#performing arts center

[ninetynine-centdreams]

Amant Performing Arts Center

Brooklyn NY

SO-IL

photo by Rafael Gamo

[sheltiechicago]

Proposal For Seoul’s Newest Performing Arts Center Is Made Up of Five Futuristic Buildings

Melike Altınışık Architects (MAA) is one of five firms that were shortlisted in the hopes of designing Seoul's 2nd Sejong Cultural Center for Performing Arts. The firm's proposal, which was made in collaboration with BAUM Architects and Aliveus Landscape, is called The Spark and consists of five buildings that form a unified hub.

[la-quotidienne-cest-moi]

Nature and Man

[kingkrillin]

just need to share how much I dislike this post lol

people will fully expect trans men to put ourselves on the line for everyone else and meanwhile the only time they acknowledge our existence is to talk about how "low risk" we are (obviously untrue) or to volunteer us out as a community for potentially dangerous activist endeavors that they wouldn't risk doing themselves

"we need to get uncomfortable!" and what's actually being discussed is convincing a subset of the community to be uncomfortable on your behalf while you do nothing to show solidarity with us

[emperornorton47]

Performing Arts Center with reflection of Founder's Hall

[localechoes]

because nothing matters more than the performance

[garadinervi]

Charlotte Moorman / Nam June Paik / Jud Yalkut, TV Cello Premiere, (16mm film (color, silent) transferred to video), 1970 [Walker Art Center, Minneapolis, MN. © Charlotte Moorman, Nam June Paik, Jud Yalkut]

[greendayauthority]

Mark Twain Prize Award Ceremony, John F. Kennedy Center for the Performing Arts, Washington, D.C., 23 October 2011

[dzinahk]

#TomHiddleston dishes on the creation of the MCU #Loki #TheAvengers #Thor @variety #MiamiFilmFestival

#TomHiddleston was honored by @Variety with the Virtuoso Award during the Miami Film Festival on 9 April held at the Adrienne Arsht Center for the Performing Arts in Miami, Florida

[rabbitcruiser]

The Lincoln Center for the Performing Arts opened in New York City on September 23, 1962.

[balanchine-ballet-master]

Balanchine's Coppelia

In today's Times, Roslyn Sulcas has an article about the New York City Ballet's production of Coppelia, which celebrated its 50th anniversary this summer. It had its premiere at the Saratoga Performing Arts Center during the company's annual residency.

One thing that Sulcas fails to mention is that the role of Swanilda was originally supposed to have been shared by Patricia McBride and Gelsey Kirkland. But when Kirkland announced she was leaving the company, Balanchine gave all performances to McBride

‘Coppelia’ at 50: When City Ballet Took a Turn for ‘Fun and Funny’

Original cast members look back at George Balanchine and Alexandra Danilova’s staging of the 19th-century ballet. “Everyone knows when something is good,” one said.

By Roslyn Sulcas Sept. 23, 2024, 5:02 a.m. ET

George Balanchine’s decision to stage the 19th-century ballet “Coppelia,” in 1974, was a surprise. Although Balanchine, the co-founder and leader of New York City Ballet, occasionally created narrative ballets, like “The Nutcracker” and “A Midsummer Night’s Dream,” the company was identified with a lean, no-frills approach to classical dance. It was turned toward innovation and experimentation, rather than story, characters and elaborate costumes.

But the three-act “Coppelia,” with its lush, melodic Delibes score, fairy-tale set and extensive ensemble dances, was anything but experimental. City Ballet audiences were anticipating it “with a mixture of delight, incredulity and awe, and in some cases horror,” the critic Marcia B. Siegel wrote, shortly before the ballet’s July 17 premiere at the Saratoga Performing Arts Center in upstate New York. But Balanchine, who asked his Russian compatriot (and former romantic partner), the ballerina Alexandra Danilova, to assist him on staging the ballet, knew what he was doing. “Coppelia,” starring Patricia McBride as the heroine Swanilda, Helgi Tomasson as her swain Franz and Shaun O’Brien as the eccentric toymaker Doctor Coppelius, was a roaring success, and has been performed regularly ever since. This season’s performances—Sept. 27 to 29 and Oct. 5-6—are City Ballet’s 50th anniversary celebration of the ballet.

Above: Patricia McBride rehearsing Coppelia, 1974. Seated at left are Susan Hendl, who led the Waltz of the Golden Hours in Act 3 and Stephanie Saland, McBride's understudy, who also performed Swanilda. Standing, center: Lincoln Kirstein, Patricia McBride, George Balanchine. Leaning against the piano at right is Rosemary Dunleavy, the ballet mistress. Seated at right are Colleen Neary, who led the Discord & War divertissement in the third act, and Merrill Ashley, who danced the Dawn solo in the same act. Photo: Martha Swope via NYPL/NY Times

“Coppelia” was first choreographed by Arthur Saint-Léon for the Paris Opera Ballet in 1870, and then reworked by Marius Petipa in 1884 into the version we know today. The story is simple: Franz and Swanilda are happily affianced village sweethearts, until Franz falls for a pretty girl who turns out to be a life-size doll—the creation of Doctor Coppelius. By the end of the tale, which involves Swanilda impersonating the doll, Franz has learned a lesson about fantasy and Swanilda has secured her man. Cue wedding celebrations.

Balanchine asked Danilova, a famous Swanilda with a pitch-perfect memory of the Petipa version she had performed with the Ballets Russes de Monte Carlo, to set Acts I and II, although he added a few new dances. But Act III, omitted in many productions, is his alone, a series of divertissements that are a pure-dance coda to the story.

Megan Fairchild, who first performed Swanilda at 19, said she loved the character’s sassy personality. “It’s a more casual vibe,” she said. “She’s not a princess, and that resonates.”

“We do a lot of ballets that are sophisticated and intellectual, for highly developed dance watchers,” said Wendy Whelan, City Ballet’s associate artistic director. “This is lighthearted and warm and easy to watch. It’s a reminder of the beginnings of ballet: the storytelling, the classical dance, the pantomime.” Plus, Whelan added, “it’s fun and it’s funny.” In interviews, five original cast members talked about their memories of creating the ballet. Below are edited excerpts.

Above: Patricia McBride in Act I, 1975. Swanilda's friends in the background are Judith Fugate, unidentified, Delia Peters, and Debra Austin. Photo: Martha Swope via NYPL

Patricia McBride, Swanilda Madame Danilova’s memory was uncanny. She remembered every step for every character in the ballet, and she danced full out when she showed you the choreography. She wanted me to play it straight when I impersonated the doll, not for laughs, and she was very precise about the musicality and phrasing, and the intent of each step. We hadn’t done a lot of mime at City Ballet, but she was so clear, she made it easy to learn. I loved that beautiful Russian port de bras she had. You could see what a great Swanilda she had been.

Balanchine was very specific about the way I held my arms and body as the doll. He never spoke about characterization, or how he wanted it to look, but the musicality of the choreography was so natural and wonderful. He would show you the steps and it was done.

Madame Danilova and Balanchine would keep going all day long, moving from one scene to the next, talking together. It was like seeing history, the two of them in the room together. Mr. B never interfered with her staging. I think he really respected her knowledge and memory.

Sometimes I would feel quite choked up to think of their lives and history together. They were both in their 70s, but they had so much energy and vitality and love, and they had a lot of fun together. They were so young in spirit. I felt so fortunate to work with them, and to see their respect for each other and their love of dance.

Above: Helgi Tomasson in Act 3, Saratoga, 1974. Photo: Martha Swope via NYPL

Helgi Tomasson, Franz I was surprised and not surprised at Balanchine deciding to do “Coppelia.” He spoke about programming like creating a menu; he knew that he had to give the public varied dishes. And I think he loved those old Petipa pieces.

We were up in Saratoga when he started to choreograph my first-act variation. For some reason, he didn’t feel it was right. John Taras, the ballet master, was sitting next to him, and asked if I knew Balanchine’s “Sylvia” pas de deux, also to Delibes music. I had danced it with the Harkness Ballet, and Balanchine said, “Do you remember the variation? Let’s see it.” I did it, and he said, “Good, let’s keep that!”

For me, most of the dancing was in the third act. I loved the way Balanchine constructed the coda and how Patty and I came in and out of the group. He created speedy yet articulate steps that I think he felt suited me.

I remember that Patty and I did every performance of “Coppelia” in the first week, seven or eight in a row. At some point during that first week, I was so tired that in the scene where Franz is supposed to be asleep, I actually fell asleep. But the whole experience was a highlight of my career.

Above: Alexandra Danilova rehearsing Patricia McBride. Photo: Martha Swope via NYPL

Jean-Pierre Frohlich, Corps de Ballet I had been in the company two years and was just 19. I remember so well Balanchine and Danilova standing in front of the mirrors at the front of the studio. She was so elegant. I knew they had been an item in the Diaghilev era, and I was trying to see how those dynamics would have worked! You could see she still adored him.

Danilova loved to demonstrate steps. She wore ballet slippers with a little heel and ribbons. She had beautiful legs, and liked showing them off. She loved men; she was harder on the women than the men.

There was a very good ambience in the studio. They spoke in English, maybe occasionally in Russian, but I think they wanted the dancers to understand. She would never contradict him or say no to his suggestions. I felt she was very happy to be involved. But he was also very accommodating; he knew how much she had to offer.

Above: Gelsey Kirkland, originally scheduled to share the role of Swanilda with McBride, at rehearsal with ballet mistress Rosemary Dunleavy. Photo: Martha Swope via NYPL

Christine Redpath, Prayer Solo Madame Danilova was so charming. She would wear a gorgeous green sleeveless leotard, with a scoop neck and back, a belt and chiffon skirt, hiked up to show her fantastic legs, and her hair coifed with a little scarf tied behind her ears. You could see she still loved to dance, and it was very sweet to see she still loved Balanchine.

[In “Coppelia,” three allegorical female solos, Prayer, Dawn and Spinner, come near the start of Act III. ]

I learned my solo with Balanchine, but Madame Danilova was there because she had danced the Prayer solo in Russia. I think what he created on me was based on that. Balanchine never spoke about the meaning of the solo, but all the gestures are “up,” and the music seems spiritual to me. If you take what he has given you, it’s all there to tell you who you are and what this is.

At some point he showed me a picture of Marie Taglioni in a blue skirt and little top with puffed sleeves and a horseshoe crown with stars, and that’s what Karinska designed for my costume.

Danilova sent me a lovely card and flowers on the opening night. We were all very excited. Everyone knows when something is good.

Above: Merrill Ashley in the "Dawn" variation in Act 3. The costumes are the originals; they were replaced when the ballet was performed in New York the following year. Photo: Martha Swope via NYPL

Merrill Ashley, Dawn Solo The solo he made for me was fiendishly difficult, and it never became easier. There was fast footwork, lots of changes of direction and it ended in plié on pointe on one foot. I liked dancing it, but it scared me. There was one bit on a diagonal that was impossible, and it repeated three times. Eventually I said, I’m really struggling, would you consider changing it, and he said, “Dear, it’s yours, do what you want.”

Danilova choreographed the introduction to the solo, and that had more of a feeling of gentleness, awakening, offering something. Then the sun comes up over the horizon and, boom! Pyrotechnics!

You felt that Balanchine and Danilova were really friends and colleagues. He turned to her a lot; he really respected the knowledge and tradition she brought. I loved watching their interaction.

Above: Children from the School of American Ballet in Coppelia. The pink costumes replaced the golden ones used in Saratoga. Photo: Martha Swope via NYPL

Charlotte d’Amboise, Child Dancer David Richardson, a dancer in the company, was in charge of the kids, and to my twin sister and me he was God. We knew Balanchine was famous, but it was all about David. I was in the big dance in the last act, which I loved. We wore pink tutus and it was really dancey, and we had a whole section that was just us.

Balanchine really loved to have children involved and he could choreograph for them. He did it so easily, almost as if he didn’t think about it, just “go here, do this.” But he must have planned it.

At the first performance in Saratoga, one side of the elastic on my ballet slippers came off and was dangling while I was dancing. All I remember is thinking, David is seeing this—and he was so mad at me. I have never not paid attention to my shoes again!

I did pretty much all of the Balanchine ballets that had children in them, but “Coppelia” was my favorite. You felt like a ballerina, you had to have technique to dance it, and you felt like you were part of the corps de ballet. The best part of being a kid in these ballets was dancing next to these ballerinas and dancers who are goddesses and princes. To be surrounded by high art, to be part of it, affects you forever.

[shysheeperz]

For your 2024 consideration:

Akane Banashi- ongoing, the female shonen jump lead we need and deserve, rakugo, girl power, all my homies hate Zensho Arakawa and you will also feel compelled to physically fight a cranky old fictional man.

Show-Ha Shoten!-ongoing, monthly, stand-up comedy, by one half of the death note duo (art by Takeshi Obata) and Akinari Asakura, would die for Broken Glass Slipper and currently rooting for them to singlehandedly destroy the patriarchy.

Mission: Yozakura Family-ongoing, on its last leg, has an anime premiering in spring and you have no excuse at this point to keep ignoring its existence. Has just over 20 volumes and is currently the fourth longest running manga in the weekly shonen jump line-up rn (don't quote me on that). Centers around a super-powered spy family and there is a character/sibling for everyone. Has a power creep that has yet to jump the shark like certain other series. MC is literally an unproblematic fav king.

Blooming Love (Hanninmae no Koibito)-ongoing, biweekly, romance/slice of life, a romance where you don't have to wait 50 something chapters for two lovesick idiots to confess. Romantic progress is made pretty steadily. Last year of high school + beyond. The main couple is super adorbs. Serialized in Shonen Jump + and can be read on mangaplus.

And as usual,

read One Piece!

[shannendoherty-fans]

Stars kick off campaign for James Dean center

November 10, 2006

Mickey Rooney, Pat Boone and Shannen Doherty helped kick off a fundraising campaign Thursday 9 to restore an Indiana high school that will become the James Dean Performing Arts Center and Museum. The celebrities gathered at the posh Spago restaurant to announce the campaign. Officials hope to collect $6 million to renovate Fairmount High School in Fairmount, Ind., where Dean was first exposed to acting.

Source

[alldancersaretalented]

My fav solos this year

(please send anons or something, I'm down with bronchitis in 30°C weather :()

Solos

Avery Altobelli, Epic - "Heavenly Bodies" (Rudy Abreu)

Madisyn Amos, Elite Dance Pro - "A New Life" (Mandy Korpinen & Elizabeth Petrin)

Ellie Anbarden, P21 - "Somebody Help Me" (Madi Hicks)

Hallee Anderson, Larkin - "So This Is Love" (Kenzie Symanietz)

Harper Anderson, Concept Pavielle - "Paint It Black" (Brady Farrar)

Kennedy Anderson, VDA - "Come On Dreamer" (?)

Lilly Anderson, Larkin - "Cell Block Tango" (Michele Larkin)

Belle Marie Arauz, DT Miami - "How To Feel" (Ruby Castro)

Brielle Arias, Studio X - "Black And Gold" (Lia Dominique)

Finley Ashfield, Larkin - "Fools Who Dream" (Chelsea Jennings)

Melina Biltz, Rock - "Madness" (Crystal Huang)

Sofia Cuevas, Pave - "Locomotion" (?)

Kinley Cunningham, TheCREW - "Come Together" (Mollee Gray)

Aaliyah Dixon, Summit - "Take Me Oya" (Jay Jay Dixonbey)

Kensington Dressing, Evolve - "From The Ashes" (Chelsea Sebes)

Aria Du, Yoko's - "Je M'arreterai" (Megan Ellis)

Hope Edwards, OCPAA - "Winner Takes All"

Brinley Evans, Southern Strutt - "Silent Night" (?)

Gracyn French, P21 - "Chemtrails Over The Country Club" (Molly Long)

Kourtney Gampol, OCPAA - "Steam Heat" (Rachel Miller)

Regan Gerena, P21 - "That's Life" (Molly Long)

Lily Hackney, WFDC - "I Love You" (Gianna Adianez)

Sloane Hall, Southern Strutt - "Watch Me" (Leah Evans)

Lainey Hess, WFDC - "Between These Hands" (Gianna Adianez)

Reagan Hess, WFDC - "Twilight" (Gianna Adianez)

Izzy Howard, WDP - "Over It, Scene" (Maria Konrad)

Annsley Huff, Southern Strutt - "The Swan" (Shelby Barnes)

Desa Jankes, WFDC - "Find You" (Jessica Disalvo)

Eva Jimmerson, Renner - "A Mischievous Waltz" (Jordan Pelliteri)

Tayah Klimcuk, Pave - "Slow Me Down" (Courtney Schwartz)

Lily Knopps (Club) - "Diamonds Are A Girls Best Friend" (Ashley Moffitt)

Mya Lanigan, Evolve - "Breakin' Dishes" (Lauren Herb)

Esme Lee, OCPAA - "Bring On The Men" (?)

Jillian Mahan, OCPAA - "London Bridge" (Hannahlei Cabanilla)

Savannah Manzel, Larkin - "Flowers In May" (Chelsea Jennings)

Scarlett Manzel, Larkin - "What A Feeling" (Chelsea Jennings)

Kennedy Marble, Club - "Mr. Monotony" (Jaycee Wilkins)

Taylor Morrison, DC2 - "My Discarded Men" (Tanya Emmer)

Avery Olsen, OCPAA - "Woman"

Helena Olaerts, Mather - "She Used To Be Mine" (Shannon Mather)

Roxie Onellion, Base - "Amor" (Kelly Inskip)

Addyson Paul, Pave - "The Garden" (Courtney Schwartz)

Emily Polis, VDA - "When I Go" (Jessica Malafronte)

Mila Renae, Studio X - "Voila" (Fiorella Baclit)

Dylan Reuss, OCPAA - "Favorite Crime" (Amy Berokoff)

Lola Rodi, Evolve - "Heavenly Bodies" (Chelsea Sebes)

Amaya Rodriguez, DUC Miami - "3 Breaths" (Chelsea Sebes)

Elsie Sandall, Club - "Beneath The Mask" (Chelsea Jennings)

Emma Santos, Studio X - "Have A Little Faith" (Avery Cardozza)

Berkeley Scifres, P21 - "Cornet Man" (Molly Long)

Tatum Self, Club - "Gorgeous" (Jaycee Wilkins)

Everleigh Soutas, DCDF - "Something New" (Molly Long)

Kayleigh Stoler, Enthusiasm - "Medusa's Curse"

Sailor Stormoen, Larkin - "Bloom" (Chelsea Jennings)

Kiera Sun, WDP - "Mist" (Renee Kester)

Macey Strickland, WFDC - "Heavenly Bodies" (Chelsea Sebes)

Ellary Day Szyndlar, Club - "Over The Rainbow" (Mark Meismer :()

Sylvie Win Szyndlar, Club - "Magic Within Me" (Chantel Aguirre)

Ella Venerio, DUC Miami - "Beneath The Surface" (Chelsea Sebes)

Greta Wagner, Summit - "Me And The Devil" (?)

Tinsley Wallace, Renner - "Broken Wings" (Chelsea Sebes)

Skylar Wong, Woodbury - "Just A Room" (Ricky Ubeda)

Fiona Wu, Yoko's - "Voila" (Erin Lamoyne)

Aliyah Yen, P21 - "Mink, Schmink" (Molly Long)

[emperornorton47]

Performing Arts Center

[lionzandstarzz]

Oh shit I totally forgot to tell yall I saw Beetlejuice! My mom surprised me with last-minute tickets, and we got to go! I loved every bit of it