Together, the Japanese-American duo Eiko and Koma had a successful decades-long career performing what one might describe as New York neo-Butoh. But Koma had to give up dancing after a foot injury several years ago, and Eiko eventually began performing alone. Now, thanks to what he calls a “miracle,” Koma is onstage again, with scenery he designed and painted himself.
Category: dance
At La Scala Ballet, Meet The New Boss, Same As The Old Boss (Three Bosses Ago)
Frédéric Olivieri had been director of the Milan opera house’s ballet company from 2002 to 2007. His successor, Makhar Vaziev, left in late 2015 to bring order to the wildly-troubled Bolshoi Ballet; his successor, modern-dance choreographer Mauro Bigonzetti, was a poor fit with Italy’s most august classical ballet company and resigned after eight months. So the return of a familiar face with a steady hand was greeted by La Scala’s dancers with applause.
Misty Copeland On The Art Of Acting
“You feel the age and the injuries, and you realize the importance of character,” she said in a recent interview. “I used to muscle through these things. I can’t do that anymore. There needs to be something more, something else.”
Kyle Abraham, MacArthur Genius Choreographer, On The Problem With Getting A MacArthur Fellowship
“Receiving it [in 2013] at the age I received it – I definitely felt that I didn’t deserve it. And that became a distraction from the work – I was thinking about so many of my mentors and idols who don’t have that award and asking, ‘Why do I have this and they didn’t have it?’ I allowed that to play a part in the work I was trying to make. And that’s tricky.”
Designing An Online Tool To Demystify Contemporary Dance For New Audiences
Audience engagement researcher Ben Walmsley writes about his project called Respond, “a responsive online platform … [which] attempted to break down cognitive barriers to dance by showing and explaining the rationale behind certain choreographic decisions and giving audiences demystifying insights into the rehearsal and development processes.”
Touring A Large Ballet Company Means Juggling A Whole Lot Of Tutus, Pointe Shoes, And Washing Machines
When Birmingham Royal Ballet tours David Bintley’s “Cinderella,” for instance, says the company manager, they “transport the set, costume, props and lighting up and down the country, including 1,000 hair pins, 250 hair rollers, 78 wigs, 44 tutus, eight baskets of shoes, two washing machines plus [his] touring office.”
The Future Of Dance, Or Maybe Of Workouts: A Virtual Reality Dance Film?
That’s right, with virtual reality, the watcher can move along with the dancers – or just enjoy experiencing more of the dancers’ full dimensionality. Director and choreographer Lily Baldwin: “Virtual reality can puncture what we think is real and return us to our body in a way that flatty cinema can’t.”
Got A ‘Too Hyper’ Kid? Take Him To Ballet Class [VIDEO]
Andreas Cross: “Doing these really big jumps, going down into splits, I just thought it was amazing.”
Sarasota Ballet Downsizes By Not Renewing Contracts For A Third Of Its Dancers
Wait a second. ED Joe Volpe “insisted the company had been planning to ‘reorganize’ since he took over more than a year ago — long before the union’s arrival — and that the downsizing is simply part of that restructuring. He also denied the reduction had anything to do with financial distress and said it is ‘completely unrelated’ to a new 10-year contract that director Iain Webb signed in late March.”
Benjamin Millepied To Direct His First Movie
The director of L.A. Dance Project (and former director of the Paris Opera Ballet) will make a music-and-dance adaptation of Carmen, with the heroine crossing the deserts from Mexico to Los Angeles.