Word: performances
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...just any university dance company can get the rights to perform Balanchine’s choreography—normally far too expensive for a 30-some member company like the Harvard Ballet. Co-Directors Katie S. Daines ’04 and Caroline L. Donchess ’04 were able to score the rights to use Balanchine’s moves in two dances free of charge because of Daines’ connection to the renowned School of American Ballet in New York City. Daines, as well as three other members of the company she says is saturated with...
...reproduces a version from the French countryside. Creepy and grotesque, the story is anything but a nursery rhyme. The wolf, waiting eagerly in bed, feeds the little girl (here, sans red riding hood) a jar of her grandmother’s blood and then coaxes her to perform a slow striptease. With each garment removed, he urges her, “Throw it on the fire, my child. You won’t be needing it anymore.” The girl rescues herself in the tale’s conclusion, in contrast to the later Grimm Brothers?...
...It’s easy in college theater to do plays that students can perform and aren’t outside of their universe. But [this play] allows us to create empathy with people we don’t normally have contact with...
...departments of literature, direction, sound, art and design explained the divergence between subject matter and aesthetics for the Fifth and Sixth Generations. Because the former endured the worst excesses of the Cultural Revolution (two of the deans were themselves exiled for a time in Inner Mongolia and forced to perform menial labor), his films invariably focus on the prevalent socio-economic problems of the day, with a sympathetic bias towards the experience of minority nationalities. On the other hand, having grown up amid rapid economic progress and material comfort in burgeoning regional cities, the Sixth Generation filmmakers concern themselves mainly...
...line starting from Science Center D—and extending into Oxford Street—before the people were told they had to leave. The disappointed pack, many of whom had traveled from all over Boston to see electronic sound artists Matmos (a.k.a. Drew Daniel and Martin Schmidt) perform that night, missed the premier event in the Office for the Arts’ latest Learning From Performers program...