Word: modernizations
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Dates: during 1950-1959
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...restless experimentation that animates a company like the New York City Ballet. Last week, before leaving New York, the Bolshoi company watched the City Ballet rehearse three works by George Balanchine (see below). The Russians applauded the U.S. group's discipline, but were clearly puzzled by a modern style alien to their own. At one point during Stravinsky's atonal Agon (1957), Ballerina Galina Ulanova unbelievingly recalled an earlier (1911), romantic work by the same composer. "This," she asked a companion, "is the same Stravinsky who wrote Petrouchka...
...week (see above), the New York City Ballet was staging its season's first new work, providing a striking contrast with the Russians' old-fashioned choreography. The premiere: Episodes, a two-part work set to the symphonic pieces of Viennese Atonalist Anton Webern (1883-1945). Choreographers: two modern masters of the dance, George Balanchine and Martha Graham, who had never worked together before...
...history. The Pantheon in Rome is half a shell. Kiesler modeled a true shell, an egglike construction balanced on stilts and tensile all around-not just at the top and sides. Last year, 35 years after he proposed it, Kiesler was commissioned by Manhattan's Museum of Modern Art to carry out his still-revolutionary idea in model form. He secluded himself in his Greenwich Village loft, spent month after month brooding, sketching, constructing. The end result is bound to surprise even those who know him. Anchored to its supporting columns as lightly as a dirigible, Kiesler...
Tentative plans have been made to build Kiesler's new departure in architecture in the garden of Manhattan's Museum of Modern Art, where a full-scale Japanese house was erected for exhibition five years ago. Never a man to waste time waiting for the decisions of practical men, Kiesler has plunged ahead into yet another project-a room for meditation, in which paintings open like windows and sculptures burst treelike from the floor...
...saintly youth who comes upon a family of starving tigers. Filled with pity, he flings himself down from the top of a cliff, offering his own body to feed the tigers' hunger. The story is told consecutively in a single picture, as in the case of some modern comic strips and many early Renaissance paintings. With Buddhist confidence in reincarnation on a higher plane, the youth gives himself up as simply as a candle flame pinched from its wick. He lies peacefully under the tigers' tearing fangs. The whole dark and wild episode is painted with the utmost...