Posts Tagged ‘Balanchine’
Monday, April 28th, 2014
Toward the end of LeeSaar’s Princess Crocodile, seven bare legged female dancers line up, open their red-painted mouths, and— like it’s the most mundane thing in the world—wildly wag their tongues at the audience. This culminating act lasts a good minute. It felt oddly fitting, and it became the theatrical highlight of the newest work by the husband-wife team Saar Harari and Lee Sher, seen April 10 at the Baryshnikov Arts Center’s Howard Gilman Performance Space.
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Tags: Animal HousGood Times, Apollo, Avi Yono Bueon, Balanchine, Baryshnikov Arts Center, Candice Schnurr, Gaga, Howard Gilman Performance Space, Hyerin Lee, Leda, Lee Sher, LeeSaar, Ohad Naharin, Princess Crocodile, Rachel Straus, Saar Harari, Stravinsky, Symphony No. 5 Mahler
Posted in The Torn Tutu | Comments Off on LeeSaar’s Dancing Tongues
Sunday, March 16th, 2014
Like many choreographers who have persevered, Stoner has bore witness to many dance movements: the high drama of Martha Graham, the abstract formalism of Alwin Nikolais, the anti-virtuosity of Yvonne Rainer, the minimalism of Lucinda Childs, the fusion dancing of Twyla Tharp, and the formalism of Balanchine and Cunningham. Stoner’s work incorporates aspects of each of these 20th century U.S. dance movements, but she isn’t a direct descendent of any them. Perhaps it’s because her work never entered the mainstream dance world. There is something to be said for being on the outside of the concert dance machine, which grinds many a choreographer up. In “Distant Past, Ancient Memories,” Stoner seems to be dancing through part of her history, with the wisdom of one who has made many dances, and with a need to choreograph with a broader brush.
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Tags: Alwin Nikolais, Amos Pinhasi, Balanchine, Chase Booth, Jeanette Stoner, Lucinda Childs, Martha Graham, Mary Wigman, Merce Cunningham, Peter Davis, Rachel Straus, Twyla Tharp, Yvonne Rainer, Zvi Gotheiner
Posted in The Torn Tutu | Comments Off on Dark Days: Jeanette Stoner and Dancers
Tuesday, March 11th, 2014
We are living in the age of the male choreographer, again. Seventeenth and 18th century ballet masters were traditionally male and the acknowledged great names in ballet—Petipa, Fokine, Massine, Balanchine, Ashton, Tudor, MacMillan, Cranko, and now Ratmansky—are all men. Modern dance, on the hand, was until recently the domain of the female choreographer. (Think Isadora Duncan and Martha Graham.) Yet modern dance, which is now called contemporary dance, no longer boasts as many strong female choreographers as it did in its heyday (1910 to 1960). What happened to the predominance of powerful, highly visible female choreographers?
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Tags: Balanchine, Carol Schneeman, Clement Greenberg, Cunningham, Pam Tanowitz, Paul Taylor, Rachel Straus, Viola Farber, Yvonne Rainer
Posted in The Torn Tutu | Comments Off on Formalism in U.S. Dance
Thursday, July 4th, 2013
by Sedgwick Clark The 2012-13 season began at New York City Ballet with a three-program mini-festival of Stravinsky-Balanchine works. It ended last week with Alan Gilbert and the New York Philharmonic in a “theatrical reimagining” at Avery Fisher Hall of Stravinsky’s Le Baiser de la fée (The Fairy’s Kiss) and Petrushka. May 29 was the […]
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Tags: Alan Gilbert, Alastair MacAulay, avery fisher hall, Balanchine, Bernard Haitink, Clark, cleveland orchestra
Posted in Why I Left Muncie | Comments Off on Stravinsky Stuff
Tuesday, May 24th, 2011
New York City Ballet’s new staging of “The Seven Deadly Sins ,” which had its premiere at the company’s spring gala on May 11, puts Kurt Weill and Bertolt Brecht’s dark, sinister “ballet chanté” of 1933 into a new context: a tinsel-town soundstage, complete with unison hoofers in the grand finale. Choreographer Lynn Taylor-Corbett, whose credits include Broadway’s “Swing,” has essentially created a Cliff Notes version of this irony-laced yarn, dragging principal dancer Wendy Whelan and guest artist Patti Lapone through seven shallow scenes of human transgression and stripping the work of its brooding soul.
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Tags: After the Rain, Allegra Kent, Balanchine, Beowulf Boritt, Bertolt Brecht, Chester Kallman, Christopher Wheeldon, Clotilde Otranto, Deborah Jowitt, Elia Kazan, Jason Kantrowitz, John Martin, Karinska, Kurt Weill, Lotte Lenya, Lynn Taylor-Corbett, Marlon Brando, New York City Ballet, Patty Lapone, Peter Martins, Street Car Named Desire, The Real Housewives of Beverly Hills, The Seven Deadly Sins, Tilly Losch, Vienna Waltzes, W.H. Auden, Wendy Whelan
Posted in The Torn Tutu | Comments Off on The Seven Deadly Sins at City Ballet
Monday, May 2nd, 2011
By Rachel Straus May 1-2 Guggenheim Museum The popular Works + Process series presents “American Ballet Theatre on to Act II.” Current ABT dancers will perform excerpts from their upcoming Metropolitan Opera House season. ABT alumni will discuss the challenges dancers face in the second act of their careers. You can watch the event each […]
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Tags: 92nd St. Y, Alexei Ratmansky, Alvin Ailey American Dance Theater, American Ballet Theatre, Andrew Nemr, Antony Tudor, Apollo Theater, BAC Flicks, Balanchine, Baryshnikov Arts Center, Benjamin Millepied, Bharata Natyam, Camille A. Brown, Cedar Lake Contemporary Ballet, Charles Atlas, Christopher Wheeldon, Dances Patrelle, Danza Contemporanea de Cuba, Gilbert & Sullivan, Guggenheim Museum, Gus Solomons, Joyce Theater, Lynne Taylor-Corbett, Marshall Davis, Mats Ek, Mondays with Merce, Movement Research, Nancy Dalva, New York City Ballet, New York City Dance Parade, Odissi, Patti Lupone, Pedro Ruiz, Rafael Bonachela, Sakshi Productions, Sydney Dance Company, Trisha Brown, Wendy Whelan, “Giselle, “Lady of the Camellias, ” Dakshina Company, ” “Cinderella, ” “Coppelia, ” “Don Quixote, ” “Swan Lake, ” “The Sleeping Beauty
Posted in The Torn Tutu | Comments Off on May Dance in New York City