Category: dance

Of his career, that is. “I would like to create a company, because I would like to try [to create new ballets]. Especially in Cuba, there are so many great artists who would be willing to collaborate. Finding choreographers is the main problem. There are many great ones, but they don’t seem to do narrative.”

“It has gotten its audiences to buy into its zestful embrace of the new. Few if any other American companies commission more new works than the Aspen Santa Fe Ballet, and it is collaborating with some of the world’s top choreographers in the process.”

“Since the advent of MTV directors have needed to develop a visual language as well as an aural one,. What’s interesting at the moment are the genuinely interesting collaborations between pop and dance which are making it to the stage. It’s like any contemporary artists working alongside each other: they will tend to work with their friends. It’s like when Diaghilev would commission Stravinsky. Maybe today he would think about Radiohead.”

“Viral marketing works for Lady Gaga. Why not Paul Taylor?” His dance company and “Talenthouse, an online platform founded in 2009 that links aspiring artists with established brands or companies, … [have] launched a competition (known as a Creative Invite) that lets anyone vie for two scholarships to the company’s 2011 Summer Intensive.”

“A typical day for these young men … begins at 9 a.m. and ends at 6 p.m., six days a week. The hours are spent in ballet class, tap class, classes to polish their acro (a style of dance that mixes classical and acrobatic elements), rehearsing scenes and, of course, homework.”

The dance classes help students focus movement and gain more control over their bodies…

“Since [Merce] Cunningham’s troupe began in 1953 it has consistently contained a number of the world’s most extraordinary dancers.” Alastair Macaulay considers the particular qualities of some of that company’s performers as the group winds down its existence.

“Money. The Tulsa Ballet needs it. Amy Miller delivers it. That’s her job as development director. She develops relationships with corporations, foundations and individual donors. And she does it without fear.”

Director Wim Wenders “had known Bausch for 20 years, and the idea of making a film together about her work had been on the cards for almost as long. However, said Wenders: ‘I never knew, with all my knowledge of the craft of film-making, how to do justice to her work. It was only when 3D was added to the language of film that I could enter dance’s realm and language’.”

“To a certain extent, yes. The 3D has been harnessed judiciously (Bausch herself was absolutely clear it should not be there as a gimmick – good note). The problem with dance on film is the failure of the screen to convey depth; and 3D does, to an extent, lend the work the necessary sculptural quality.”