New York City Ballet alluded to the unseasonably toasty season in a sunny program choreographed entirely by Jerome Robbins. Decked out in simple costumes reminiscent of sandy shores and bygone days, dancers embodied Robbins’ familiar motif of fanciful youth.
The show included “In G Major,” “In Memory Of … ” and “The Concert.” Brian Seibert wrote a great review of the show for the New York Times, available here. If you’re just in the mood for eye candy, click here for the multimedia slideshow. Whether you’re shivering through the drafty season or basking in winter warmth, both are worth a look.
Long hair has been associated with such values as femininity and virtue for literary centuries. For dancers, though, hairstyles often carry more weight than just a headful of hairpins: appearances tend to be intricately tied to many dancers’ self-identity, so one dancer’s ‘do can be another dancer’s don’t. Couple this with the need to fit into a corps de ballet, to make a strong impression at an audition or to obtain approval from a company director, hair becomes about much more than Dippity-Do.
Gia Kourlas with the New York Times examined the implications of hair-style choices made by principal ballerinas in high-flying ballet companies. Ballet emphasizes both conformity and exceptional appearances, so ballet’s first ladies face challenges that are much more personal than just bad hair days. Find more details about the “bob or bun” debate at the link here.
Are you a bob-head or a bunhead? Let me know in the comments below.
Seven months have passed since the movie “Black Swan” first rocked the dance world with a hotly disputed and much talked-about portrayal of the tradition of classical ballet. Amazingly, people are still talking about it.
I found this story from the Wall Street Journal and appreciated the recap of events that have transpired since the controversial film’s release. Questions of body doubles and ballet training for Natalie Portman have largely come out and the hindsight is interesting, to say the least. A preview of five fabulous ballet companies that will be taking a certain American city by storm this season is included in the story.
For more commentary on “Black Swan,” take a look at the links below.
“Natalie Portman Embraces Monster and Victim”: an awards-season rehashing of Portman’s role in the film. Find the story from the New York Times here.
Check out an interview from New York Magazine with the “Black Swan” choreographer on instructing Portman on her bird-ish port de bras.
See the film from the director’s perspective in this interview with director Darren Aronofsky from MTV.com.