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Start Over Topic choreographers Language english Journal new york times
5 results

1. Serious Play, and Notes On Paper, in This Salon.

Author

Sulcas, Roslyn

Subjects
*CHOREOGRAPHERS, *LOFTS
Abstract

The days when choreographers had lofts in SoHo, where they lived, and friends came over and drank wine and watched works in progress, and threw some money into a bowl, and then everyone sat around talking about the dances, are over, no? Apparently not. [ABSTRACT FROM PUBLISHER]

Published
2010

2. And here's how Paul Taylor dancers grow.

Author

Dunning, Jennifer

Subjects
*CHOREOGRAPHERS, *DANCE
Abstract

Comments on choreographer Paul Taylor, and choreographers trained and influenced by him. Prospect of new crop of choreographers in choreography, `Funny Papers'; Idea behind `Funny Papers'; Role of dancer-choreographers, Mary Cochran, Patrick Corbin, Sandra Stone, Andrew Asnes, David Grenke and Hernando Cortez; Account of Taylor's relationship with the six; Dancer's views on Taylor's approach and style.

Published
1994

3. Sensual Simplicity Leaving Room for Growth.

Author

Seibert, Brian

Subjects
*DANCE, *CHOREOGRAPHERS
Abstract

It sounded great on paper. For its annual season at the Joyce Theater, which began on Tuesday, Ballet Hispanico commissioned a piece by the celebrated choreographer Ronald K. Brown. The dance would apply Mr. Brown's deep understanding of the African diaspora to the company's Latino heritage, by way of the Peruvian singer and preservationist of Afro-Peruvian culture Susana Baca. Ms. Baca was even on hand at the Joyce, with four fine musicians, to give richly sensual, spiritually subtle renditions of songs from her 2002 recording, ''Espiritu Vivo'' (''Living Spirit''). Mr. Brown's dance, also called ''Espiritu Vivo,'' was a richly sensual, spiritually subtle composition. Subtle, however, is not Ballet Hispanico's strong suit. [ABSTRACT FROM PUBLISHER]

Published
2012

4. Keeping a Choreographer's Legacy Alive With History Lessons and Handstands.

Author

LA ROCCO, CLAUDIA

Subjects
*CHOREOGRAPHERS, *CHOREOGRAPHY, *DANCERS
Abstract

Any student of dance knows the historical importance of Jose Limon. His movement language is a bedrock of classical modern dance. But proving an artist's relevance on paper is a very different thing from proving it onstage. And this is the daunting challenge facing the Limon Dance Company, which on Tuesday opened a weeklong stint at the Joyce Theater. Limon was born in 1908 in Mexico. One hundred years is a substantial number, but the more crucial one, perhaps, is 36, the number of years since his death. How does a company built to serve an individual voice continue to evolve once the individual is gone? [ABSTRACT FROM PUBLISHER]

Published
2008

5. When Crowd Has Power Of the Purse.

Author

LA ROCCO, CLAUDIA

Subjects
*DANCE, *CHOREOGRAPHERS, *PERFORMING arts
Abstract

If you had $10,000 to burn, which choreographer would you choose to support? This is the premise of ''The A.W.A.R.D. Show!,'' though the title doesn't refer to the cash prize but is instead a rather torturous acronym: Artists With Audiences Responding to Dance. I'm not sure I know what that means, but it sounds ominous. Over three nights at the Joyce SoHo, 12 choreographers vie for audience votes, which are cast on little paper ballots; on the fourth night, the three finalists' works are performed again: the winner gets $10,000 and the runners-up $1,000 each. The other nine contestants, and their collaborators, walk away empty-handed. (It's an ugly downside to this contest, especially given that dancers and choreographers are rarely adequately compensated for their labor; even $10,000 quickly begins to seem like a small number when you do a realistic accounting of the hours and costs associated with making a piece.) [ABSTRACT FROM AUTHOR]

Published
2010