“[Cage] literally represented for me everything cool and removed and sophisticated at a time when I was trying to wend my way into the art world.” The choreographer talks about the genesis of his dance-theater work Story/Time.
“We have this idea, partly because of the past, of choreographers just coming and dancers just doing as if they’re not thinking. We know that dance is as much a cognitive act as it is a physical act. That’s why I’ve been very interested in physical thinking. If it’s a cognitive act, how is it that you can inspire people to be more creative cognitively?”
Barcelona designer Lesia Trubat says that, “after observing the motions of their bodies as they glide and pirouette, she realized that through contact with the ground, a lilypad arduino microcontroller board could record the pressure and actions of their feet and send the signal to an electronic device,” with which users could render the movementd graphically.
“She began reviewing for Dance in the late 1940s and, from 1951 to 1971, was the magazine’s associate editor and principal critic. Early on, immersed in the New York dance scene, she underwent a change of outlook in 1957, when she was given an out-of-town assignment.” She was 94 when she died earlier this month.
“One of the biggest issues we struggled with as a committee was involving the company dancers in the process. It was a fine line because things tended to get personal. What some dancers failed to recognize was the search committee had a lot of information the dancers were not privy to. It is great to involve everyone in the organization in the process but know where you have to draw the line.”
“The German sociologist Erich Fromm said that creativity requires the courage to let go of certainties. That’s what Wendy has, in my opinion – courage. … It may sound like a silly pun, but when I say there’s a certain grace to these next steps, I mean it in the most sincere way. I salute her fortitude, and along with everyone else, I’m eager to see what she does next.”
“At the age of 22 and still a junior soloist, [Francesca] Hayward is already being fast-tracked into principal roles. The self-possession and technical command of her performances have fired enormous interest among critics, bloggers and fans, and ignited hopes that she may become that elusive thing, the next great British ballerina.”
No, not as a skater. (Our Eddie is 78, after all.) Dick Button – no doubt with an assist from Villella’s wife, once a champion skater herself – convinced him to try choreographing serious ice ballets. (And by the way, Villella says, “I will never work for a board again and I will never raise money again. It’s a beautiful freedom.”)
“‘Keep your elbows lifted, even when your arms are crossed over your chest – as though you’re in a bar, having a drink.’ So said the Pennsylvania Ballet’s new artistic director as he taught a recent company class in preparation for the dancers’ debut under his leadership this week. His unexpected suggestion, whimsical but clear, is typical of his style. It achieved the intended result.”
“The dancers have transfixed LA locals – and staff at their hotel. One man arriving with room service for Ms Lockett noticed a hanging tutu. ‘He was just fascinated,’ Ms Lockett said. ‘He said, ‘Stop it! You’re a ballerina!’ She tipped him generously for his enthusiasm. ‘We’d had such a lovely chat.'”
“Fagan’s blend of Afro-Caribbean and modern dance is technically challenging, requiring changes in rhythms and speed. … But Fagan’s choreographic process begins in silence, when he has the dancers learn the movement and rhythms. ‘They learn the parts of the body that they should and shouldn’t use,’ added Fagan, ‘then I bring the music and their eyes light up.'”