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...radiant massing of the colors. Rouben Ter-Arutunian's kilts are ravishing in their tartan greens, blues, yellows, scarlets and burgundies. At first the clans, led by such soloists as Jacques d'Amboise, Karin von Aroldingen and Suzanne Farrell, yield the floor to each other for classical ballet variations on the reel, jig and sword dance. But what Balanchine weaves at the end is a counterpart in motion for the plaid costumes. As 70 dancers-the largest ensemble Balanchine has ever used -march past one another in columns, one can almost see the choreographer's loom working...

Author: /time Magazine | Title: Dance: Flotilla of Fun | 5/24/1976 | See Source »

Like the still snappy Stars and Stripes, the new Union Jack should become a staple at the New York City Ballet. Balanchine plans to combine them, then add Tricolor, a celebration of France, promised for 1977. The result will be a full night's entertainment called Entente Cordiale. It should be fun. It should also reaffirm Union Jack 's basic assertion that tribute is possible with out aesthetic taxation and its suggestion that glory, old or otherwise, is where you find...

Author: /time Magazine | Title: Dance: Flotilla of Fun | 5/24/1976 | See Source »

...Royal Danish Ballet is one of dance's most venerable institutions. With a 200-year history, the Danes claim the oldest continuous tradition in ballet, except for the Paris Opera, and their dancers are renowned for crisp footwork and ineffable lightness. They still have a few surprises tucked away, however, as audiences at Washington, D.C.'s Kennedy Center learned last week when the visiting company unveiled Choreographer Flemming Flindt's Triumph of Death-and even undressed a few of the dancers...

Author: /time Magazine | Title: Dance: Dance Candor | 5/24/1976 | See Source »

...take the sensuous, corporeal expression away from dance, it becomes stuffy," says Copenhagen-born Flindt, 39, the company's artistic director. Little danger of anyone calling Flindt stuffy. The Lesson, his choreographic debut, was a startlingly effective piece about a psychopathic ballet master. Although Flindt has kept the cherished classics like La Sylphide and Napoli well polished, he has introduced the "modern feet" of Paul Taylor and Murray Louis. Trying to inject more reality in Danish ballet, he decided on a more sexual, dynamic, aggressive approach. One result was Triumph of Death, inspired by Ionesco's play Jeux...

Author: /time Magazine | Title: Dance: Dance Candor | 5/24/1976 | See Source »

...Danish dancers fly and sweep through space in broad arcs. Yet they are totally unlike the flashy, athletic Russians of the Bolshoi or Kirov ballets. The Danish presentation is modest rather than showy. Dancing the role of Winter, Mette Hønningen-her arms gently curved and her shoulders very straight-gazed directly at the audience and glided through intricate patterns of quick, tiny steps that flowed like pulse beats. This is the true Danish style-a soft, romantic candor. It traces its roots to French ballet and is a legacy of August Bournonville, the chief designer of the Danes...

Author: /time Magazine | Title: Dance: Dance Candor | 5/24/1976 | See Source »

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