I have a lot of interest in an individual’s movements, physically and mentally, in all forms of creativity… I’m interested in freedom, and the movement that transitions past structure into new evolved ones. Dance is inspirational for opening new and deeper ways of understanding.
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A Scandal at the Bolshoi Ballet
David Remnick reports from Moscow on the recent acid attack on the Bolshoi Ballet’s artistic director, Sergei Filin: “The ballet company has always uncannily embodied the society to which it belongs: imperial Russia, Soviet Russia, and, now, Vladimir Putin’s Russia…” Continue reading: http://nyr.kr/12HWJJO
Photograph by Misha Friedman.
(Source: newyorker.com)
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"Whenever the movement softened or there was stillness, the drama of the dance increased."
— Andrew Boynton on choreographer Karole Armitage’s return to Dance Theatre Workshop, now expanded to the larger and better-equipped theatre, New York Live Arts: http://nyr.kr/Wb0DCL -
Katia Bachko, “Why I Wish the Russian Gymnasts Had Won”: http://nyr.kr/QqFtjq
I don’t root for the Russians out of any sense of ancestral loyalty. For me, it’s all in the ballet…
Photograph by Emmanuel Dunand/AFP/Getty Images.
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Joan Acocella on The Paris Opera Ballet, the oldest ballet company in the world, at Lincoln Center: “It’s origins go back to 1669, and the dancers look as though they have been practicing their dégagés since then.” http://nyr.kr/P9of6u
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For Joan Acocella’s piece in the current issue, “Bring in the Ballerinas,” Zach Gross photographed the dancer Alina Cojocaru. Later that week, Gross returned to the Metropolitan Opera House to shoot this film of Diana Vishneva and Natalia Osipova as they danced in “Onegin.”
