The 33-year-old Quebecker is a principal and the National Ballet of Canada and arguably the nation’s biggest male ballet star. He also makes high-profile guest appearances, composes and performs music, runs a summer arts festival in the countryside north of Montreal, and is choreographing a full-length ballet based on one of the most beloved works in all of French literature (Le Petit Prince). And he’s a dad.
“The images flash between the noble and the grotesque, as a Renaissance artist might put it–the polished and the rough, elegant and comic, masque and antimasque. Then as now, we’re fascinated by these contrasts, these irreconcilable parts of our essential humanness. It satisfies something innate to see opposites in play.”
“Technically, the performance is astonishing. The robot itself required a full four months of on-site programming and rehearsal. That most demanding and conspicuous technical element makes the hour-long performance’s lighting seem elementary by comparison, but it is similarly high-tech and essential to the piece’s sleek, minimalist aesthetic.”
Gustavo Ramirez Sansano was appointed in November 2014, alongside Paul Kaynes as chief executive, as National Dance Company Wales new artistic director and was due to begin his tenure in June. National Dance Company Wales’s previous artistic director and co-founder Ann Sholem stepped down in 2013 after 30 years in charge of the company.
“Peer pressure is integral to Nepali dance. There’s even a word for this: nachaune, ‘to make dance.’ … It’s an elaborate group flirtation. Coyly insist you can’t, and then once you’re begged, bust out all the moves. No matter how much you might rather drop dead on the spot than dance in front of a huge crowd of people, it’s useless to resist, especially if you’re a foreigner.”
“The internationally prominent choreographer Sidi Larbi Cherkaoui will be the new artistic director of the Royal Ballet of Flanders, the company announced Wednesday in Antwerp, Belgium. Tamas Moricz , a former dancer with William Forsythe’s Ballet Frankfurt, will be the associate artistic director.”
“The breakout stars of last night’s Super Bowl halftime show were, needless to say, the sharks. Flanking Katy Perry, they mutely waved their fins and flapped their jaws to the words of ‘Teenage Dream.’ … But Left Shark, (who, for what it’s worth, was actually ‘stage right shark’), visibly struggling with the choreography, promptly became the butt of the internet’s jokes.” But we should cut him some slack. (includes video)
“Flex is said to have originated in the 1990s in Jamaica with a dancer who called himself Bruck Up. It developed in Brooklyn, mainly in dance battles and tournaments, both informal and organized. Although the form has found exposure through television competitions and an ocean of online music and dance videos, the attention from the likes of Mr. Sellars is recent.”
“Every dancer has her head positioned at the same angle, all in perfect rows, symmetrical, identical. Some productions include uniform wigs for all of their dancers. This aesthetic can still be seen on full display with the Russian companies today, and is one of their signature artistic strengths. Is racism therefore subconsciously built into the very structure of classical ballet?”
“I am convinced that choreography is not only the best [art] form to buy a ticket for, it is also an orchestration of encounters, the setting up of encounters between different minds,” she said. “I hope we give audiences the possibility to enter the choreography themselves, but also to intellectually stimulate the publics we encounter, more than just satisfy them and try to do it very gently, not aggressively.”
Says the choreographer about Ballet 422, Jody Lee Lipes’s new documentary about the creation of Peck’s first dance for his colleagues at New York City Ballet, “I was actually a little bit surprised by how young I look in it. I felt like I was watching this kid stand in front of the room and make a ballet.”