“Thanks to a collaboration between Gaumont Pathé archives, La Cinémathèque Française, and sound-recording expert Henri Chamoux, 34 of the original films [shown at the Exposition's newfangled Phono-Cinéma] have been beautifully restored.” (includes clips)
Alastair Macaulay visits the “exuberantly diverse” exhibition at the National Portrait Gallery, “Dancing the Dream”, which features everyone from Vernon and Irene Castle to Rudolf Nureyev to Shirley Maclaine to Isadora Duncan to Mark Morris to Twyla Tharp to John Travolta to Gypsy Rose Lee.
Patrick Rump, “a broad-chested, broadly smiling German” and former karate champion, is working “to start a revolution in dance health.”
Missing costumes, a fire…
Choreographer Peter Quanz: “I decided to make a group of dancers – which I’ve called sculptures, like a Greek chorus that is omnipresent through the ballet. At one point they are mud and they are born out of the mud. … I use those sculptures as a way to articulate my viewpoint on the relationships […]
“Creative arts therapy, also known as expressive therapy, includes dance, drama, art and music, according to Ehrman-Shapiro. She said not just any artist can be a therapist. For dance therapy, it requires a master’s degree and more than 3,000 hours of supervision from a dance therapist, just like a social worker.”
He says flat-out that it’s because of the distance: “Despite how rewarding the experience has been it has proved difficult on a personal level to be so far away from family and friends.”
“How can we define the best of the best? It is a matter of opinion and will always be subjective, but there is also the question of popularity and influence.”
“Creating a company gives me tools with which I can work,” Maillot said, “but being a choreographer is not being a painter or writer. You don’t have direct transmission of your work. It depends on others.”
“Where is the equivalent to Adorno on Stravinsky and Schoenberg? Where the monographs to match those on Cubism, or the modern novel? If the link between the “Demoiselles d’Avignon” and temporality in fiction is worth examining, why not between that same painting and Nijinsky’s Sacre du Printemps?”
“In the first of our new guest blogs, Candoco Dance Company’s co-artistic director Pedro Machado explains why, in their new work, Notturnino, his company are making it up on the spot. How will it change the dancers’ relationship with the audience?”
“Last year, when I first heard about One Billion Rising, the day of action Ensler had declared to ‘break the silence’ about violence against women, I did not immediately think (as 999,999,999 other women evidently did), ‘Oh hooray, the famous vagina lady is doing something about violence!’ Instead I thought, ‘They’re going to tell us […]
“Here was a company of astonishing dancers who continually circled the globe. But their repertoire did not always live up to their talent and range. The quandary? How do you maintain the Ailey’s identity, yet at the same time grow with the art form? How do you balance both the racial and “post-racial” nature of […]
JR, the French street artist whose installation on the floor of City Ballet’s home theater went viral, will choreograph a new piece for the company (with the help of ballet master Peter Martins).
“Ballet is grace and perfection, but it’s also twisted ankles and stinky flats. We meet two young male ballet dancers whose passion for performance led them all the way to the State Ballet School of Berlin.” (audio)
It’s turfing, a style of street-dance that was created in the city about twenty years ago and is now booming.
“Jenifer Ringer, who retired this month from New York City Ballet, has been appointed head of the Colburn Dance Academy. The Colburn School, where music, dance and drama are currently taught, is starting the new, more specialized program in the fall, in partnership with the L.A. Dance Project and its director, Benjamin Millepied.”
The Spanish choreographer has extended his contract for an additional five years, through the company’s 50th anniversary season.
In a short video titled Dancing on Rough Ground, “Anastasia Kurkova describes the challenges she faced after leaving her home country to join one of the most competitive ballet companies in Germany.”
For seven years, the “Dancing in the Street” festival in Grand Center not only opened the entertainment district’s fall season, but also served as a showcase for local companies.
Gold-medal winners Davis and White “have a small window of opportunity. The Winter Olympics soon will be forgotten by general sports fans, who quickly will move on to other things, because spring training is heating up and then March Madness is right around the corner.”
“Have you ever seen a dancer’s feet? It’s a wonder the profession even exists. What other art form is as brutal as ballet?”
“The villainy of ice dancing knows no bounds. If the fix is not in against Tessa Virtue and Scott Moir, then I’m the Princess of Wales.”
The Mellon Foundation has given a $1 million grant to the Martha Graham Center of Contemporary Dance to organize and digitize its archives and to create “toolkits” to help revive and restage Graham’s works.
Judith Mackrell: “A century ago, weight was never so contentious. While ballerinas were inclined to be more slender than the norm, … those dancers were not expected to be excessively thin. … It was in the mid-1920s that attitudes to dancers’ bodies shifted.”
The programming, on BBC2 and BBC4, includes Darcey Bussell honoring her ballet heroines, a documentary on how World War II helped create modern British ballet, a behind-the-scenes visit with Tamara Rojo preparing the lead role in Swan Lake, and rare footage of Margot Fonteyn.
“The result is a moving three-dimensional model of the ballerina’s skeleton – that mimics her actual movements. Algorithms then calculate how much stress is placed on each part of the body, drawing attention to areas that are likely to cause trouble in the future.”
“And that’s a great thing – to actually have something to mourn in this process, that makes me feel really proud that we achieved something great.” But he’s still going to leave us to mourn, while he gives up dance to make films.
“Sergei Filin, the Bolshoi Ballet artistic director who was wounded in an acid attack last year, will come to New York in April as one of the judges in the Youth America Grand Prix ballet competition, officials from the contest announced.”
Katie Colombus: “I so wanted to say that times had changed. … I thought back to those days, when at least one in four of the girls in my institute were either anorexic or bulimic, and the rest had fairly serious aspirations of joining either side. … But I don’t think we have moved forward.”