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Volume 1, Number 9 November 24, 2003 An online supplement to DanceView magazine
Letter from New York 24
November 2003. Last Sunday
and Monday (November 16 and 17), the Works & Process series at the
Guggenheim Museum presented an evening dedicated to the reconstructions
of two “lost” Balanchine ballets—Le Baiser de la
Fée (1937, American Ballet; staged for the Ballet Russe de
Monte Carlo in 1940).) and Mozartiana (1945), both from Balanchine’s
years as resident choreographer for the Ballet Russe de Monte Carlo during
and just after World War II. The program was organized by The George Balanchine
Foundation, an archival organization that has devoted much of its considerable
energy to reconstructing and filming Balanchine ballets long out of rep,
as well as to filming original interpreters of familiar Balanchine roles,
many now much changed over time, in the act of coaching young dancers
from the point of view of what the first casts of Balanchine’s ballets
actually were directed to do. Deep Waters Moon
Water By
Susan Reiter When
a theatrical experience is as mesmerizing and complete as Moon Water,
the latest work brought to these shores by Cloud Gate Dance Theater of
Taiwan, the afterglow resonates for days. The concept of creating a dance
work drawing primarily on the movements of tai chi could have led to something
insular—full of surface piety but distancing itself from an audience
rather than communicating to it. But Moon Water was the most
riveting 70 minutes I've experienced in a theater in a while, and the
immensely focused, amazingly concentrated audience at BAM suggested that
many were held equally rapt. Homage to St. Petersburg St.
Petersburg in New York: Ballet By
Dale Brauner St. Petersburg, Russia is to balletomanes what Wrigley Field is to baseball enthusiasts, Vienna is to music aficionados, and Rome is to Catholics. Many ballet lovers consider it the birthplace of the art form. St. Petersburg is the birthplace of George Balanchine, Anna Pavlova, Mikhail Fokine; the home of the Mariinsky Theatre and breeding ground to countless dance figures. The city
observed its 300th anniversary this year and events celebrating the “Venice
of the North” are being held around the world. New York has the
largest population of Russians living outside Russia, so it is only right
that festivities have been staged here. The Harriman Institute of Columbia
University presented “St. Petersburg Through American Eyes; Celebrating
300 Years of St. Petersburg." held from November 6-16. There were
panels devoted to painting, music and literature, and also one devoted
to ballet (moderated by Lynn Garafola, Professor of Dance at Barnard College).
Participants were noted teacher Suki Schorer ("Transformed by America:
Balanchine and the Maryinsky Tradition"); author Tim Scholl (“The
Sleeping Beauty and St. Petersburg"); and critic Elizabeth
Kendall (“Passing on the Petersburg Legacy"), a session on
coaching with American Ballet Theatre principals Irina Dvorovenko and
Maxim Beloserkovsky. Reprinted from the Midweek edition: SALVATION GOREYFIED Riedel
Dance Theater by
Mary Cargill Jonathan
Riedel’s The Unsightful Nanny, based on Edward Gorey’s
work and performed as part of last years Limón season at the Joyce,
was one of the most unusual and mordantly funny works seen in sometime.
So the news that Riedel had formed a company formed mainly from Limón
dancers to present his own works, including a new Gorey piece, was exciting
news. His company (making its Joyce debut) is performing at the Joyce
Soho from November 20th through the 23rd.
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What's On This Week November
24-30 November
24 November
24-November 30 (opened October 30) November
25 November
25 November
25-30 November
28-30 November
28-30 November
29-30 — Dale
Brauner
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