“Although issues of sustainability, training, visibility and funding remain constant, there are some major signs of hope on the horizon. It’s also important for the State as a whole to develop it’s own identity.”
“The choreographer Paul Taylor startled the dance world earlier this year by reinventing his company as Paul Taylor’s American Modern Dance, which he said would perform his works along with those of other modern dance pioneers and contemporary choreographers. Now the new enterprise is coming into somewhat clearer focus” with the announcement of its first season.
“Just when the dance world has become so stimulating with its jumble of influences from all over the world, and when classical ballet and contemporary dance are criss-crossing in interesting ways, we have recently seen announcements for two major initiatives that stake out claims for a certain kind of dance—a limited kind of dance that is easy to name.”
“The most obvious changes are in the company leadership and staff. There has been an almost complete turnover — from a new board president and new executive director to new teachers at the company school. The board has become better organized and more functional, with a more clearly defined and helpful relationship with the company.”
Says the former Australian Ballet star, who’s just starting his new job as artistic director of Louisville Ballet: “I might be a bit presumptuous in saying this but I would really like to bring a cinematic quality to these productions, to these traditional ballets. I think audiences are used to and expect a certain quality in period pieces, whether they be on the silver screen or whether they be on stage. So what I would really like to bring is reality.”
“Glass has experimented with visual forms before: television, live shows, movies. Until he encountered Monica Bill Barnes & Company, dance was the exception. … But when he first saw Monica Bill Barnes, something clicked. There was confetti, goofiness, turtlenecks, pop music. ‘I really loved it,’ he said. … “It felt so much like the work I tried to do on the radio, and what was surprising about that is that you can’t get further from radio than dance.”
“Starting at the beginning of the dancers’ day, each of the five ballet companies – Australian Ballet, Bolshoi Ballet, The Royal Ballet, The National Ballet of Canada and San Francisco Ballet – will take the lead for a four-hour period streaming live from their headquarters starting with the Australian Ballet in Melbourne. The live link then passes across time zones and cultures from Melbourne to Moscow to London to Toronto to San Francisco.”
“Produced by TV geniuses who are also perhaps sadists, the rigorous celebration of dance might be the most demanding talent competition out there, requiring its contestants to leap, pirouette, cha-cha-cha, and toss their dance partners in the air with unrelenting frequency over the course of its summer run each year.”
As part of his residency at NYU’s new Center for Ballet and the Arts, Wiseman and choreographer James Sewell are collaborating on a stage work based on – no, not his dance documentaries, but his 1967 fim Titicut Follies, about the Bridgewater State Hospital for the Criminally Insane in Massachusetts.
“Her new organization, the Center for Ballet and the Arts at New York University, where she is a scholar in residence, will open this month with the help of a $2 million grant from the Andrew W. Mellon Foundation. Ms. Homans said that its goals include establishing ballet as a serious subject of academic inquiry; drawing new voices into a discussion of its past, present and future; and expanding the conversation beyond the confines of the dance world.”