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 first, there is nothing—just the cream and brown clad figure of Scottish Dance Theatre's guest dancer Yosuke Kusano who walks across a wooden floor. As the floor is bare, so too are his very exacting movements, just enough to infer tension: minimal, sharp and mired in a kind of self-protective series of gestures. A hand is raised like an alarm signal. He tiptoes. He moves instinctively, his body governed entirely by the feelings that exist in that exact moment. Suddenly, he pulls at something just visible to the side of his shoulder—a strand of hair that is seemingly not his own. Golden wisps of hair are picked out by the light, and Kusano pulls carefully at the strands, then recoils.
Yosuke Kusano in Scottish Dance Theatre's new film, “Thin h/as h/air” by Pauline Torzuoli
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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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