A Parisian Dream
A participatory eagerness, a desire to be part of something sweet and beautiful, suffused the return of George Balanchine’s “A Midsummer Night’s Dream” to San Francisco Ballet on the cusp of spring.
PlusWorld-class review of ballet and dance.
“New Breed” is the brain child of Sydney Dance Company's artistic director Rafael Bonachela. Now in its second year, the “New Breed” programme gives four up-and-coming choreographers the opportunity to create works on the dancers of the Sydney Dance Company. For these chosen four, “New Breed”provides a springboard to transition from dancer to choreographer. The initiative comes with all the creative support and infrastructure of the Sydney Dance Company—the choreographers have access to dancers, studios, costume and lighting design, and all four works premiere at Sydney’s Carriageworks theatre. The concept is beautifully simple, but still astonishingly rare in performing arts.
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Richard Cilli in Kristina Chan's “Conform.” Photograph by Peter Greig
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A participatory eagerness, a desire to be part of something sweet and beautiful, suffused the return of George Balanchine’s “A Midsummer Night’s Dream” to San Francisco Ballet on the cusp of spring.
PlusEntering his 10th year as artistic director of Philadelphia Ballet, Ángel Corella put his artists through a ring of fire in their early spring concert at the Academy of Music.
PlusIn her 1951 autobiography Dance to the Piper, Agnes de Mille spends seven pages describing in colorful detail what it was like to be on the road with the Ballets Russes.
FREE ARTICLESix dancers enter from stage left and position themselves along the rear wall, their backs to the audience. Today, the light through a row of windows casts them in silhouette.
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