“Love us or hate us, we need each other.” Lauren Warnecke (who’s still a bit surprised to hear herself called a critic) understands where choreographers and dancers are coming from – and explains for them her new point of view. (She really is on your side. Most critics are.)
Lindsey Butcher, artistic director of Gravity & Levity: “Audiences don’t quite know what it is. Circus aficionados tend to think it waters down aerial skills and feel excluded because it is contemporary dance, but equally I’ve had dance buffs tell me I’m ‘selling out’ to circus. The truth is that aerial dance borrows from both […]
“It’s not always discussed, but dancers are as integral to the creative process as choreographers. That notion gives Sara Mearns, the fearless and ravishing principal at New York City Ballet, reason to pause: ‘I think I’ve had maybe two questions before about my point of view.’”
“In a land where a strict interpretation of Islamic law means movie theaters and many other diversions are banned, nightclubs are unthinkable and the weight of tribal custom is heavy, Saudis in large numbers are discovering the thrill of a little sidekick-sidekick bunny-hop.”
“On days that Paul was not in the studio, … the camera could get right up close to the dancers. For visual continuity, the dancers agreed to wear the previous day’s sweaty dance clothes all over again.”
“When I hit 50 I stopped dancing for a while because the memory of how I used to dance was too painful for me. But there are things I can do now that I couldn’t then. When you’re young it’s all about how fierce it feels. Now it’s about how deep it feels, and I’m […]
Sarah Kaufman: Amy Purdy is a double amputee, and her prosthetic limbs have carried her with deceptive ease through four weeks of competition on ABC’s “Dancing With the Stars.”
The steps are “simple, idiotic nuggets of movement,” said Ani Taj, the Cartel’s founder and choreographer. “If you want it to be a populist experience, then people have to be able to do it in some way.”
“When I first came here they said you’ll disappear off the dance map. The opposite was true – we got a lot of attention. It just requires more creativity. … Being surrounded by other artists and companies [in a big city] is more of a challenge than being away.”
Sergei Filin can now see (just) well enough to judge a competition (which he’s doing this week). Of healing at the troubled Bolshoi, he says, “It’s primarily myself who has to heal, because I bore the main blow myself. … I think it’s those people who were creating this atmosphere for all these months which […]
“What I love about working with these dancers is that they have openness without judgment – it’s all new for them. Sometimes knowledge gets in the way so the fact that they have a space to absorb new information, and not too much to refer to from their past, means that it all comes in […]
“People have forgotten that dance is meant to be part of their lives. Socially, it gets you out and about; physically it’s exercise without too much strain; and it makes you feel great about your body.”
When Princess Caroline invited Maillot to lead Monaco’s ballet company, he says, “I wanted to show the world that this company wasn’t the toy of a princess. I wanted a company that would have its own identity. And I wanted Monaco, so small and so specific, to experience the whole possibility of dance.”
Artistic director Loyce Houlton said that there were “disconnects” between the departed board and the organization. While she would not go into details about what precipitated January’s startling news, she “took responsibility,” as a board member and artistic director.
“The company’s plans — which are being supported by several major foundations — are the latest attempt to deal with questions about the legacy of a major 20th-century choreographer.”
Alastair Macaulay: “The Russian nation and its capital city have greatly changed; Russia’s dealings with the West – and its presentation of its own history – have been transformed; and the Bolshoi Theater itself has been completely renovated and partly rebuilt … [and] visually, in its auditorium and its public spaces, [it] may well now […]
It’s a tough job that Benoit Swan-Pouffer left behind about a year ago – “running a well-funded, New York-based operation with an extensive repertory of work by big-name choreographers”. But the company’s ballet mistress is ready to take it on.
“I don’t tap dance for the sake of applause. I don’t tap dance for the sake of spectacle. I tap dance for equality, I tap dance for the recognition of the man in this country, what we had to go through as a people in order to claim existence in this country.”
In choreograher Mourad Merzouki’s Boxe Boxe, “as the protagonists come into the ring (complete with stripe-shirted umpire), boxing mitts turn into glove puppets, a dancer’s body curves in a feline swoop only to be caught in a firm headlock, and limbs jab, swipe and kick while a string quartet roams the stage.”
“The brainchild of Amsterdam-based, Italian-born choreographer Emio Greco and Dutch dramaturge Pieter C. Scholten, Rocco explores brotherhood, masculinity, and the mythology of boxing, while pushing its four male dancers to physical extremes.”
The debate lies in a crucial distinction. While many animals are obviously capable of “moving rhythmically” to music, that’s not the same thing as dancing.
Marie Chouinard, Jonah Bokaer, Sibi Larbu Cherkaoui, Sidra Bell and Alexander Ekman talk “about why and how they use the naked body in their work. While for some it requires serious deliberation and justification, others see nudity as just another tool in their artistic arsenal.”
“On a crowded dance floor, a group of 50 women are swaying, stomping, lunging, and gyrating to singer Jason Derulo’s ‘Talk Dirty,’ Pitbull’s ‘Don’t Stop The Party’, and other popular numbers blasting over loudspeakers. It could be any trendy New York club, except here the dirty words and sexually explicit lyrics are missing from the […]
“Dance is being given a place in opera, not so much in the form of the big, happy intermezzi of yesteryear but as the thing that everyone said it couldn’t be: a plot advancement.”
“Tomasson’s created more than 40 ballets, most of them for his own company. Simultaneously, he’s taken San Francisco Ballet to global renown. Tomasson marked 29 years at the helm by signing a contract earlier this month for another five years as artistic director.”
Retired city folks are cranking their boom boxes and boogie-ing in parks, squares and parking lots – and driving the neighbors nuts. The elders themselves – tens of millions of them – say it’s good for their physical and mental well-being (and digestion, too).
“It’s exactly like a 30-year circle,” said Ms. Whelan, 46, who joined City Ballet as an apprentice in 1984 and went on to become a prima ballerina and to create roles in new ballets by choreographers including Christopher Wheeldon, Twyla Tharp and Alexei Ratmansky, among others.
“Can O’Hare’s dazzling company be related to the Royal Ballet which had Equity banging on his door complaining that the dancers were overworked, let alone the company from which glittering principals Tamara Rojo and Alina Cojocaru defected to the rival English National Ballet?”
“Let’s do a brand-new story that works well for dance, and commission new music, new sets. Have it be a big production. Hire someone to write the libretto. Put a lot of care into it. Even take the time to workshop a lot of it. I’d take an approach that plays or Broadway musicals take, […]
The Royal Ballet star, now artistic director of English National Ballet, tells the famously confrontational interview program that “We never spend any time talking about the joy, about the huge satisfaction that being a ballet dancer gives you.” (video)