Word: ballets
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Dates: during 1950-1959
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...Horticultural Society Building, and accessible by subway token. It is bounded on the right by the Mai Fong Chinese restaurant, and on the left by the Redy Hot Lunch Budweiser Bar and Full Gospel Chapel. The sign says "One Flight Up," next door to Mildred's School of The Ballet...
Unlike Western ballet, where the body is revealed, these Indian dancers never put the body on display. Theirs is an art of angles rather than curves. To shape the angles, Indian performers exercise muscles not usually used by Western dancers. Hands are incessantly occupied with mudras, the eloquent and elegant Hindu language of the hands. Head, neck, facial muscles, eyes, even eyebrows contribute. To reveal only the whites, wide-eyed dancers conceal the iris under the upper or lower lid, and Shanta Rao can make either one of her eyebrows dance up her forehead while the other is kept immobile...
...critics as that rare beauty who is also funny. To this she scoffs patriotically: "I never thought of myself as beautiful. Millions of women in England look like me." By the time World War II broke out, Kay, at 13, had already crammed in six years of ballet lessons, spent the war years playing in musical comedies all over the British Isles. "I was a blitz baby, myself. I lived on rations when I was growing up. The majority of English girls haven't bosoms. I always wanted them and I'm jealous of people who have...
...other new ballets-Ashton's La Péri and MacMillan's Noctambules-failed despite inspired and startling flashes of choreographic brilliance. The most ballyhooed premiere of all was Prince of the Pagodas (TIME, Jan. 14) by John Cranko, with music by Benjamin Britten (his first ballet score). Choreographer Cranko's splintered story had in it recurrent themes from Cinderella and Beauty and the Beast, plus snatches of court intrigue reminiscent of King Lear viewed through the wrong end of the telescope. The stage was roiled by gaudy dancers, the sets were feverish with color, but despite...
...Royal Ballet's performances were worth seeing for the quality of the soloists if not for the imagination of the choreographers. But as always, the company was at its best in the familiar pageantesque fairy-tale fare-Swan Lake, Sleeping Beauty-and in a revised and turbulent Petrouchka. Fonteyn & Co. still moved with a cool and stately charm unmatched by any other ballet group seen in the U.S. That seems to be more than enough for U.S. audiences; half a million people who will see the Royal Ballet during its present tour have already bought more than a million...