Jen Peters talks to Annie-B Parsons, Aszure Barton, Susan Marshall, and others about the influence the late German choreographer had on their work on their outlook.
Blog
Pop-Up Replica Of The Globe Theatre Presents Shakespeare – Well, Almost Anywhere
The founder/artistic director of the Pop-Up Globe was inspired when he read to his daughter about the original Globe and she asked if they could go there. It’s not an exact replica of the second Globe (1614) – it uses modern materials and electricity – but the shape and dimensions are similar and it can be erected and taken down in a matter of a few weeks; it’s already done two seasons in New Zealand and is just starting one in Melbourne.
At Age 30, Has Jazz At Lincoln Center Become Fuddy-Duddy? Not If You Look At It The Right Way
“It has been busily pioneering new angles of engagement and outreach, even as it holds the line against broader artistic changes sweeping the jazz world. At a time when canon-busting is nearly the national consensus, Jazz at Lincoln Center’s founding artistic director, Wynton Marsalis, maintains that jazz is a classical music with a fixed roster of heroes, and a nonnegotiable rhythmic foundation.” Says Marsalis, “We are a music that is constantly asked to abandon its own identity to become another thing. Why? What’s wrong with our identity?”
Miami City Ballet Says It Came Through Irma Very Well
“Lourdes Lopez, Miami City Ballet’s Artistic Director, has reported that the company’s Miami Beach headquarters, its dancers, students and staff are safe and have experienced Hurricane Irma with minimal damage.”
Barry Diller Gives Up On His $250 Million Performance Center In The Hudson River
“After years of toe-to-toe battling with a small band of critics and a fellow billionaire, Barry Diller said Wednesday that he was pulling the plug on his family’s commitment to build and operate a $250 million performance center on an undulating pier 186 feet off the Hudson River shoreline. It was a fizzling end to a grand scheme that aimed to create a bold new landmark along the Manhattan waterfront on par with the nearby High Line, which has become one of the top tourist draws in the city.”
Documenta Runs €7 Million Deficit, Seeks City/State Bailout
“The local Hessische/Niedersächsische Allgemeine newspaper said [the state of] Hesse and [the city of] Kassel had each agreed to take over loan guarantees of €3.5m. … The local newspaper said the cost overruns for the current edition of Documenta were partly owing to miscalculations by the management team” – particularly concerning the costs of running part of the event in Athens.
2017 Booker Prize Shortlist Includes George Saunders, Paul Auster, Ali Smith, Mohsin Hamid
“But a host of award-winning writers failed to make the cut, with former Booker winner Arundhati Roy missing out on a place, as well as Sebastian Barry, Kamila Shamsie and Mike McCormack. British authors Zadie Smith and Jon McGregor also dropped out. American author Colson Whitehead’s The Underground Railroad was another high-profile casualty.”
Actor Frank Vincent, Of ‘The Sopranos’ And Scorsese Films, Dies During Open-Heart Surgery
“Vincent played Tony Soprano’s archenemy Phil Leotardo in The Sopranos, one of his many wiseguy roles. He was Billy Batts in Martin Scorsese’s Goodfellas – the ‘made man’ who famously told Joe Pesci’s Tommy DeVito to ‘Go home and get your f*ckin’ shinebox’ – and Frank Marino in the director’s Casino. His performance with Pesci in 1976’s The Death Collector caught the attention of Robert De Niro and Scorsese, and the director offered Vincent a supporting role in Raging Bull.”
In ‘Humiliating Decision’, Chief Conductor Of Malta Philharmonic Fired After Feuding With Board Chairman
One source says, “the management felt it could not tolerate a situation where the conductor refuses to attend a schedule event he is contractually obliged to attend. He also skipped a number of rehearsals.” The conductor himself, Brian Schembri, thundered, “Never in my life [have I] been treated so basely and disrespectfully by persons in authority who were supposed to support me in the job they themselves engaged me to do, that is to develop the orchestra to the levels that, by common consent, were hardly imaginable before.”
Top Posts From AJBlogs 09.13.17
Defusing beauty
My previous post suggested a multi-layered view of our work in arts organizations, including attention to the nouns of our ‘products’ or ‘outcomes,’ the verbs of our ‘processes’ or ‘practices,’ but also the core ‘source’ … read more
AJBlog: The Artful Manager Published 2017-09-13
Why Engage?
I am frequently asked about the rationales for community engagement. I have spent so much time with my head in the weeds about the subject that my responses have a tendency to go on for … read more
AJBlog: Engaging Matters Published 2017-09-12
Breaking: Metropolitan Museum’s Job Description for Its Next Director (contrasted with its last one)
This just in — the memo sent today to the Metropolitan Museum’s staff by president and CEO Dan Weiss, followed by the text of the job description for the new director. … read more
AJBlog: CultureGrrl Published 2017-09-13
“The Difference Between Quality Art and Crap” Take Two
My exchange with Vladimir Feltsman about “quality art” versus “crap” was posted on youtube and elicited this response: “Two oldies bemoaning that they have had their day and are confined to the dust bin … read more
AJBlog: Unanswered Question Published 2017-09-12
Recent Listening: Rigby And Eckemoff
Jason Rigby Detroit-Cleveland Trio, ONE (Fresh Sound New Talent)
The simplicity of the Rigby Trio’s cover design matches the uncomplicated instrumentation—saxophone, bass and drums. It is a configuration used to great effect … read more
AJBlog: RiffTides Published 2017-09-13