Lubovitch, activist/teacher Carolyn Adams and historian Lynn Garafola.”
Dance Magazine Published:11.30.16
Well, that depends. If you consider religion strictly a matter of belief, we can’t know. But if, like anthropologist Barbara J. King, you see religion as practice, there’s evidence.
“Perhaps contradictions are a necessary ingredient for triggering intellectual creativity. While most humans struggle to maintain a sense of psychological unity, contradictions produce destabilising breaches in the self. Whether conscious or unconscious, these fissures nourish creative inspiration, which can be interpreted as a way to resolve or sublimate internal oppositions. I believe this can be said of all domains of creation. Perhaps art, literature, science or philosophy wouldn’t be possible without intrapersonal contradictions and the desire to resolve them.”
“With the ubiquity of the internet and the rise of machine learning, a new kind of solution is beginning to take shape. The infrastructure of the web, built to link one resource to the next, was the beginning. The next wave of information systems promises to more deeply establish links between people, ideas, and artifacts that have, so far, remained out of reach—by drawing connections between information and objects that have come unmoored from context and history.”
The Atlantic Published:12.01.16
“Two years ago, in an essay on the persistence of the Frankfurt School, I wrote, ‘If Adorno were to look upon the cultural landscape of the twenty-first century, he might take grim satisfaction in seeing his fondest fears realized.’ I spoke too soon. His moment of vindication is arriving now.”
The New Yorker Published:12.05.16
“Under the new business model, Luminato would start planning events three years in advance so that it could work with other festivals as partners in commissioning shows and work out the best possible deals with venues and artists. Meanwhile the festival would rely less on government funding.”
The Globe and Mail (Canada) Published:12.08.16
It’s not unusual for corporate entities to give money to arts organizations. It’s far less common for them to actually break out the hammers and nails. “We could just donate to the arts,” Joseph A. McMillan Jr., who founded DDG, said by phone. “But as a real estate company, we have opportunities and capabilities others might not possess.”
The New York Times Published:12.07.16
Adam Kirsch: “One illusion that will be particularly painful to part with is the idea that high culture and the arts have any effective power in American life. … The central role that writers and artists have played in public debate and popular culture is a thing of the past, but that role was always secondary to their real purpose.”
Genuine quotas were explicitly tried in Britain in the 1980s, and they failed. Well, they were sort of tried – Christy Romer argues that the attempt wasn’t serious, and that now’s the time to try to do it properly.
Arts Professional (UK) Published:12.01.16
Kyle Buchanan talks to Leslye Headland (Sleeping With Other People), Mary Harron (American Psycho), Paul Feig (Bridesmaids), John Krokidas (Kill Your Darlings), and half a dozen others (including Paul Verhoeven of Showgirls, of course).
Penélope Cruz, Rossy de Palma. Marisa Paredes, Emma Suárez, and others on how the flamboyant director creates his female-centered worlds.
New York Times Published:12.02.16
How ‘Crash’ Got Made Against The Odds And Won The Best Picture Oscar Against Even Bigger Odds: An Oral History
These folks don’t think they beat Brokeback Mountain because of Academy voters’ homophobia (or at least skittishness). But they made the movie, so they would say that, wouldn’t they? Even so, they have quite a story to tell.
New York Magazine Published:12.04.16
These films rarely top critics’ lists, but they’ve definitely captured their people’s imaginations. Britain’s The Great Escape, Russia’s Irony of Fate, India’s Sholay – plus titles for France, Germany, Mexico, Japan, Nigeria, and, of course, the U.S. (for which the choice may be arguable but is certainly credible, especially when you adjust its box-office figures for inflation).
The Guardian Published:12.01.16
“Leaving aside, for the moment, the political realism of the request, the plan is a good one. In an increasingly scattered but ever more Internet-dependent and globalized media environment, the country needs a public producer, curator and distributor to craft a powerful Brand Canada across all platforms, offering not only news, public affairs and documentaries, but also fiction, variety and arts programming. It needs an iconic institution to nurture and lead the cultural industries, a rallying point for Canadian creativity.”
The Globe and Mail (Canada) Published:12.03.16
“Is music meant to be ephemeral or enduring? And indeed, are those two goals consonant with one another, or at odds? For those who take as their mentors, our sources of inspiration, and our measures of quality long-dead Germans like Bach, Brahms, and Beethoven, perhaps the ultimate goal would be to write, like they did, something of value that transcends our era. But can one write a piece with the goal that it become ‘an important part of the repertoire’?”
“In the two years of Jeff Melanson’s tenure, total expenses at the orchestra increased by almost a third, administration costs by 80 per cent. In previous years, the TSO’s expenses had either stayed flat or declined. The TSO did not see an accompanying increase in revenues in the last fiscal year. Ticket sales declined slightly in fiscal 2015-16, as did government support. Thus the organization’s surplus was created, in the first instance, by having the Toronto Symphony Foundation, the organization’s long-term funding support, make a contribution to the orchestra of almost $5-million in fiscal 2015-16, more than double its usual contribution.”
The Globe and Mail (Canada) Published:12.08.16
“The musicians voted on Wednesday to approve a new labor agreement with orchestra management that includes a pay freeze for the first two years and modest pay raises in the last two years of the four-year contract.”
Fort Worth Star-Telegram Published:12.07.16
Puccini’s Original Version Of ‘Madama Butterfly’ Returns To La Scala 112 Years After Its Disastrous Premiere
Oh yes, it was booed, and not only by the professional claques. There are some big differences from the revised version Puccini eventually published – especially with the character of Pinkerton, who was originally much more craven as well as more caddish.
New York Times Published:12.06.16
“Now it has emerged that one of the two experts who refused to authenticate the score later tried to persuade the owner of the piece to part with it for just €900 (£757), less than one per cent of the value put on it by the auction house.”
The Telegraph (UK) Published:12.02.16
The current Polish government had asked the court to allow the extradition of the director (who is a dual citizen of Poland and France) to the U.S. over his notorious statutory rape charge from the 1970s.
New York Times Published:12.06.16
A century ago, Maude Adams was such a renowned actress that one critic described her as “the most popular person in the United States.” Peter Pan was the role that made her a superstar, and she was also famous for her Napoleon II. Yet the play she loved most was an adaptation of the old fable of Chanticleer.
Atlas Obscura Published:12.06.16
He’d been acting professionally in British theatre, film, and television for seven decades when he was cast (at age 90) as Maester Aemon in HBO’s juggernaut. “With his bulky figure, small eyes and prognathous jaw, he usually played the type of character you would not want to bump into on a dark night in a darker alley, even though, in real life, Vaughan was known for his conviviality,”
The Guardian Published:12.06.16
As rock’s iconic drummers get to middle age and older, they’re suffering hearing loss and muscle and joint pain associated with a lifetime of hitting the skins.
The Globe and Mail (Canada) Published:12.02.16
“Faced with the pending inauguration, Greg Allen said in his statement, ‘I could no longer stand by and let my most effective artistic vehicle be anything but a machine to fight Fascism.’ His new company ‘will be comprised entirely of people of color, LBTQ+, artist/activist women, and other disenfranchised voices in order to combat the tyranny of censorship and oppression.’ That explanation was received with ire and disbelief by Neo-Futurist company members, current and past, who say the troupe is now more diverse than it’s ever been, and the breakup is not political but personal—rooted in a long-suppressed history of problems between Allen and the theoretically democratic ensemble that he formed.”
Chicago Reader Published:12.07.16
In an interview with The Stage, Wilson was asked if the West End needed a greater variety of theatre sizes. He responded: “Yes we do. And the reason is that the big theatres, progressively the smaller big theatres, are being used for musicals more. Gypsy going in to the Savoy, and Funny Girl… the 800 and 900-seat theatres are being used for musicals, and drama will be squeezed out.”
The Stage Published:12.07.16
The good news from a decade-long study of the area’s seven major pro companies is that audiences there aren’t tapped out, they’re growing (even subscriptions increased!). But there was one startling finding: “A whopping 85 percent of audiences patronize a single troupe.”
Washington Post Published:12.02.16
“Nothing like a boycott promoted by conservative Republicans to send the Broadway grosses soaring.”
Blouin Artinfo Published:12.06.16
Lynn Nottage, Playwright Of ‘Sweat’, On Getting To Know Locked-Out Middle-Aged White Steelworkers In Reading, PA
“I found that the way in which they spoke was really familiar to me, as an African-American woman who has struggled with marginalization throughout my entire life. For the first time, they were saying, ‘We feel unseen, unheard, frustrated.’ At the end of the meeting, I said, ‘You guys sound like socialists.'” A Q&A with Slate‘s June Thomas.
Remember “spring green”? That’s not what Pantone’s calling it, of course, but even so …
New York Times Published:12.08.16
“‘In the social media, there have been tens of thousands of comments about ‘King Bibi’,’ [sculptor Itay] Zalait said on Army Radio when asked what had inspired him to create the statue. ‘I simply made it a reality and put it in its deserved place, the Kings of Israel Square.'”
“In the U.S., we’re citizens of our debt,” the collective, which grew out of the Occupy Wall Street movement, told me. “Almost everyone has some kind of debt. If artists don’t organize around it, [the debt] is going to gobble us up.”
In the years between the 1925 Paris Exhibition (where the stye became famous) and World War II, Art Deco became as popular in Japan as it did in any other prosperous country. “The cultural hybridity was, in a way, a reversal of the one that emerged in Western Europe in the late-19th century, when Japonism swept through the region, captivating the Impressionists in particular.”
The auction house has acquired Orion Analytical and is folding the firm into its newly-created scientific research department. James Martin, the firm’s founder (and now a Sotheby’s exec), has helped the FBI in a number of art fraud cases, not least the Knoedler Gallary debacle.
Oh, *This* Will Be Juicy: Martin Amis Is Writing A Novel About Christopher Hitchens, Saul Bellow, And Philip Larkin
“It’s hard going but the one benefit is that I have the freedom to invent things,” he says. “I don’t have them looking over my shoulder any more.” Because, of course, they’re all dead now.
The Guardian Published:12.07.16
This Again? Virginia County Yanks ‘To Kill A Mockingbird’ And ‘Huck Finn’ From Schools After Parent Complains About N-Word
The mother of a biracial high school student on the state’s Eastern Shore told a school board meeting, “I’m not disputing this is great literature. But there is so much racial slurs in there and offensive wording that you can’t get past that, and right now we are a nation divided as it is.”
Washington Post Published:12.03.16
“While critics and book reviewers may continue to be an essential part of public cultural life, literary theorists who do not embrace AI will be at risk of becoming an exotic species – like the librarians who once used index cards to search for information.”
“Symptoms included a frenzy for culling and hunting down first editions, rare copies, books of certain sizes or printed on specific paper.”
Atlas Obscura Published:12.02.16
“She went from sort of daffy and inattentive to intimately involved with her client’s world. Her head cocked, her timbre lowered, and she understood everything. A client could have sat down and told her they were going to murder their parents and she would have said, “Well, they have been very mean to you.” With her, the clients felt heard. They’d open up their lives, reveal deeply buried trauma. She was a truly fantastic interviewer.”
Literary Hub Published:12.01.16