“What others found difficult, she found easy, coming top in every exam. She was, quite simply, built to dance, in perfect proportion, with strong, arched feet, long legs, flexible ligaments, and great strength. But she also began to see dance differently, to feel that she was capable of expressing steps in new ways by extending the technique she was being taught.”
“Moscow is at least eight times zones away from any city in the contiguous United States. The Russian language has a different alphabet. The floors are raked. The tuition costs more than $20,000 a year. And, well, it’s cold in Moscow. But none of those obstacles stand in the way of American students hell-bent on getting pure Russian training.” Several of those students tell Wendy Perron why it’s all worth it.
“For decades, [company founder Ronn] Guidi had been fascinated by the repertoire of Sergei Diaghilev’s Ballets Russes. … He engaged the original choreographers, or their appointed emissaries, and he reproduced the decor and costuming of the original productions, some of which were originally signed by museum names – Picasso, Derain, Chanel, Bakst, Benois and Goncharova. Dances we despaired of ever seeing live arose from the pages of the history books on the Paramount stage.”
“The Prancing Elites hail from Mobile, Alabama, and they’re a forceful reminder that in the era of ‘just do you,’ it can be a radical – even dangerous – proposition to do just that. Wherever they go, the Elites, as they often call themselves, arouse visceral reactions from local residents, of both disgust and admiration.” (includes video)
“The strike was a defining political and social moment in recent British history; it changed the nation, and its repercussions are still being felt. But it is a complex and difficult subject to navigate in an abstract art form such as dance.” Even so, Rambert Dance Company artistic director Mark Baldwin gave it a go, and he writes here on how he went about it.
Gary Avis of London’s Royal Ballet has a daily routine “as strenuous as [that of] any professional rugby player: three hours of training each morning, five or six hour rehearsals in the afternoons and a three hour performance in the evening. Yet with a physique that sportsmen half his age would envy, he shows no sign of winding down.”
No country, not even North Korea, is better than China at staging precise movements by huge numbers of people. “Whether the subject is military parades or world-record attempts, mass exercises or enormous performances, the images are frequently remarkable. … (Note: a few of these images can create a dizzying effect when viewed while scrolling, which is fun, but could be surprising.)”
Maya Plisetskaya retired formally as a soloist when she was 63, but she never left ballet. On her 70th birthday, she debuted in “Ave Maya,” choreographed for her by Maurice Béjart. She danced “Ave Maya” again for her 80th anniversary and at 82 Plisetskaya, still steady on her high heels, once more danced Béjart’s piece at the Cap Roig Gardens festival in Spain.
“For Ms. Tammany, an artist by day who moonlights as an usher, the job was a reunion of sorts. She designed La Sylphide when Mr. Martins first staged it 30 years ago for the Pennsylvania Ballet, in a production that was later broadcast on public television. But she said she was stunned when Mr. Martins approached her about doing it again at City Ballet.”
“Only a handful of ballerinas have danced into their 50s, and … Ferri said she hoped to blaze a trail for older dancers but suggested that the over-40s face age discrimination in the ballet world. Younger choreographers ‘are unable to see that you are unique and to enjoy that fact. Some of them hardly even look at you in the rehearsal studio.'”
Says one member of Diavolo, Architecture in Motion about founder/artistic director Jacques Heim, “He often puts on a show. He lives to get a rise out of you. And by really nit-picking at what we don’t do so well, he knows he’s going to get something great out of us.” Says another, “On an artistic level, it’s an upstanding trait. But for the younger dancers, it’s a relationship that can potentially be tumultuous.” (video)
Damien Jalet: “There was definitely a question mark when suddenly we were not a couple. Would we continue to perform this? There was a moment of transition – it was tough because, with each performance, you go back to where you were in your life when you were creating it. But for [Sidi] Larbi [Cherkaoui] and I, work had been such an important part in our relationship. We felt it was beautiful to preserve that.”