A Parisian Dream
A participatory eagerness, a desire to be part of something sweet and beautiful, suffused the return of George Balanchine’s “A Midsummer Night’s Dream” to San Francisco Ballet on the cusp of spring.
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At once an art installation and dance piece, “Ghost Dimensions” cannot easily be pigeonholed or put into neat niche categories. It works almost like a puzzle, split into two halves with the incredible design by Tseliso Monaheng projected onto two sheets. It’s all about duality. These two component parts can be experienced by the audience in one sitting from one side of the room, or explored around the other. One side is rendered in neon colours, showing cityscapes, obscure figures and trees; the other is in negative like a reversal of the production. Both sides of the images meet up in the middle, as do the brilliant dancers, Mele Broomes and Ashanti Harris.
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“Ghost Dimensions” by Project X. Photograph by Tiu Makkonen
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A participatory eagerness, a desire to be part of something sweet and beautiful, suffused the return of George Balanchine’s “A Midsummer Night’s Dream” to San Francisco Ballet on the cusp of spring.
Continue ReadingEntering his 10th year as artistic director of Philadelphia Ballet, Ángel Corella put his artists through a ring of fire in their early spring concert at the Academy of Music.
Continue ReadingIn her 1951 autobiography Dance to the Piper, Agnes de Mille spends seven pages describing in colorful detail what it was like to be on the road with the Ballets Russes.
FREE ARTICLESix dancers enter from stage left and position themselves along the rear wall, their backs to the audience. Today, the light through a row of windows casts them in silhouette.
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