Word: tutus
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Dates: during 2000-2009
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...There are framed photos of ballerinas all around the mirror. Most of them are just of the girls’ bodies, the frame holding only downward pointed toes to skyward pointed chin, jumping and bending in their tutus. Some of them show faces, but I like the non-face ones better. I don’t know much about ballet but figure with the chorus girls it’s probably more about fitting in and looking same, so probably these no-face photos mean something...
...last photo of the bride as the curtain came down. As Cinderella evolves from dreamy chamber-maiden into social royalty, she progresses, with thrilling parallelism, from soft canvas slippers to Swarovski-encrusted pointe shoes. The resulting three-act trajectory surely served as the first foray into the world of tutus and tiaras for many wide-eyed girls in the audience...
...Night’s Dream” set in water, evoking a fairy underworld and land of mer-people. Elo, a Finnish choreographer and the acclaimed “successor” to William Forsythe, evidently takes transition to the modern very seriously: the ballet featured women in bejeweled tutus but no pointe shoes, and steps in the purely classical ballet idiom crassly segued into flexed feet and robotic contractions. It was interesting, then, to watch Forsythe’s own “Vile Parody of Address” seven pieces later. Danced by John Lam, the very contemporary...
...contemporary music, namely DJ Alexandre’s “Toma Toma,” inspired an unconventional blend of ballet and break dancing. The combination was ideal for Shee, who stood out as the only male in the show. The eight female dancers, clad in disheveled, sequined tutus of varying lengths and colors gave a performance that matched Shee’s, filled with dramatic leaps and exhilarating drops to the floor...
...restaged Bright Stream, the full-length ballet by radical Russian composer Dmitri Shostakovich, which Stalin banned shortly after it premiered in Moscow in 1936. Ratmansky looks forward, too: his own creation, Go for Broke, features modern steps and bright yellow unitards, marking quite a departure from the traditional tutus and pink leotards of Cinderellas past. "You can't call any choreography that's done today classical," Ratmansky says. With Stream and Broke already regarded as the choreographer's defining works, Ratmansky's productions have been received enthusiastically in Moscow and throughout Europe...