Woody Allen injects humor into the ballet

woodyallen2

The ballet isn’t generally known as a place for great humor, but Woody Allen was a cutup at the Youth America Grand Prix Gala, spies said. The “Annie Hall” director and wife Soon-Yi Previn were spotted there as guests at the David H. Koch Theater at Lincoln Center last week, along with David and Julia Koch, Wilbur and Hilary Ross, Debra Black and Karen LeFrak, who composed the score for a premiere of Marcelo Gomes’ dance piece “Tous Les Jours.” When the well-heeled group filed in for dinner after the performance, Allen was seen desperately scanning the place cards at his table. “I like it when Soon-Yi’s at the same table,” he explained to a guest, relieved to find she was seated nearby. When a party photographer asked to snap a pic, Allen quipped that he’s always happy to pose because, “It keeps me from eating.” And when a guest exclaimed Allen hadn’t changed since they’d met 35 years before, the director put his hand on his heart, tapped his chest and concluded, “No maturity.” [Source]

Alicia Graf Mack dancing for Alicia Keys

Alicia+Graf+Mack+on+set+for+Alicia+Keys+video+shoot.+Photo+by+Wes+Veldink_cc8277b0-db5e-4f8f-95c8-030d307a9990-prv

Thanks to a single phone call and fortuitous timing, Ailey dancer Alicia Graf Mack recently had the chance to participate in a video shoot for Alicia Keys’ current international tour. Ms. Mack, who can now be seen “performing” behind the R&B superstar at all of her shows, gives a behind-the-scenes glimpse at the shoot and explains why the experience means so much to her.

Read more here.

Opening Friday April 19th, the San Jose Ballet in Merce Cunningham’s “Duets”

Here is a Nathaniel Tileston photo from the original cast–Merce dancing with Cathy Kerr in 1980.

892677_10152751683910576_1558567547_o

Another photo of “Duets,” having its San Jose Ballet premiere this weekend–Here are American Ballet Theatre’s Robert La Fosse and Christine Spizzo in 1982.

644496_10152751691560576_323551835_n

Merce Cunningham (1919-2009)

In the spring of 1981, during a residency at the Walker Art Center in Minneapolis, Minnesota, choreographer Merce Cunningham and composer John Cage sat down to discuss their work and artistic process. As frequent collaborators, Cage and Cunningham pioneered a new framework of performance. Their novel approach allowed for mediums to exist independently, or rather cohabitate, within a performance, thus abandoning the co-dependent model of dance and music. Cage and Cunningham go on to discuss the methodology and motivations behind chance operations, a term used to describe artistic decisions based on unpredictability. Wanting to free himself of his likes and dislikes, Cage describes how Zen Buddhism influenced his work, leading him to use tools of chance. These new methods, adopted by both Cunningham and Cage, overturned a whole foundation of thought around music, movement, and the process of creating art.




MerceCunningham