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“You can’t deconstruct something without understanding the original construction,” Stowell says. “I do think audiences, while hungry for the new, also long for something with form and structure that tests dancers’ technique. In more contemporary ballet, it can be hard to know whether a dancer is achieving the choreographer’s aims. And dancers need to be able to expose their technique in that way, to remind them why they work so hard.”. Certainly few dances require the rigorous work of the “Tarantella Pas de Deux.” Based upon a southern Italian folk dance that has provided inspiration for many a choreographer, Balanchine’s “Tarantella” combines folk elements with classical form in a relentlessly rhythmic dance that requires unflagging stamina and bravura wit. It’s a playful, sexy and over the top pas de deux that puts dancers to the ultimate test. Stowell performed it dozens of times around the world with San Francisco Ballet and was so linked to the piece that he gave it a final spin at his farewell gala in April 2001 ballet shoes pointe uk online.
“It’s just really fatiguing, but if one were to dance it with the end goal of not being exhausted, you will have missed the point entirely,” Stowell says. “You have to embrace that it’s going to kill you, rather than let that freeze you up. It’s not really about the choreography. It’s about what the dancers can do, and how witty they can be with their bodies. It’s very rhythm-based, and a dancer has to show off their ability to be spontaneous. I work on beyond getting the correct steps. The last thing the audience should think about is whether it’s done correctly.” ballet shoes pointe uk online.
A DECADE OF DANCE: Company C Contemporary Ballet continues its impressive 10th season at San Francisco’s Fort Mason Center this Friday through Sunday, and returns to the East Bay after a New York sojourn for a weekend run at the Lesher Center on May 25-27. The programs for both Bay Area runs include a ballet by C’s founding artistic director, Charles Anderson, set to bluegrass arrangements of Led Zeppelin’s classic rock work, “The Song Remains the Same (Suite),” and Anderson’s “Key to Songs,” a technically demanding pas de deux with a score by electronic music pioneer Morton Subotnik. “Footage,” by Les Ballets Trockadero de Monte Carlo founder Peter Anastos, is a sleek and elegant ballet set to tunes by English big-band leader Jack Hylton, who kept the British dancing through the dark years of the Great Depression. And Gregory Dawson, resident choreographer with Alonzo King’s Lines Ballet, presents “Which Light in the Sky Is Us?” featuring a score by Ben Juodvalkis and Moses Sedler ballet shoes pointe uk online.
Subtitled “The Hierarchical Migration of Birds and Mammals,” “Migration” is a quintessential Lines work because it functions as an abstract collage. The poignant images evoke flight and land travel, and the dancers float and torque in undulant but angular shapes set in an aural landscape of wave sounds and bird calls (created by Miguel Frasconi and Leslie Stuck). The women morph into regal, long-legged creatures poised virtuosically on one leg in a concentrated stillness that grips us. Duets become passionate struggles of two creatures bound in often tender turmoil that is existential and spiritual, not psychological ballet shoes pointe uk online. The ensemble blasts up into leaps like a flock of birds scattering up out of a wetlands, and newcomer Paul Knobloch sexily flutters and darts, open shirt catching wind like a parachute..
Like other abstract dancemakers, King creates images that relish shape and line and refer poetically to the human condition. But King also does what few other neoclassicists do: He calls up the history of the species and, through Africanized classical steps and atypical music, our collective African origins. “Migration” does it with quiet elegance ballet shoes pointe uk online. Like a series of boxes within boxes, this dance also seems to call forth the history of our own culture and the place African traditions have had in the formation of American modern and neoclassical dance. King even seemed to be referring at one point to dancer, drummer and linguist Asadata Dafora from Sierra Leone, who performed his spellbinding “Ostrich” dance in New York in 1932 and gave Americans a new understanding of what dance could be..