#anna kisselgoff

[boricuacherry-blog]

[symphonyoflovenet]

The absolute thing is the now. Change is the only constant.

Martha Graham, 19 February 1984, New York Times

[wazafam]

By BY ANNA KISSELGOFF from Arts in the New York Times-https://www.nytimes.com/2021/06/10/arts/dance/violetta-elvin-dead.html?partner=IFTTT Celebrated for her strong technique and natural grandeur, she was a star soloist with the Bolshoi Ballet before finding a new audience in London. Violetta Elvin, Glamorous Royal Ballet Dancer, Is Dead at 97 New York Times

[tcm]

Donald O’Connor Deserves to be a Super Star By Susan King

Donald O’Connor was a star. But I always thought he should have been a super star – a honorary Oscar-winning, an AFI Life Achievement Award and a Kennedy Center Honors recipient. He should be considered an equal to other legendary musical comedy stars, like Fred Astaire and Gene Kelly, especially considering his remarkable athletic and acrobatic “Make ‘Em Laugh” number in the beloved Kelly-Stanley Donen MGM musical SINGIN’ IN THE RAIN (‘52), in which he literally backflips off walls, leaps over a sofa and even wrestles with a fabric mannequin. It was a gravity defying routine that is still a work of brilliance nearly 70 years later.

What makes that number even more astonishing, is that it was O’Connor’s second attempt at the exhausting routine that’s captured on film. He told me in a 2002 Los Angeles Times interview that “when they filmed it, no one checked the aperture of the camera properly. It was all fogged up. So, the whole day’s shooting was ruined. We had to go back and do it again. But for me, it kind of helped because I knew it better and I was able to do it better in the number.”

During his heyday, O’Connor had it all. He was adorable, impish, possessed a lovely voice, great tap-dancing skills and uncanny comedic chops. And, he managed to hold on to his dignity and get laughs playing straight man to a wisecracking mule in Universal’s extremely lucrative FRANCIS series. In 1997, he told me that he loved doing the franchise, which began in 1950 with FRANCIS. “It was wonderful,” he noted. “It gave me a chance to get away from the song-and-dance character. I never thought they would be that successful.”

O’Connor quipped that he had a “fantastic” relationship with the mule, voiced by Chill Wills. “I have worked with a lot of jackasses! I’ve had plenty of experience. We were very dear friends until he started getting more fan mail and that was the end of that! That broke up our relationships. Ego clashed with ego.”

So why did superstardom evade him?

After all, when the Film Society of Lincoln Center honored him 1997, The New York Times’ dance critic Anna Kisselgoff gushed, “To call Donald O’Connor a song-and-dance man is like calling Shakespeare a strolling player.” O’Connor’s timing was off. When he reached the height of his popularity in the early 1950s, the studio system and big movie musicals were on their way out. He only made a handful of musicals after SINGIN’ IN THE RAIN. And then movie offers basically dried up after the ill-fated biopic THE BUSTER KEATON STORY (‘57), which tanked with both critics and audiences.

And then there was his life.

O’Connor made audiences laugh, but his real-life was anything but joyous. He was literally born in a trunk in 1925 to a circus strongman and a circus acrobat. He lost his father at six months old when his father died of a heart attack in the middle of his routine. O’Connor’s overbearing mother put her children in the act. O’Connor told me he joined the family act when he was just 13 months old. “The first thing I did was dance and do acrobatic trips.” O’Connor told me that his mother never sent him to school. His sister was killed when she was hit by a car, and when O’Connor was 12, his brother Billy died of scarlet fever.

He began drinking when he was about 19 years old while serving in World War II and began to rely on the bottle. His New York Times obituary quoted him saying, “Instead of coming home and having one or two drinks, I’d have one or two bottles.” O’Connor had a heart attack while in his 40s, spurred by his use of nitroglycerin pills before his nightclub acts so he would have the stamina for his routines. He would later have quadruple-bypass surgery in 1990. O’Connor had a physical collapse in 1978 due to his alcoholism. He was sober by 1979 and remained so until his death at 78 in 2003.

I got the opportunity to interview him three times: in the early 1980s, when he was at the Dorothy Chandler Pavilion in a production of Show Boat as Cap’n Andy; in 1997 when he co-starred in the Jack Lemmon/Walter Matthau comedy Out to Sea; and in 2002 when he was appearing at the Academy of Motion Pictures Arts and Sciences’ tribute to SINGIN IN THE RAIN.” Each time I found him charming and sweet.

I was recently watching William A. Wellman’s action-adventure Beau Geste (‘39) and there was O’Connor charming as the younger version of Gary Cooper’s character. He’s was equally enchanting in his first major film SING YOU SINNERS (‘38), in which he portrays Bing Crosby’s younger brother (Crosby is actually old enough to play O’Connor’s father) who becomes a jockey. He became a teen dream when he was put under contract at Universal in the early 1940s, usually appearing with Peggy Ryan in a series of youth-oriented musicals. Critics took notice of the teenager with The New York Times praising his turn in the musical comedy MISTER BIG (‘43), stating “as fresh and delightful a performance as any jaded eye could care to see.”

O’Connor told me that he did 14 films in one year before he entered the service. “The pictures were making so much money, they tried to get in as many as they could so they could release them once every three months while I was in the service. So, when I was in the service, my career was going up all the time. They all made a fortune for the studio.”

He was so popular in the 1950s that he hosted the Academy Awards in Los Angeles in 1954 (Fredric March anchored in New York) and that same year won the Emmy as the host of The Colgate Comedy Hour. And after watching him performing on Texaco Star Theater, New York Herald Tribune’s critic John Crosby enthused that O’Connor was “one of the greatest all-around talents in show business.”

I went on YouTube to watch clips of O’Connor recently. I suggest you do, too. It’s uplifting and joyous watching his fun routine on skates in the “Life Has its Funny Little Ups and Downs” from I LOVE MELVIN’S (‘53), which reunited him with his SINGIN IN THE RAIN costar Debbie Reynolds. And I also enjoyed his “I Love a Mystery” routine from the Deanna Durbin musical SOMETHING IN THE WIND (‘47), in which he duets with numerous colorful balloons.

After he began sober, O’Connor returned to work in such films as Milos Forman’s RAGTIME (‘81) and Barry Levinson’s TOYS (‘92), and he continued to work on stage, in clubs and on TV. He told me in 1997 that retirement was a dirty word to him, and even at 72, he was on the road about 32 weeks a year. “It keeps me really busy. I sing, dance, do comedy.” I told him that he should do more movies. “Well, I know it,” O’Connor said, laughing. “Get in there and talk it up. Be my agent!”

[mabelleflanerie]

A Review of Balanchine’s “Valse Fantasie” (performed by the American Ballet Theatre)

Preface: A few years ago I wrote a performance review piece after watching American Ballet Theatre’s Valse Fantaisie . I never published it on here but I stumbled upon it today and thought that I should share. After all, it may let us all imagine ourselves at the ballet or theatre...maybe even the opera. Something that may not happen again in a very long time. So...hope you enjoy.

On October 24th, I had the privilege of watching George Balanchine’s Valse Fantaisie performed by American Ballet Theatre. Valse Fantaisie, which translates to “Fantasy Waltz”, is a mystical performance of six dancers moving to a rhythmic and joyful piece of music by Mikhail Glinka. Balanchine’s neoclassical elements are quite visible in the choreography - With no story-line to fall on, the performance relied primarily on the visual and auditory allurement of the audience. From the stunning costumes, to the lively music, and the shapes and geometry that were created on stage, Balanchine (through ABT of course) was able to successfully hook his audience. Balanchine himself has stated that “A ballet may contain a story, but the visual spectacle, not the story, is the essential element. The music of great musicians, it can be enjoyed and understood without any verbal introduction and the choreographer and the dancer must remember that they reach the audience through the eye and the audience, in its turn, must train itself to see what is performed upon the stage.” [2]

The music, made up of quick and delicate melodies in B minor, goes by the ballet’s same name and was composed by Mikhail Glinka who is Russia’s first national composer and considered to be the country’s Mozart. [1] A live orchestra made the music come alive and its echo effect (string instruments playing first and then flutes echoing the same melody after) created a hypnotizing sensation which made the performance extremely bewitching for the audience. The costumes were of course a vital cause of this enchanting atmosphere as well. They were mystical and fairy like: The five female dancers wore blue-green tutus whilst the male dancer wore a white bodysuit with blue embellishments. 

Balanchine’s neoclassical elements are clearly evident in his choreography. The piece is stripped of detail and elaborate staging: “As a choreographer, Balanchine has generally tended to de-emphasize plot in his ballets, preferring to let ‘dance be the star of the show’”.[2]  There is no story line and the focus is completely on the music, the dancers, and their effortless technique. Gia Kourlas from the New York Times states that the the way in which the dancers move is what contributes to the airy feel: “Balanchine’s windswept, rapturous “Valse Fantaisie,” one man, James Whiteside, and five women, with Hee Seo in the lead, twist and turn to Glinka’s music as if their bodies were controlled by the air. It’s over before you know it: After four women exit, the leads leap into opposite wings”. 

Male lead, James Whiteside, displayed extreme athleticism and precision. Before joining American Ballet Theatre in 2012, Whiteside danced with Boston Ballet under instruction of director Raymond Lukens.[4] Female lead, Hee Seo, was trained in South Korea before joining American Ballet Theatre in 2004.[5] The corps consisted of Lauren Post, Melanie Hamrick, Paulina Waski, and Brittany De Grofft. Balanchine purposely chose four female corps de ballet members to dance without male partners in order to create his ideal choreographic structure on stage: “Balanchine offers a highly distilled treatment of one of his perennial themes… a solitary male has not one but several women to choose from. Another choreographer might have paired off the other women with partners, but Balanchine catches us off balance here. The man dances with a ballerina but he also dances in a frame of four other women. They are a miniature corps and an amplification of an ideal female. At the end, there is no lasting encounter. Everything vanishes - the soloists are swept off stage and the two principals leap out in opposite directions.”[6] 

There were a variety of different choreographic structures present throughout the nine minute long piece. Valse Fantaisie, being that it is a waltz performance, involved steps done in triple time such as pas de valses, ballancés, and a few series of pas de bourrées. Although the choreography was neoclassical, there were still many similar elements to the classical Cecchetti technique that I trained in. Because there were four female dancers part of the corps de ballet, and two lead dancers (one male and one female), there were a lot of circular pathways constructed by the corps which existed to highlight the two principal dancers. There were also many frequent exits and entrances: Sometimes, only the corps would be present on stage (usually performing a pas de quatre) and whenever the music would crescendo, the two principles dancers would appear and the corps dancers would exit leaving the principal dancers to perform a romantic pas de deux. And when all the dancers were present on stage, it usually involved the corps standing in a circle performing balancés around the principal dancers who were executing something more technically complex. For example, at one point in the performance, the corps executed balancés in a circular pathway around the lead dancers. While the corps were performing these balancés, the lead dancers did piqué arabesques across the floor.  Sometimes, the corps would also dance behind the principal dancers and mimic the very same movements. 

Although the ballet seems to have received mostly positive responses so far, there have been critiques made in terms of the casting. Kourlas for example, believes that Whiteside and Seo did not fully meet the demands of the piece: “Valse Fantaisie is a tale of speed and drive; Mr. Whiteside handled Ms. Seo admirably, but was given to stiffness in his solos, and Ms. Seo, in blue, started strong and faded in momentum”. [3]  Perhaps, this is because American Ballet Theatre rarely does works by Balanchine and so the dancers may not be as accustomed to the Balanchine method. It is also, just the very beginning of the season. Overall, I think the performance was outstanding: The costumes, the music, the choreography all perfectly synced together and created a very fantastical feel. 

To watch a 1973 version of the dance, click here.

1 "New York City Ballet - Home." NYCB. N.p., n.d. Web. 5 Nov. 2015. from http://www.nycballet.com/ballets/p/pas-de-trois-(glinka).aspx  2 George Balanchine - ABT. (n.d.). Retrieved October 28, 2015, from http://www.abt.org/education/archive/choreographers/balanchine_g.html  3 Kourlas, G. (2015, October 25). Review: Choreography Is the Star at American Ballet Theater. Retrieved October 28, 2015, from http://www.nytimes.com/2015/10/26/arts/dance/review-choreography-is-the-star-at-american-bal let-theater.html?_r=0  4 "AMERICAN BALLET THEATRE: JAMES WHITESIDE." AMERICAN BALLET THEATRE: JAMES WHITESIDE. N.p., n.d. Web. 10 Nov. 2015. http://www.abt.org/dancers/dancer_display.asp?Dancer_ID=300  5 "AMERICAN BALLET THEATRE: Hee Seo." AMERICAN BALLET THEATRE: Hee Seo. N.p., n.d. Web. 10 Nov. 2015. http://www.abt.org/dancers/detail.asp?Dancer_ID=155  6 Kisselgoff, Anna. "BALLET: 'VALSE-FANTAISIE'" The New York Times. The New York Times, 30 Apr. 1985. Web. 8 Nov. 2015. http://www.nytimes.com/1985/05/01/arts/ballet-valse-fantaisie.html Photos: Courtesy of Marty Sohl

[javierpenadea]

"Marjorie Tallchief, Acclaimed Ballerina, Is Dead at 95" by BY ANNA KISSELGOFF via NYT Arts https://ift.tt/3pKm97o

[frankrbremer-blog]

By BY ANNA KISSELGOFF from NYT Arts https://ift.tt/3iiT4fo

[gramilano]

Don Quixote with Timofej Andrijashenko © Brescia e Amisano, Teatro alla Scala 2018

In 1959, Rudolf Nureyev, with Ninel Kourgapkina as Kitri, danced Basilio for the first time at the Kirov Ballet in Leningrad. He was 20.

02 Don Quixote with Nicoletta Manni, Timofej Andrijashenko © Brescia e Amisano, Teatro alla Scala 2018

03 Don Quixote with Nicoletta Manni, Timofej Andrijashenko © Brescia e Amisano, Teatro alla Scala 2018 (2)

04 Don Quixote with Martina Arduino, Marco Agostino © Brescia e Amisano, Teatro alla Scala 2018

05 Don Quixote © Brescia e Amisano, Teatro alla Scala 2018

After he defected to the West in 1961, the role became his calling card around the world, the character suiting his comic talents and mischievous nature.

He restaged the ballet, based on Marius Petipa and Alexandre Gorski, for the Vienna Opera Ballet in 1966. John Lanchbery reorchestrated much of Minkus’ score. He revived it in 1970 for the Australian Ballet with Lucette Aldous, and this is the version that he filmed in a studio with the company in 1972.

In 1971 Rosella Hightower invited him to stage it for the Marseille Opera Ballet, and here Maina Gielgud was Kitri.

Don Quixote with Nicoletta Manni, Timofej Andrijashenko © Brescia e Amisano, Teatro alla Scala 2018

In one of his books on Nureyev, Alexander Bland wrote,

This version shows the way in which Nureyev managed the great movements on stage even more clearly: the Spanish numbers swirl around the enormous village square and form an ingenious diversity of configuration intended to demonstrate the steps characteristic of Spain.

Although the purely classical sequence of the “vision” of Dulcinea and the Dryads was performed in its entirety – exactly as it was handed down by Kirov tradition – Nureyev preceded it with a scene involving a gypsy camp as a pretext for developing an amorous meeting between Kitri and Basil: moonlit pas de deux under the sails of a giant windmill.

Rudolf Nureyev also shortened the ballet to three acts with prologue: the gypsies, the windmills, the puppet theatre all becoming one scene, followed by the appearance of the Dryads. Nureyev considerably expanded the comedy aspect. In his version, he introduced the spirit of “Commedia dell’Arte”, where Don Quixote would be Pantaloon, Kitri would be Columbine, and Basil, Harlequin, a brilliant, fast moving, leaping master of ceremonies, who runs from one end of the ballet to the other.

07 Don Quixote with Timofej Andrijashenko © Brescia e Amisano, Teatro alla Scala 2018 01

08 Don Quixote with Nicoletta Manni © Brescia e Amisano, Teatro alla Scala 2018

09 Don Quixote with Nicoletta Manni © Brescia e Amisano, Teatro alla Scala 2018 01

September 1980 saw his Don Quixote arrive in Milan with Carla Fracci making her debut as Kitri, at 44, and dancing six performances in seven days (plus a public dress rehearsal the day before the opening).

10 Don Quixote with Nicoletta Manni, Timofej Andrijashenko © Brescia e Amisano, Teatro alla Scala 2018 (4)

11 Don Quixote with Nicoletta Manni, Timofej Andrijashenko © Brescia e Amisano, Teatro alla Scala 2018 (5)

12 Don Quixote with Timofej Andrijashenko © Brescia e Amisano, Teatro alla Scala 2018 (2)

13 Don Quixote with Antonino Sutera © Brescia e Amisano, Teatro alla Scala 2018

Laurent Hilaire said of Nureyev’s choreography:

He made a revolution on the way to consider a male dancer. All of the big classical ballet was meant to value the woman, and also his work reflected the dance he saw in Denmark, France, England and Russia. He learned from all over the world and he created his own style. You know when it’s a step from Nureyev as soon as you see it. You cannot really compare it, but his choreography is as rich as the language of Shakespeare or Molière.

Don Quixote with Nicoletta Manni, Antonella Albano, Virna Toppi © Brescia e Amisano, Teatro alla Scala 2018

Boston Ballet mounted Nureyev’s production in 1983, and Anna Kisselgoff wrote in the New York Times:

When Rudolf Nureyev did four alternating double turns in the air to the left and the right, landing each time in arabesque, last night at the Uris Theater, it came as no surprise.

Very few dancers, almost none in fact, can do such a difficult sequence in both directions and it is rare to see them try. Mr. Nureyev, however, continues to scale the Everests of his own creation and when he triumphed in this final variation from ”Don Quixote” with the Boston Ballet, he did it with the casualness of a great actor playing with a throwaway line.

For Nureyev watchers, it was obvious from his first danced step that this was going to be a consistent performance, calculated in its tensions, totally pulled together in a re-emergent sleekness of line.

15 Don Quixote with Nicoletta Manni © Brescia e Amisano, Teatro alla Scala 2018 (2) 01

16 Don Quixote with Virna Toppi © Brescia e Amisano, Teatro alla Scala 2018

17 Don Quixote with Giuseppe Conte © Brescia e Amisano, Teatro alla Scala 2018

Reviewing the Australian Ballet in 1971, Clive Barnes said,

“Don Quixote” is an old ballet that is both gorgeous and ghastly. The music has little more than a cheerful tinkle to it, and the dramatic conventions are far less than adroit, but the choreography (or at least its choreographic traditions—for only a rash man would say nowadays what the authentic choreography is) can be absolutely marvelous.

It exists — in two varying versions more usually attributed to Gorsky than Petipa —  in both Leningrad and Moscow. Nureyev’s version owes not too much to either. It tries, most intelligently, to make more sense of the story, and give it a little more progression and humanity. Thus the lovers are not united until the final act, and it is not the hero, Don Basilio, who picks a quarrel with Don Quixote, but Basilio’s rich and stupid rival to Kitri’s hand, the foppish Don Gamache. These are all very pertinent innovations, although in an admittedly, even attractively, ramshackle ballet such as this, such dramatic inconsequentialities matter less than in most.

18 Don Quixote with Nicoletta Manni, Timofej Andrijashenko © Brescia e Amisano, Teatro alla Scala 2018 (6)

19 Don Quixote with Nicoletta Manni, Timofej Andrijashenko © Brescia e Amisano, Teatro alla Scala 2018 (7)

20 Don Quixote with Nicoletta Manni, Timofej Andrijashenko © Brescia e Amisano, Teatro alla Scala 2018 (8)

21 Don Quixote with Maria Celeste Losa © Brescia e Amisano, Teatro alla Scala 2018

22 Don Quixote with Timofej Andrijashenko © Brescia e Amisano, Teatro alla Scala 2018 (3)

23 Don Quixote with Nicoletta Manni © Brescia e Amisano, Teatro alla Scala 2018 (2)

24 Don Quixote with Timofej Andrijashenko © Brescia e Amisano, Teatro alla Scala 2018 (2) 01

When Nureyev died in 1993, Mikhail Baryshnikov said,

Rudolf emerged to everyone’s surprise in the early ’60s like discovering a wild flower which never existed before. This flower emerged in the middle of nowhere practically, it emerged somewhere in the desert and mountains, a flower of infinite beauty. You could admire it, you could be amazed by it, you could touch it, but you could never cut this flower. Because this flower had very strong roots, very strong stem which has supported that beauty.

Rudolf was an unusual man in all respects, instinctive, intelligent, constant curiosity, extraordinary discipline, that was his goal in life and of course love of performing. He loved strong women, loyal men, he loved his life. I learned a lot from him, although we are very different performers.

I will miss him for the rest of my life. That’s for sure.

Don Quixote with Nicoletta Manni, Timofej Andrijashenko © Brescia e Amisano, Teatro alla Scala 2018

Photo Album: Don Quixote at La Scala with with Nicoletta Manni Timofej Andrijashenko In 1959, Rudolf Nureyev, with Ninel Kourgapkina as Kitri, danced Basilio for the first time at the Kirov Ballet in Leningrad.

[shadowybouquetnacho1233]

Istvan Rabovsky, Ballet Dancer Who Defected From Hungary, Dies at 90

By BY ANNA KISSELGOFF A powerful dancer, he and his first wife, the ballerina Nora Kovach, were among the first highly-publicized defectors from the Soviet Bloc. Published: August 25, 2020 at 02:06PM from NYT Arts https://ift.tt/3aUzPou via Funny Dog Video 2020

[breakingbuzz]

Istvan Rabovsky, Ballet Dancer Who Defected From Hungary, Dies at 90

By BY ANNA KISSELGOFF A powerful dancer, he and his first wife, the ballerina Nora Kovach, were among the first highly-publicized defectors from the Soviet Bloc. Published: August 25, 2020 at 10:06PM from NYT Arts https://ift.tt/3aUzPou via

[melmothblog]

From the NYT obituary. February 2008:

A slight, pale dancer with large eyes, Ms. Bessmertnova was known for an innate lyricism that gave her dancing a mysterious, almost unearthly beauty. These qualities made her especially notable in the title role of “Giselle.”

Reviewing the Bolshoi’s London season in 1969 for The New York Times, Clive Barnes called Ms. Bessmertnova “the kind of dancer born to dance Giselle.”

“She is as fragile as a bird, has a frail, waif-like innocence, and dances with a fey sense of doom,” he continued.

Ms. Bessmertnova frequently appeared with the Bolshoi in its New York seasons. When she starred at the New York State Theater in “Swan Lake” in 1979 in the dual role of Odette, the innocent maiden transformed into a swan, and Odile, the villainous enchantress, Anna Kisselgoff wrote in The Times that Ms. Bessmertnova “had only to step on stage to establish her great sense of style and authority.” She continued, “Regality was everywhere — from her first high leap to the velvety tone of her unfolding leg extensions.”

Ms. Bessmertnova, whose mother was a homemaker and whose father was a doctor, was born in Moscow and received early dance training in the children’s classes of the Moscow Young Pioneers Palace. Encouraged by her teachers to become a professional dancer, she continued her studies at the Bolshoi’s school and entered the company in 1961, making her debut in “Chopiniana,” a ballet known in the West as “Les Sylphides,” and one in which she could display her sense of Romantic style.

Galina Ulanova, the Bolshoi’s foremost interpreter of “Giselle,” coached her in that ballet, and her repertory also included 19th-century classics and contemporary works, especially those choreographed by her husband, Yuri Grigorovich. She made particularly strong impressions as Phrygia, the poignant wife of a rebellious slave in “Spartacus”; Shirien, a fragile woman stricken with a mysterious disease in “Legend of Love,” for which Mr. Grigorovich based much of his choreography on Persian miniature paintings; and Rita, a variety-show dancer seeking to escape the world of the stage in “The Golden Age.”

[wazafam]

By BY ANNA KISSELGOFF from Arts in the New York Times-https://www.nytimes.com/2021/01/13/arts/dance/barbara-weisberger-dead.html?partner=IFTTT She founded the Pennsylvania Ballet, with George Balanchine as an adviser, and turned it into a nationally acclaimed company. Barbara Weisberger, a Force in American Ballet, Dies at 94 New York Times

[izayoi1242]

Don McDonagh, Dance Critic and Author, Dies at 87

By BY ANNA KISSELGOFF In his reviews in The New York Times, he championed experimental choreographers emerging in the 1960s and ’70s. Published: December 14, 2019 at 06:22AM from NYT Arts https://ift.tt/2EhQ4N2 via IFTTT

[thegreato1ne]

Don McDonagh, Dance Critic and Author, Dies at 87 by BY ANNA KISSELGOFF

Don McDonagh, Dance Critic and Author, Dies at 87 by BY ANNA KISSELGOFF

By BY ANNA KISSELGOFF

In his reviews in The New York Times, he championed experimental choreographers emerging in the 1960s and ’70s.

Published: December 13, 2019 at 11:22PM

from NYT Arts https://ift.tt/2EhQ4N2 via NYT Full Post

[terpsichoremovementasmuse]

From the archives, and to welcome August: #Repost @jupiterartland “Set and Reset is unmistakably Miss Brown at her most tantalizing. Her virtuosic dancers exhibit a quality of movement that is distinctly hers- dartingly quick but so fluid that the body seems a conduit for flowing energy.” Anna Kisselgoff for @nytimes ⁣ ________⁣ ⁣ Trisha Brown and Stephen Petronio ‘Set and Reset’ 1983. Photograph © Jack Mitchell⁣ •⁣ •⁣ •⁣ •⁣ #EdinburghInternationalFestival #EdinburghArtFestival #JupiterArtland #TrishaBrown #Dance #PostModernDance #TrishaBrownDanceCompany #Choregrapher #Festival @edintfest @edartfest

[javierpenadea]

"Charlene Gehm, Protean Dancer With the Joffrey, Dies at 69" by BY ANNA KISSELGOFF via NYT Arts https://ift.tt/3sPa3e4