From the way he handles his wife, it is clear that Iago loves no one. Fiery Anastacia Holden dances Bianca, who becomes entangled with Cassio after Iago gets the young ensign drunk. There are several large scenes danced by company members and the scenic background comes from marvelous projections by Wendall K.
Only one prop is necessary, the silken handkerchief Othello gives to his bride as a wedding gift. Additionally, each studio features eight-foot-tall windows looking out onto Green Lake and beautiful Michigan woods. In addition to the breathtaking aesthetics, the new studios feature sprung marley floors, professional lighting grids, state-of-the-art sound systems, large-screen televisions for virtual guest artists and sophisticated climate control.
Interlochen's upgrade doesn't stop at the studios; the school renovated its whole dance center. The Nancy Hoagland Wing is a central hub for student dancers, with modern locker rooms with showers and a comfortable lounge to rest and work in between classes.
With multiple studios and abundant space, all Academy and summer Arts Camp programs now operate from this central location, with the ability to run separate rehearsals and classes simultaneously. Ava Blain, Interlochen Arts Academy third-year student, knew she wanted to prioritize her dance training alongside her high school education.
They know you are devoted to your art, and work to integrate academics harmoniously. At the Academy, classes are divided into two blocks: an academic block and an artistic block.
Around am, Interlochen Academy students start their academic classes, consisting of high-school level courses like English, math, science, history, and either Spanish or French.
Following a morning of academics, the dance students have a break to get ready for their artistic block of classes at the Dance Center. Dance majors take a mix of classical ballet technique, contemporary, pointe, dance conditioning and repertoire, as well as rehearsal.
In fact, she didn't necessarily see herself going out of state for high school, but she knew she wanted to seriously study dance.
After looking at other performing arts high school programs and self-reflecting, Interlochen rose to the top of her list: "When it came down to it, Interlochen was the best fit for me, both artistically and personality-wise, considering all of our incredible teachers and performing opportunities. Jones admits that she's always been pretty independent, but, of course, moving away from home at 14 years old was still an adjustment.
Interlochen Arts Academy dance majors perform in four staged performances—two full ballets and two mixed-repertoire shows—each school year.
In addition to performances in the theater, students can also take part in local touring opportunities talk about prepping for dance-company life! From his Fire Water Paper: A Vietnam Oratorio to his scores to Frida, Interview with a Vampire and Batman Forever, he has continuously discovered compelling techniques to keep us on the edge of our seats with anticipation. In Othello, the moods range from deep love and ecstatic frenzy to dread, rage and horror.
He pulls us along through the drama, from beginning to end. And the great Lar Lubovitch accomplishes similar wonders, because… The choreography is unmistakable. If you have ever seen a Lar Lubovitch dance, you know that his style is unique. The shapes that he creates with human bodies are impossible to mistake for the work of anyone else.
More importantly, Lar has found a way to tell the story of Othello entirely through gesture. Yes, the dancers portray their roles with intensity and passion, but those are secondary to the moves they make. Lar has discovered a unique shape or momentary pose to communicate each hyper-specific emotion and plot point of the story. And not a hint of ballet mime. Not only are the costumes, sets, projections and lighting totally in service to the story — as you would expect in any great ballet — but here, the dance is completely in service to the music, and the music in service to the dance.
From that point on, the two of them worked simultaneously. Each night Elliot composed a section of the music; and the next morning, he brought it into the studio for Lar to choreograph. If Lar needed more time for a particular dance, he asked Elliot to expand it by a few measures. That, and that the characters in this ballet were not particularly well-drawn or defined. It's too bad, because the premise of a prequel to the great play is enticing.
His "The Chase", a fox-hunting riff on Swan Lake was really a stitch! Though Butler's version was conceived as a vehicle for Carla Fracci, it's the men's roles that stick out in my mind: low-cut tights, lots of pelvic thusting with torsos leaning back and arms bent behind the back, and these big hovering jumps legs extended backwards, torsos forward with arms stretched overhead.
It will be performed next month at the Joyce, if you care to take a trip to Manhattan. I don't know about Neumeier's opinion, but I love his version. It was played in the former mill, where seats surround the stage from three sides, forming kind of Greek amphitheatre. On the back of the stage was a small pool with a real water, over it was a balcony with a small orchestra. I had used the word "played', because dancers were magnificent in their acting, besides good dancing, of course.
Neumeier included two new characters - Spring and Warrior, who were allegorical figures. One scene was absolutely brilliant, when Jago taught Emilia the lesson, how to behave yourself, whithout the music, loudly accounting marching steps.
In my quest to weave dance into the cultural conversations of my college English classrooms, I show the old kinescope of Moor's Pavane 's original cast performance only one out there! It's a great way to focus discussion, as Limon is pretty incisive about zeroing in on a particular part of the story. And after spending so much time on the language of the play, seeing the dance helps the students to look at the play in a different way--Limon presents, as it were, an "argument" about what he thinks the play is about Othello's race, for instance, does not stand out as important to Limon's vision , which usually makes for lively discussion!
He resisted the trap of recreating a classic play largely through mime instead of dance and he also created a work that has a life independent of the play that spawned it. The beauty of The Moor's Pavane is that you don't actually have to have read Othello to understand what is happening onstage. If you want to tell the larger story -- as the Crankos, MacMillens, and Neuemiers do in their story ballets, and as Lubavitch does with his recent Othello -- pure dance would not seem to be enough.
On the other hand, there are those story ballets that are impossible to follow without a crib sheet, no matter how much miming or worse posturing and stereotyping they use. Mayerling, for me, is an example of this. Recent reviews of the Royal Ballet's production of Onegin are very interesting in showing how John Cranko edited and actually re-wrote the character of Onegin to compensate for a being unable to put the story into words.
My problem with trying to replicate works of literature -- scene-by-scene -- on ballet stages is that often times a certain amount of cheating takes place. The more I think about it, the more I think that the audience did more of the heavy lifting -- in terms of imposing narrative order on the goings-on -- than the choreographer did.
What I mean by this is that there are certain times in Romeo and Juliet where the audience has to fill in the blanks regarding what is transpiring onstage either through familiarity with the play or referencing the page-long program notes. This strikes me as a kind of cheat because I believe -- strongly -- that a dance work should have a life of its own irrespective of the source material. Let me put on my flame retardant suit before all the MacMillan fans start responding!
What we see is always so greatly influenced corrupted? I can imagine traditional cultures in which the behavior of Romeo and of Juliet -- especially their violation of parental authority and lack of concern for family-first values in their society and the times -- would actually be offensive to audiences.
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