Podcasts about la bayadere

Новости на радио «Русские Эмираты» в Дубае:- С 14 по 16 февраля 2025 года в Дубайской опере покажут балет La Bayadere с участием ведущих танцовщиков Королевского балета Вадима Мунтагирова и Фуми Канеко. Постановку будут сопровождать динамичная хореография, яркие костюмы и живая партитура в исполнении оркестра Национального театра Брно.- Власти ОАЭ рассказали о новом налоге и льготах для налогоплательщиков.

Новости на радио «Русские Эмираты» в Дубае: - Всемирный экономический форум включил Объединенные Арабские Эмираты в топ-20 самых активно развивающихся туристических направлений мира, уточнив, что в 2024 году страну посетили 29,2 млн иностранных путешественников. - С 14 по 16 февраля 2025 года в Дубайской опере покажут балет «La Bayadere» с участием ведущих танцовщиков Королевского балета Вадима Мунтагирова и Фуми Канеко. Постановку будут сопровождать динамичная хореография, яркие костюмы и живая партитура в исполнении оркестра Национального театра Брно.

"Dance Talk” ® with Joanne Carey and special guest Skylar Brandt.  In this episode of "Dance Talk” ® , host Joanne Carey interviews Skylar Brandt, a principal dancer with the American Ballet Theatre. They discuss Skylar's journey from childhood dance classes to becoming a professional dancer, the importance of private coaching, and the emotional connection required in performance. Skylar shares insights into her preparation for roles, the dynamics of partnering, and her experiences as a principal dancer. The conversation also touches on her advocacy for causes close to her heart, her love for teaching, and her upcoming performances.  Skylar Brandt was born in Purchase, New York and began her training at the age of six at Scarsdale Ballet Studio. She attended the Jacqueline Kennedy Onassis School at American Ballet Theatre from 2005-2009. Brandt was a silver medalist at Youth America Grand Prix in 2004 and 2008. Brandt joined ABT II in 2009, became an apprentice with ABT in 2010, and joined the corps de ballet in 2011. She was promoted to Soloist in 2015 and to Principal in 2020. Among her leading roles with the Company are Giselle in Giselle, Medora in Le Corsaire, Kitri in Don Quixote, Odette/Odile in Swan Lake, Gamzatti in La Bayadere, Olga in Onegin, Clara, the Princess in The Nutcracker, Young Jane in Jane Eyre, Columbine in Harlequinade, Princess Praline in Whipped Cream, the Lead Maiden in Firebird, the Golden Cockerel in The Golden Cockerel, and roles in The Green Table, Pillar of Fire, The Sleeping Beauty, Bach Partita, The Brahms-Haydn Variations, Company B, Gong, In the Upper Room, Piano Concerto #1, Raymonda Divertissements, Sinfonietta, Symphonic Variations, and AFTERITE. Brandt was awarded a 2013 Princess Grace Foundation-USA Dance Fellowship. That same year, she was featured in the movie “Ballet's Greatest Hits”. In 2018, Brandt was the recipient of an unprecedented Special Jury Award for her performances on the Russian television show “Big Ballet”. In 2022, Brandt was named to the renowned "Forbes 30 Under 30" list of most influential leaders and entrepreneurs.  Skylar Brandt Website  ⁠https://www.skylarbrandt.com/ ⁠ Follow Skylar on Instagram ⁠ ⁠ ⁠@skylarbrandtballet ⁠  American Ballet Theatre Upcoming Performances  ⁠https://www.abt.org/performances/abt-on-tour/⁠  “Dance Talk” ® with Joanne Carey wherever you listen to your podcasts. ⁠⁠⁠⁠ ⁠⁠⁠⁠⁠ ⁠https://dancetalkwithjoannecarey.com/⁠⁠⁠⁠⁠ ⁠ Follow Joanne on Instagram @westfieldschoolofdance  Tune in. Follow. Like us. And Share.  Please leave us review about our podcast!  “Dance Talk” ® with Joanne Carey "Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real."

Themen u.a.: Zum Tod des Produzenten Quincy Jones, vorerst letzte Ausstellung im Skulpturenmuseum Marl, Vor 30 Jahren erschien "Pulp Fiction" in den deutschen Kinos, Bühnentipps: "La Bayadere" im Schauspiel Dortmund und ""Unser Deutschlandmärchen" im Theater Münster. Moderation: Rebecca Link Von Rebecca Link.

Working with narcissistic leaders in dance and experiencing dehumanization as a dancer are sad realities that many dancers face, especially in the professional ballet world. In today's episode, we are talking about how dancers can reclaim a sense of agency over themselves and their journeys even in the midst of this broken system. Melody Mennite Principal ballerina formerly with Houston Ballet and currently dancing with Vitacca Ballet. She has toured internationally to perform the classics as well as contemporary work in dance. Some of her classical Principal roles include Odette/Odile, Aurora, Kitri, Sugar Plum Fairy and Clara in The Nutcracker, Cinderella, Manon, Juliet, The Sylph in Bournanville's La Sylphide, Nikya in La Bayadere, Ciao Ciao San in Madame Butterfly, Marie in the ballet Marie, Tatiana and Olga in Onegin, Stephanie and Mary Vetsera in Meyerling, Swanhilda in Coppelia, Valencienne in The Merry Widow, and Lise in La Fille mal Gardee. Melody's most recent international appearance was in the role of Juliet for the Houston Ballet's Romeo and Juliet tour to Melbourne, Australia. During Melody's professional career she has also originated roles in new classical and contemporary productions by choreographers Christopher Wheeldon, Justin Peck, Stanton Welch, Ben Stevenson, Christopher Bruce, Jorma Elo, Cathy Marston, Paul Taylor, Aszure Barton, Nicole Fonte, Annabelle Lopez Ochoa, Olivier Wevers, Oliver Halkowich, Jane Weiner, and Garret Smith as well as in her dual role as dancer/choreographer for several films. Melody enjoys all forms of dance and has extensive training and experience with styles rooted in classical ballet, contemporary, jazz, and hip hop. She is passionate about both learning and teaching what she has learned with others. Ms. Mennite has graced the cover of both Dance Magazine and Dance Europe and is celebrated as the Audrey Hepburn of ballet due to her dynamic acting and a predisposition for comedic roles. As an actor Melody has achieved two award winning performances in film and continues to build this part of her resume. To read the rest of Melody's impressive resume, visit the description of our other recent episode together. Watch this episode on Youtube: https://youtu.be/Xa0Mno0uWlk To learn more about my mindset coaching and speaking services, visit kirstenkemp.com To stay up to date on the latest announcements and blog posts at The Confident Dancer, sign up to be a part of my email newsletter community here: http://eepurl.com/gDmjtz To follow along for daily tips and behind-the-scenes looks at what I'm up to, follow me on Instagram at @kirsten_theconfidentdancer _______________________________________________ WORK WITH ME 1:1! THE CONFIDENT DANCER COACHING PROGRAM: A 1:1 Coaching Program to master the mental side of dance so you can confidently perform to your fullest potential. Perfect for pre-professional, professional, or recreational dancers wanting overcome mental blocks like self-doubt, performance anxiety, perfectionism, comparison, insecurities, etc., and build a truly confident mindset that allows you to perform your personal best with joy. Learn more and apply here: https://kirstenkemp.com/confident-dancer-coaching-program#confident-dancer _________________________________________________ SPEAKING & WORKSHOPS: I offer mindset seminars to equip dancers with the inspiration and practical tools to thrive in their well-being and ability to perform their personal best. These 60-90 minute seminars can be a valuable addition to the holistic support and education of your dancers at your next intensive, year-round program, or professional development opportunity for your company dancers. Learn more and inquire here: https://kirstenkemp.com/speaking-and-workshops#speaking-and-workshops

Melody Mennite - Principal ballerina formerly with Houston Ballet and currently dancing with Vitacca Ballet. She has toured internationally to perform the classics as well as contemporary work in dance. Some of her classical Principal roles include Odette/Odile, Aurora, Kitri, Sugar Plum Fairy and Clara in The Nutcracker, Cinderella, Manon, Juliet, The Sylph in Bournanville's La Sylphide, Nikya in La Bayadere, Ciao Ciao San in Madame Butterfly, Marie in the ballet Marie, Tatiana and Olga in Onegin, Stephanie and Mary Vetsera in Meyerling, Swanhilda in Coppelia, Valencienne in The Merry Widow, and Lise in La Fille mal Gardee.Melody's most recent international appearance was in the role of Juliet for the Houston Ballet's Romeo and Juliet tour to Melbourne, Australia. During Melody's professional career she has also originated roles in new classical and contemporary productions by choreographers Christopher Wheeldon, Justin Peck, Stanton Welch, Ben Stevenson, Christopher Bruce, Jorma Elo, Cathy Marston, Paul Taylor, Aszure Barton, Nicole Fonte, Annabelle Lopez Ochoa, Olivier Wevers, Oliver Halkowich, Jane Weiner, and Garret Smith as well as in her dual role as dancer/choreographer for several films. Melody enjoys all forms of dance and has extensive training and experience with styles rooted in classical ballet, contemporary, jazz, and hip hop. She is passionate about both learning and teaching what she has learned with others. Ms. Mennite has graced the cover of both Dance Magazine and Dance Europe and is celebrated as the Audrey Hepburn of ballet due to her dynamic acting and a predisposition for comedic roles. As an actor Melody has achieved two award winning performances in film and continues to build this part of her resume. Also from a musical family Ms. Mennite was singing onstage before she ever started training in dance. She has been professionally recorded and released and has performed leading singing roles in regional productions of both West Side Story and Oklahoma. Melody's choreography has been featured on film, in music videos, and on ballet stages throughout the United States. In the last ten years she has been commissioned to create thirteen separate works nationally. Her hobbies include spending time in the outdoors, spending time with her son and two dogs, singing/making music, reading, writing, and practicing new ways to make art. Watch this episode on Youtube! https://youtu.be/9F17DkF13L0 To follow along for daily tips and behind-the-scenes looks at what I'm up to, follow me on Instagram at @kirsten_theconfidentdancer ________________________________________________ THE CONFIDENT DANCER COACHING PROGRAM: A 1:1 Coaching Program to master the mental side of dance so you can confidently perform to your fullest potential. Perfect for pre-professional, professional, or recreational dancers wanting overcome mental blocks like self-doubt, performance anxiety, perfectionism, comparison, insecurities, etc., and build a truly confident mindset that allows you to perform your personal best with joy. Learn more and apply here: https://kirstenkemp.com/confident-dancer-coaching-program#confident-dancer ______________________________________________ ONLINE COURSES: My online course offerings are a wonderful way to learn the practical steps to retraining your mind so you can thrive and excel in your dancing, all at your own pace and for a more affordable price than individual coaching. Whether your goal is to break through fear and nervousness so you can show up confidently in your auditions or you want to release the self-criticism or self-doubt that's been draining all the joy out of dancing lately, The Confident Dancer Course and rotating mini-courses available are designed to help you do just that. Learn more and enroll here: https://kirstenkemp.com/online-course-offerings

Die Ballettfestwoche München beginnt am kommenden Freitag mit einem Triple Bill im Nationaltheater und geht am 20. April mit dem Klassiker "La Bayadere" zu Ende. Die Ballettfestwoche zeigt Klassisches in Tütüs wie auch Zeitgenössisches und obendrein noch ein Gastspiel aus Belgien, mit der Truppe "Peeping Tom". Der Dramaturg des Bayerischen Staatsballetts Serge Honegger hat Sylvia Schreiber im Studio besucht und über das Programm, das Triple Bill und die Highlights gesprochen.

Phil Chan, co-founder of the non-profit Final Bow for Yellowface, joined the studio this month to talk about his work with the organization to improve representation of Asians in ballet and eliminate offensive stereotypes on stage. Phil co-founded the organization alongside Georgina Pazcoguin, former New York City Ballet soloist, and they are both doing great work to advocate for Asian artists within ballet and beyond. Phil is also the author of two books - Final Bow for Yellowface: Dancing between Intention and Impact and Banishing Orientalism: Dancing between Exotic and Familiar - as well as a choreographer and a stage director. He directed his first opera this summer, a reimagining of Puccini's 1904 classic Madama Butterfly, and is currently in the process of reworking the famous ballet La Bayadere to appeal to 21st century audiences. We talked about how his own experiences as a Chinese American during the COVID-19 pandemic shaped his approach to his work as a dancer and activist. We also talked about how dancers of any age can push through fear and get into the ballet studio. And, as if he's not busy enough, Phil is also president of the Gold Standard Arts Foundation, an organization that works to elevate Asian voices in the arts. Phil does so much great work for dance and the live arts, and it was an honor to talk to him! Follow Final Bow on Instagram: ⁠@finalbowforyellowface Learn more about Final Bow for Yellowface: https://www.yellowface.org/ Support Asian voices in the arts: https://www.goldstandardarts.org/ Stop hate against Asian Americans and Pacific Islanders: https://stopaapihate.org/donate/ Donate to Maui's wildfire recovery efforts: https://www.hawaiicommunityfoundation.org/strengthening/maui-strong-fund Music in this episode: Waltz of the Flowers - Tchaikovsky Barroom Ballet - Silent Film Light - Kevin MacLeod Barroom Ballet - Silent Film Light by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. ⁠https://creativecommons.org/licenses/by/4.0/⁠ Source: ⁠http://incompetech.com/music/royalty-free/index.html?isrc=USUAN1100310⁠ Artist: ⁠http://incompetech.com/⁠ ⁠@eblosfield⁠ | theadultballetstudio@gmail.com Support this podcast on Patreon! https://patreon.com/TheAdultBalletStudio?utm_medium=clipboard_copy&utm_source=copyLink&utm_campaign=creatorshare_creator&utm_content=join_link --- Support this podcast: https://podcasters.spotify.com/pod/show/elizabeth-blosfield/support

Amie Sultan is an Egyptian belly dancer and classical ballerina. She was born and grew up in Singapore to an Egyptian family that was working extensively in South East Asia. Having established herself first as a successful ballet dancer, she has toured across the world dancing in Swan Lake, La Dame Aux Camellias, Jeune Homme Et La Mort, La Bayadere and Raymonda. In her quest to add a new layer to her dance repertoire, it is Amie's goal as a performance artist to restore the glamour and brilliance of the belly dance technique that was at its height in the 1940's and 50's. In this episode you will learn about:- How Amie transitioned from a professional ballet career to the belly dance world- Difficulties of being a dancer in Egypt- Bringing this dance to institutions such as museums.- Creating the Taqseem Institute and Tarab Collective- Relationships between belly dancers that affects the reputation of the danceShow Notes to this episode:Find Amie Sultan on Instagram, Facebook, and Youtube. More info about Taqseem Institute HERE.Join SharQui - The Bellydance Workout at sharqui.com/onlineDetails and training materials for the BDE castings are available at www.JoinBDE.comFollow Iana on Instagram, FB, and Youtube . Check out her online classes and intensives at the Iana Dance Club.Find information on how you can support Ukraine and Ukrainian belly dancers HERE.Podcast: www.ianadance.com/podcast

Anais Bueno creció en Córdoba, Veracruz, donde empezó sus primeras clases de Ballet en Fomento Artístico Cordobés bajo la dirección de Martha Sahagún en 1995. A los pocos años participó con éxito en diferentes concursos. En el "IV Concurso Nacional de Ballet Infantil y Juvenil" ganó la medalla de plata y en el "V Concurso Nacional de Ballet Infantil y Juvenil" la medalla de oro. En el año 2003 participó en el "Youth America Grand Prix" de Nueva York ganando una beca para continuar sus estudios de ballet en la Escuela John Cranko en Stuttgart, Alemania donde estudió hasta graduarse en el año 2007. En la temporada 2007/08 fue contratada como parte del cuerpo de baile del Stuttgart Ballet en donde bailó por cuatro años bailando numerosos ballets de John Cranko como Romeo y Julieta, Onegin, La Fierecilla Domada y El Lago de los Cisnes. Fué en Stuttgart dónde Anais recibió su primera oportunidad como solista en el ballet “Giselle” bailando el pas de deux de Paysan y trabajó con coreógrafos como John Neumeier, Marco Goecke, Christian Spuck y Demis Volpi. En el 2012, bailó por una temporada con el Boston Ballet obteniendo el papel principal en el ballet “Tar and Feathers” del renombrado coreógrafo Jiri Kylian, papeles de solista en el ballet “La Bella Durmiente” de Sir Frederick Ashton y varios papeles en diferentes ballets de George Balanchine como “Serenade”, “Symphony in C” y “Coppelia”. En el año 2013 fue contratada por el Joffrey Ballet de Chicago donde baila actualmente. En su tiempo con la compañía Anais ha bailado numerosos papeles en los ballets “Maninyas” y “La Bayadere” de Stanton Welch, “EL Lago de los Cisnes”, “Continuum” y “Fools Paradise” de Christopher Wheeldon, “Episode 31” y “Tulle” de Alexander Ekman, “In Creases” y “The Times are Racing” de Justin Peck, papeles solistas en “Incantations” de Val Caniparoli, “Infra” de Wayne McGregor y “Mammatus” de Annabel López Ochoa, así como también los papeles principales en “El Cascanueces” de Christopher Wheeldon, “Jane Eyre” de Cathy Marston, “Midsummer Night's Dream” de Alexander Ekman y creó el papel original de “Kitty” en el ballet “Anna Karenina” de Yuri Possokhov. Anais ha bailado en diferentes países del mundo como Alemania, Canadá, Hungría, Japón, China, Corea, Inglaterra, España y Estados Unidos. En el 2005 formó parte de la gala “Jóvenes Talentos” presentada en el Palacio de Bellas Artes junto con bailarines de la Compañía Nacional de Danza y ha salido en la portada de la revista “Danza Europa”.

Deborah Rodríguez se graduó de la Escuela Superior de Música y Danza de Monterrey en el 2006. En el 2005, fue ganadora del tercer lugar en el Concurso Nacional de Ballet Infantil y Juvenil de México. En el 2008 participó en el concurso Internacional World Ballet Competition en Orlando, Florida, quedando entre las 10 finalistas. En el 2012 fue invitada por la Escuela Superior de Música y Danza de Monterrey a participar en el concurso Youth American Grand Prix, en la ciudad de New York, quedando su grupo como ganadores del tercer lugar representando. En el 2017 es invitada para ser parte del elenco de Monterrey International Ballet Gala, uno de los eventos culturales más importantes de la ciudad, junto con grandes bailarines altamente reconocidos a nivel internacional. En dicho evento interpretó “Palpable Winds” con el bailarín francés Manuel Vignoulle, así como la pieza de “Soy”, de la maestra Rosario Murillo. Ha interpretado papeles de solista, y de principal, en diferentes ballets clásicos como El Lago de los Cisnes, La Bayadere, La Bella Durmiente, El Cascanueces, Giselle, Don Quijote, Bruch Violin Concerto, Sechs Tänze, de Jiri Kylian, e interpretó el rol principal en el ballet La Cenicienta, por mencionar algunos. En el 2006 forma parte de la compañía del Ballet de Monterrey y actualmente se desempeña como bailarina principal.

In this episode of MOVERS SHAKERS MAKERS mini-series, Ballet for the Twenty-first Century, Emma Lister and guest Phil Chan discuss his first book Final Bow for Yellowface: Dancing Between Intention and Impact, and his upcoming work, Shades of the Orient, in which Chan supports his claim that Orientalism is one of the major pillars of classical ballet. He puts forward some constructive solutions on how to stage problematic works (La Bayadère set in 1930's Hollywood anyone?!) and discusses the impact that recent social justice movements have had on ballet companies.Chan is cofounder of Final Bow for Yellowface, a pledge to eradicate outdated portrayals of Asians on stages the world over. To date, almost every major American ballet company has signed this pledge, and several international companies as well.Final Bow for Yellowface Website:www.yellowface.orgFollow them on Instagram: @finalbowforyellowfaceTHIS EPISODE HAS BEEN AUDIO TRANSCRIBED.This mini-series has been made possible by a grant using public funding by the National Lottery through Arts Council England.

Ashley Marie Mireles joins host Dr. Carla Marie Manly to discuss her titles Proud to Be Latino: Food/Comida and Little Fingers Ballet!    About Ashley Marie Mireles: Ashley Marie Mireles was born and raised in the heart of California's Central Valley, where her time visiting the library blossomed into a career in publishing. She currently lives in Fresno, California, with her boyfriend of seven years and their terrier. About Little Fingers Ballet!: https://www.familius.com/book/little-fingers-ballet/ Ballet is for feet, and now fingers too! Slip into your mini pointe shoes! Being a prima ballerina is simple with Little Fingers Ballet! Flip through the pages and become the star of classic ballets. The six spreads feature scenes from Coppellia, Cinderella, La Bayadere, The Nutcracker, Romeo & Juliet, and Swan Lake. Each page gives the reader a ballet step to practice from the actual choreography of the scene. About Proud to Be Latino: Food/Comida: https://www.familius.com/book/proud-to-be-latino-food-comida/ Did you know that there are over 5000 types of potatoes sold in South America? Or that in Honduras, a song about conch soup reached the Billboard Top 100 Charts?  Latino culture spans Southern and Central America as well as the Caribbean, but often when we think of Latino foods, we think tacos, burritos, and other common Mexican dishes. Proud to Be Latino: Food/Comida teaches children how different Latino countries use similar ingredients to create unique regional dishes. The dishes and their descriptions are given in both English and Spanish, and parents will enjoy the sidebars with additional fun facts about Latino food and culture. This bilingual board book takes the reader beyond a basic language primer and dives deep into the heart of Latino culture . . . which is the food, of course! 

Robin Stiehm's professional dance career spans 4 decades, beginning as a ballet dancer at the Minnesota Dance Theatre. She was a soloist at MDT, performing in ballets such as Concerto Barocco, Les Sylphides and La Bayadere and became a prime interpreter of choreographer Loyce Houlton's contemporary ballet.In 1989 Robin transitioned to modern dance and worked with New Dance Ensemble, also in Minneapolis, MN. There she was privileged to work with many choreographers, including Bill T. Jones, David Dorfman, Bebe Miller, Ralph Lemon and a host of others.Robin began choreographing in 1990 and in 1994 formed her own group, Dancing People Company, based in Minneapolis. During her Minneapolis years, Robin’s work received support from the McKnight and Jerome Foundations, and the Minnesota State Arts Board. In 2000, she received a prestigious Bush Artist Fellowship.In 2003 she relocated the company to Ashland, Oregon. In the 13 years DPC was in Oregon, Robin developed strong professional dancers and maintained a salaried company with whom she created many pieces. She also developed an innovative high school program that introduced modern dance to many hundreds of students in rural Southern Oregon, and created an annual community-based Winter Solstice program. Both of these endeavors created strong connections between the professional company dancers and the community it served. DPC’s work in Oregon was supported by the Oregon Community Foundation, the Oregon Arts Commission, the Carpenter Foundation, the City of Ashland, and many others.During the 20 years of her directorship at DPC Robin choreographed over 50 works and brought the company on tour to Poland, Russia, Belarus, and Japan as well as traveling in the USA. Robin has been a guest teacher and choreographer at international festivals and at colleges, including the University of Minnesota as a Cowles Chair Guest Artist; University of Oregon; St. Olaf College; Mankato State University; Pacific University; and Escuela Profesional de Danza de Mazatlan. She has choreographed pieces for Zenon Dance Company, Ballet Pacifica, Ballet Arts Minnesota, ARENA DANCES, and Traduza Dance Company, in addition to the many pieces she created for her own company.

As she prepares to perform two roles in a new production of the classic "White ballet", La Bayadere, the Royal Ballet's charismatic Argentinian-born principal dancer, Marianela Nunez shares her life behind the scenes. Marianela Nunez is considered one of the greatest ballerinas in the world, combining passion and flare from her Argentinian background with discipline and experience from her many years with the Royal Ballet. As she celebrates 20 years dancing with the company, she takes Radio Four's Beaty Rubens behind the scenes, sharing what it means to be a Principal Dancer today. The programme focuses on her preparations to dance the two key roles in the much-loved classic, La Bayadere - the temple dancer Nikiya and the princess Gamzatti. It reveals glimpses of her at home in her native Buenos Aires over the summer, follows her as she travels into work, attends specially - designed Pilates classes and studio rehearsals with the great Russian ballerina Natalia Makarova (who recreated Marius Petipa's 1877 Indian Classic for a contemporary audience in 1989) and culminates with her triumphant opening night, leaving her in her dressing room with her feet in a bucket of ice and surrounded by vast bouquets of pink roses. Beaty Rubens also hears from Natalia Makarova, the Royal Ballet's Kevin O'Hare and the leading Russian dancer who partners Marianela, Vadim Muntagirov. Now at the very top of her game, Marinanela Nunez is also a wonderfully charismatic individual, whose love of dance and enthusiasm for life in the Royal Ballet effervesces in this lively depiction of a true artist. Producer: Beaty Rubens ,

Andrew Marr talks to the Nobel Prize-winning author Orhan Pamuk about his latest novel, The Red-Haired Woman. Set in Istanbul in the 20th century, it's a family drama which weaves together competing foundation myths of patricide and filicide and pits tradition against modernity; east and west. There are more competing ideologies in Jon Sopel's 'Notes from Trump's America' which paints a picture of a country riven by divisions between black and white, rich and poor, the urban and the rural. Reality and fantasy play a part in the choreographer Shobana Jeyasingh's critique of the orientalist ballet La Bayadere. She looks back to the moment in the 19th century when genuine Indian dancers were rejected in favour of the idealised exotic version of the temple dancer in the Western imagination. 'What Shadows' is a play that tells the story of Enoch Powell's famous 'rivers of blood' speech from 1968, and its impact on the country decades later. The play's director Roxana Silbert says the play shows how prejudice can be found across the political spectrum. Producer: Katy Hickman.

Hvordan har Danmarks Teaterforeninger det? Lever eller dør de i en tid, hvor de store udstyrsstykker trækker voldsomt i danskerne. De forestillinger, som teaterforeningerne naturligt nok ikke kan hamle op med. Eller foretrækker publikum stadig[...]

After a springtime hiatus we return to dish The Houston Ballet‘s La Bayadere, and things come full circle for our hosts with Nancy Sandercock’s Frost Flowers/Arctic Death Machine (all the way back to Season One, Episode One, baby).

After a springtime hiatus we return to dish The Houston Ballet‘s La Bayadere, and things come full circle for our hosts with Nancy Sandercock's Frost Flowers/Arctic Death Machine (all the way back to Season One, Episode One, baby). https://idontgetityeg.com/wp-content/uploads/2015/05/idgi-s2e21.mp3★ Support this podcast on Patreon ★