Dr. NakaMats rockz!
March 9, 2010 · Posted by Body Pixel ·
I’m not counting anymore how many films I watch during festivals, especially because I like them both, long and short films. Now, when ZagrebDox is behind me, I can start with my fresh documentary coverage for this season…
The first screenings I took part were by pure coincidence films from the section Happy Dox. Documentary film [...]
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dance flash and review @ the appeal: hope mohr and sf ballet
March 8, 2010 · Posted by dance in san francisco ·
Two things from last week at the SF Appeal:A Q&A with Hope Mohr:"I made many detours away from the path of dancing, but I finally heard--and listened to--the voice inside that was still saying, "Dance!" I had to return to dance to be true to myself."And a review of SF Ballet's Program 4 (which was held until this AM b/c of a backlog):"It's almost like a battle: think Eminem in pointe shoes (oh gee, what an image), battling with his body instead of his mouth."
Related posts:dance flash @ the appeal: sf ballet 2010, program 3
dance flash @ the appeal: sf ...
Review: 2010 San Francisco Ballet’s Program 4
March 7, 2010 · Posted by Saturday Matinee ·
San Francisco Ballet in Fokine's Petrouchka. © Erik Tomasson
We don’t see a lot of Fokine around the War Memorial Opera House in San Francisco. And with Program 4, Michael Fokine’s Petrouchka was a brave yet intelligent choice that took risks in exposing SF audiences to something more unfamiliar. It’s a stark story of tyranny and cruelty in the form of three life size puppets, working as slave entertainers for a demanding master at a public festival. The company’s famous extensions were nowhere to be seen onstage, yet the meticulous details was gripping in the way that every gesture served the ...
Gendered discipline dies hard
March 7, 2010 · Posted by KL Dance Watch ·
Main Zapin — Generasi Baru
5-7 March 2010
Experimental Theatre
ASWARA
Last night I went to see Main Zapin at ASWARA, and, as expected, I was treated to a feast of colour and sound, with twelve different forms of zapin from different parts of Malaysia illustrating the richness of our cultural heritage in this one dance form alone. The crowd was boisterous, the dancers energetic, and the costumes came in every colour of the rainbow. Yet, as the evening progressed, I found myself thinking of the performance in terms of cold analysis rather than unbridled physical joy.
My problem, as I mentally teased it apart, ...
The World We Live In
March 2, 2010 · Posted by The Ballet Bag ·
The Royal Ballet’s latest triple bill is a rare combination of three recent ballets, all done by living choreographers. It includes young Jonathan Watkins’ brand new piece As One. Here’s what each Bag Lady thought of his vibrant debut in the Covent Garden main stage:
Artists of The Royal Ballet in As One. Photo: Bill Cooper / ROH ©
Emilia says:
If you still don’t have a ticket for this week’s two final performances of As One then I suggest you grab one. Jonathan Watkins’ debut in the main stage is one of those myth busting pieces which prove that classical ...
Bright Young Things
February 25, 2010 · Posted by The Ballet Bag ·
The Royal Danish Ballet is intrinsically linked to Bournonville, the French ballet-master who shaped the Company, its style (the closest to 19th century French school) and its unique repertoire. But thanks to globalization and a young Artistic Director fresh from the NYCB rosters, the company also dances plenty of Balanchine, another legend whose choreographic style and ideas, albeit on the whole contrasting to those of Bournonville, share similar qualities of musicality and technical virtuosity.
Artists of The Royal Danish Ballet in Balanchine's Symphony in C. Photo: David Amzallag / RDB ©
The hand of Artistic Director Nikolaj Hübbe seems evident in ...
A Review of Chameleon from our APAP Showcase last month!
February 24, 2010 · Posted by TCK & CCK multi-arts project ·
http://ballet-dance.com/201002/articles/ahdance_chameleon_20090108_dombroski.htmlA.H. Dance Company'Chameleon'by Victoria DombroskiJanuary 8, 2010 -- Dance New Amsterdam, New York, NYThe A.H. Dance Company performed a piece of work entitled “Chameleon” at the APAP Conference Showcase at Dance New Amsterdam. This piece choreographed by Alaine Handa incorporated both dance and film to carry out a variety of notions dealing with children growing up in various countries all over the world, more than likely due to the careers of their parents demanding travel. The title of the piece “Chameleon” was perfectly proper, as it was about fitting in wherever one goes. These diverse young adults, who spent ...
Tangled Up in Plaid
February 23, 2010 · Posted by The Ballet Bag ·
If I were to write a book called “100 Ballets to See Before You Die” (perhaps there’s a market for that?), La Sylphide would certainly be one of my top 10 picks. It’s a ballet that digs deep, that still has much to say 174 years on. It centers on the pursuit of one’s dreams vs. the harsh reality of life, as James’s bid for the elusive but irresistible Sylph put him on a collision path with bigger forces. In daring to pursue what’s unattainable James manages to destroy everything that was real.
Susanne Grinder as The Sylph and Ulrik Birkkjær ...
dance flash @ the appeal: sf ballet 2010, program 3
February 17, 2010 · Posted by dance in san francisco ·
Here's a quick little excerpt from my review over at the SF Appeal of San Francisco Ballet's Program 3:Last on the bill was Theme and Variations, a tutu ballet that, for all except the main duo, focuses way too much on aquamarine and periwinkle (it's like My Little Ponies exploded onstage). With teal drapings and chandeleirs hanging from above, Theme and Variations is lighter than most Balanchine works, embodied with a pureness of soul that swoops across the stage as the corps begins their procession. But this ballet isn't for pussies; feet move with warp-10-like speed, bodies fly through the ...
Tremble for my Beloved
February 14, 2010 · Posted by The Ballet Bag ·
The latest run of Romeo and Juliet continues, each cast bringing a different interpretation and/or accentuating different aspects of physicality. Kenneth MacMillan’s expressive choreography suits so many different types of dancers: from the lyrical to the technician; from young promising soloists who can emphasize naïveté to form a realistic portrayal of a young couple in love, to such experienced dancers as Edward Watson and Leanne Benjamin who can rely on their artistic maturity to flesh out the choreography and reveal the musicality of Prokofiev’s score.
Edward Watson as Romeo, here with Lauren Cuthbertson as Juliet. Photo: Dee Conway / ...
