Word: baryshnikov
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...work junkie. Even if the dance doesn't turn out to be successful, I adore the process." The speaker is Mikhail Baryshnikov, the greatest dancer of his time, whose interpretations of the classical male roles set the standard for the 1970s and '80s, and probably for a long time to come. In those years the notion of this paradigm of nobility mixing it up with modern dance seemed absurd. But a closer look at the record reveals he was already seeking out alliances with modern choreographers. When Twyla Tharp created Push Comes to Shove for him in 1976, she revealed...
That image has gradually replaced the tragic prince. Four years ago, having quit as artistic director of American Ballet Theatre, Baryshnikov founded the White Oak Dance Project, a small company of experienced dancers -- the youngest current member is 31, the oldest is Baryshnikov, now 46 -- to tour with a variety of modern works. Both the troupe and its honcho have thrived. In 90 cities, it has almost always been a sellout. But until last week, the itinerary had never included New York City...
Several appealing versions of The Nutcracker exist on film or videotape. An especially familiar one is the American Ballet Theatre's 1977 production, a TV holiday staple starring Mikhail Baryshnikov and Gelsey Kirkland, both in their radiant prime. But Balanchine's remains the standard. His hero and heroine are children, and the first act contains a party scene that is the heart of the piece. Deftly and smoothly, it teaches a timeless lesson in deportment: how a child's natural greed and anger are coaxed into poise and good manners...
MICHAEL JORDAN MIKHAIL BARYSHNIKOV...
...Pater wrote, then all movement and gesture surely aspire to the condition of dance. The infant in its crib, rhythmically waving arms and legs, is, in a sense, a baby Balanchine. A shaman of Nigeria's Yoruba tribe summoning ancestral spirits to the beat of throbbing drums and Mikhail Baryshnikov executing a triple tour en l'air are both paradigms of poetry in action...