Word: ashton
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...deux featuring Nureyev and ballerina. La Sylphide, with Carla Fracci and The Sleeping Beauty, with Lynn Seymour, are both classical works. Field Figures, with Deanne Bergsma, choreographed by Glen Tetley, is a modern ballet. And Marguerite and Armand, with Dame Margot Fonteyn, choreographed by Sir Frederick Ashton especially for the pair, is based on Dumas's story of Mme. Recamier, the courtesan immortalized by Garbo in Camille. Ashton calls his ballet an "evocation poetique," but it is more like sentimental prose. The other pieces are adequate, but hardly thrilling. The biggest problem with using bits of complete works is that...
...ASHTON NICHOLS...
Gamely, Mrs. Ashton-Warner demonstrates her Maori dances and shuffles her Key Vocabulary cards. She is an experienced teacher, a combat veteran, and she throws everything she has into what she calls the "passing on" of culture. "New leaves need the tree" she has said, referring to the need of the future for the past. But these new leaves do not seem to need her. In fact, she decides, she has never gone against any body quite like these junior frontiers men of the Rockies. "Why don't they like handwriting?" she asks in future shock. "Is it going...
Feeling - Mrs. Ashton-Warner's be loved "third dimension of personality" - is what she believes education is all about. Does affluence cause this deadness at the center? Is the villain the ubiquitous TV? Mrs. Ashton-Warner does not pretend to know. But she feels her self in the presence of "a new man evolving," a mutating personality, whom she refers to as a "Muperson...
...contact with Muperson, her slightly complacent progressive formulas shatter. How does one inspire a Muperson - and still get all those troublesome blocks picked up? Mrs. Ashton-Warner's dilemma is every bit as old as the first teacher. What is new is her evident confusion, her unfortunate paralysis...