Podcasts about massine

RMR 0273: Special Guest, Derick McDuff, from the the Underrated Podcast, joins your hosts Dustin Melbardis and Lizzy Haynes for the Retro Movie Roundtable as they revisit The Red Shoes (1948) [PG] Genre: Musical, Romance, Drama Starring: Anton Walbrook, Marius Goring, Moira Shearer, Robert Helpmann, Albert Bassermann, Léonide Massine, Esmond Knight, Austin Trevor, Irene Browne, Hay Petrie, Eric Berry, Derek Elphinstone, Ludmilla Tchérina, Marie Rambert, Michel Bazalgette, Marcel Poncin   Director: Michael Powell and Emeric Pressburger Recorded on 2024-06-20

We're back to the 'TWO Parter' @EchoChamberFP https://www.instagram.com/echochamberfp/ this week, in a BIG way!!! In 'Part ONE' Amazon MGM Studios & Imagine Entertainment bring a Xmas comedy to Prime Video, while Motion Blur Films have their own festive chuckle on Netflix. Searchlight Pictures, Picturestart & Gloria Sanchez Productions have theatre fun on Disney+. In the cinema we have an animated adventure from nWave Studios & Signature Entertainment AND the BFI celebrate the 75th anniversary of a classic!!! Today we have: Candy Cane Lane Watch Review: Here. https://youtu.be/8pwzibj0Jzk Digital Release Date: 1st December 2023 Director: Reginald Hudlin Cast: Eddie Murphy, Tracee Ellis Ross, Jillian Bell, Genneya Walton, Thaddeus J. Mixson, Madison Thomas, Nick Offerman, Chris Redd, Robin Thede, David Alan Grier, Ken Marino, Anjelah Johnson-Reyes, Lombardo Boyar, Timothy Simons, D.C. Young Fly Running Time: 120 min Cert: 12a Trailer: Here. https://youtu.be/Y9d2G3l3UO4?si=1fxC4hRzpnQz5Zup Website: Here. https://press.amazonstudios.com/us/en/original-movies/candy-cane-lane -------------- Christmas as Usual (aka Så var det jul igjen) Watch Review: Here. https://youtu.be/SYGewKsVSTI Digital Release Date: 6th December 2023 Director: Petter Holmsen Cast: Ida Ursin-Holm, Kanan Gill, Marit Adeleide Andreassen, Veslemøy Mørkrid, Erik Follestad, Matilde Hovdegard, Mads Sjøgård Pettersen, Nora Harriet, Matilde Hovdegard, Veslemøy Mørkrid Running Time: 88 min Cert: 12a Trailer: Here. https://youtu.be/rg2yZQGYTmE?si=hp4xVp_AIfgtSWX6 Watch via Netflix: Here. https://www.netflix.com/title/81657786 Website: Here. https://www.motionblur.no/film-tv/christmasasusual/ ------------ Theater Camp Watch Review: Here. https://youtu.be/VLTkaSqMOQA Sundance Film Festival: 21st January 2023 Theatrical Release Date: 14th July 2023 Digital Release Date: 6th December 2023 Director: Molly Gordon, Nick Lieberman Cast: Ben Platt, Molly Gordon, Noah Galvin, Jimmy Tatro, Caroline Aaron, Ayo Edebiri, Nathan Lee Graham, Owen Thiele, Amy Sedaris, Patti Harrison, Bailee Bonick, Kyndra Sanchez, Donovan Colan, Vivienne Sachs, Alan Kim, Alexander Bello, Luke Islam, Jack Sobolewski, Quinn Titcomb, Madisen Lora Running Time: 93 min Cert: 12a Trailer: Here. https://youtu.be/puVDIUk0kM8?si=6dJ7UWNgHSxI2d3R Watch via Disney+: Here. https://www.disneyplus.com/en-gb/movies/theater-camp/1GjcnYuYX0a8 Website: Here. https://www.searchlightpictures.com/theater-camp/ ------------ The Inseparables Watch Review: Here. https://youtu.be/WPGihD5tuxQ Annecy Festival: 12th June 2023 Theatrical Release Date: 8th December 2023 Digital Release Date: 22nd January 2024 Director: Jérémie Degruson Cast: Dakota West, Monica Young, Jordan Baird, Donte Paris, Olivier Paris, Art Brown, Danny Fehsenfeld Running Time: 88 min Cert: U Trailer: Here. https://youtu.be/U2bOmhaDphM Website: Here. https://www.nwave.com/films/the-inseparables ------------ The Red Shoes Watch Review: Here. https://youtu.be/hBH69jHwhG8 London premiere: 22nd July 1948 Theatrical Release Date: 6th September 1948 Digital Release Date: 20th July 2010 75th anniversary Theatrical Re-Release Date: 8th December 2023 Director: Michael Powell, Emeric Pressburger Cast: Anton Walbrook, Marius Goring, Moira Shearer, Léonide Massine, Robert Helpmann, Albert Bassermann, Esmond Knight, Ludmilla Tchérina, Léonide Massine, Austin Trevor, Irene Browne Running Time: 134 min Cert: U Trailer: Here. https://youtu.be/_mHgGU4AbOA?si=U3RetNVDumMZjjd- Website: Here. https://www.bfi.org.uk/bfi-film-releases/red-shoes ---------------- The 75TH anniversary release of 'The Red Shoes' is in cinemas in the UK & Ireland on 8 December 2023 as part of the BFI's major UK-wide season; CINEMA UNBOUND: THE CREATIVE WORLDS OF POWELL AND PRESSBURGER which continues until 31 December. A tie in free exhibition @ BFI Southbank, The Red Shoes: Beyond the Mirror runs until 7 January. ---------------- *(Music) 'Da Joint' (Instrumental) by EPMD - 2020 --- Send in a voice message: https://podcasters.spotify.com/pod/show/eftv/message

In this episode, Lexman interviews Brian Keating, a bird judge who shares an interesting story about a conure that produced ovoids.

Mezopotamya ve Mısır dans stillerinden esinlenerek oluşturduğu modern dans programı ile Avrupa ve Amerika Birleşik Devletleri'nde gösteriler yapan Leïla Bederkhan, ilkleri gerçekleştirmiş bir dansçı: İlk Kürt kadın modern dansçı. Kürt kültürünü dünyaya tanıtan ilk Kürt kadın dansçı. Mısır'da Sfenks önünde dans eden ilk modern kadın ve Atlantik'in her iki tarafında da alkışlanan ilk Kürt kadın dansçı. İlk Kürt-Yahudi dansçı. La Scala'da 23 Ocak 1932 tarihinde prömiyeri yapılan ve koreografisi Léonide Massine'e ait, Ottorino Respighi'nin Belkis, Regina di Saba (Saba Melikesi Belkıs) balesinde başrol oynayan dansçı, La Scala'da İstanbul doğumlu ilk kadın sanatçı Leyla Gencer'den önce sahne almıştı.Bir Osmanlı Kürt ailesinden gelip sahneye solo dansçı olarak çıkmak başlı başlına bir devrim. Her koşulda Kürt olduğunu belirten, Kürt kültürünü tanıtan sanatçı, Abdürrezzak Bedirhan ve Romen Yahudisi eşi Osmanlı toprakları dışından gelen ilk kayıtlı diş hekimi Henriette Hornik'in kızı. Ayrıca Abdülhamit ve İttihat Terakki dönemini yaşamış, faili meçhul bir cinayete kurban giden, yönetime başkaldırmış bir babanın ve her şeye rağmen ayakları üstünde durarak örnek olan bir annenin kızı.Avesta'nın yayımladığı üç farklı kitap Leïla adının gün ışığına çıkmasında, yurtdışı yayınlarda da yeniden adının geçmesinde ve Mezopotamya Dans Topluluğu tarafından sahneye taşınmasında etken oldu. Kitabın yazarı Leylâ Safiye'yi Abdullah Keskin moderatörlüğünde evimize konuk ettik. Konumuz tabii ki Leïla Bederkhan'dı.

Synopsis In 1940, the choreographer Léonide Massine, approached composer Paul Hindemith, with the idea of having him arrange pieces by the 19th century Romantic composer Carl Maria von Weber into a ballet score.  At first Hindemith was intrigued, but Massine wanted straight arrangements and Hindemith wanted to write something original in the spirit of Weber, so the ballet idea was scrapped. Oh well, what Hindemith finally did come up with turned out to be one of his most successful and popular orchestral works, a piece entitled “Symphonic Metamorphosis of Themes by Carl Maria von Weber,” which received its premiere performance on today's date in 1944 at a New York Philharmonic concert conducted by Artur Rodzinski.Now, Hindemith had a reputation for being serious and rather “Germanic,” so The New York Times critic had a little fun with that image of the composer, writing:“Sometimes [Hindemith's] counterpoint has been as busy and energetic as the works of an automobile – and as meaningless. Sometimes it has been thick and overstuffed in its style. This metamorphosis employs counterpoint as a matter only incidental to the gay development of ideas, and there is sunshine in every nook and cranny of the transparent, debonair score.” Music Played in Today's Program Paul Hindemith (1895 - 1963) – Symphonic Metamorphosis (San Francisco Symphony, Herbert Blomstedt, cond.) London/Decca 421523)

Au sommaire ce soir, un sujet important et complexe : l'escalade de violence entre Israël et Palestine, qu'on observe depuis quelques jours. Pour en parler, on reçoit, Ines Abdel Razek, directrice du plaidoyer pour le Palestine Institute for Public Diplomacy. Dans le zoom de la rédaction, Massine nous emmènera à la manifestation pro-Palestine qui a eu lieu samedi à Paris. Nous serons bien accompagnés ce soir par Lucas et Léa, et leurs merveilleuses chroniques.   Présentation : Chloé Bergeret / Co-interview et Zoom : Massine Kelai / Web : Hugo Leroi/ Chronique : Lucas Richard et Coordination : Hugo Leroi

Au sommaire ce soir, un sujet important et complexe : l'escalade de violence entre Israël et Palestine, qu'on observe depuis quelques jours. Pour en parler, on reçoit, Ines Abdel Razek, directrice du plaidoyer pour le Palestine Institute for Public Diplomacy. Dans le zoom de la rédaction, Massine nous emmènera à la manifestation pro-Palestine qui a eu lieu samedi à Paris. Nous serons bien accompagnés ce soir par Lucas et Léa, et leurs merveilleuses chroniques. Présentation : Chloé Bergeret / Co-interview et Zoom : Massine Kelai / Web : Hugo Leroi/ Chronique : Lucas Richard et Coordination : Hugo Leroi

Au programme de cette matinale, nous allons donc parler de la situation en Syrie, avec Wassim Nasr, journaliste à France 24 et spécialiste des mouvements djihadistes, en première partie, puis avec Hakim Khaldi, coordinateur de mission Syrie chez Médecins Sans Frontières. En fin d'émission, on change de ton pour parler musique et revue de presse. Nous recevons la chanteuse Bergmann qui viendra nous faire découvrir son premier album, interviewée par Massine. [caption id="attachment_103168" align="aligncenter" width="300"] Bergmann, son nouveau clip "Pity Party" qui sortira le 24/03/21 (Album No Curfew)[/caption]   Avec moi également ce soir, deux chroniqueuses talentueuses, Mathilde et Gwen.  Présentation : Nadia Noumri / Réalisateur : Margot Page / Co-interview : Mathilde Descotes / Zoom : Massine Kelai / Revue de presse : Gwendoline Troyano / Chronique et Web :  Mathilde Descotes / Coordination: Anaïs Martinez

Au programme de cette matinale, nous allons donc parler de la situation en Syrie, avec Wassim Nasr, journaliste à France 24 et spécialiste des mouvements djihadistes, en première partie, puis avec Hakim Khaldi, coordinateur de mission Syrie chez Médecins Sans Frontières. En fin d'émission, on change de ton pour parler musique et revue de presse. Nous recevons la chanteuse Bergmann qui viendra nous faire découvrir son premier album, interviewée par Massine. [caption id="attachment_103168" align="aligncenter" width="300"] Bergmann, son nouveau clip "Pity Party" qui sortira le 24/03/21 (Album No Curfew)[/caption] Avec moi également ce soir, deux chroniqueuses talentueuses, Mathilde et Gwen.  Présentation : Nadia Noumri / Réalisateur : Margot Page / Co-interview : Mathilde Descotes / Zoom : Massine Kelai / Revue de presse : Gwendoline Troyano / Chronique et Web :  Mathilde Descotes / Coordination: Anaïs Martinez

La Boutique fantasque, also known as The Magic Toyshop or The Fantastic Toyshop, is a ballet in one act conceived by Léonide Massine, who devised the choreography for a libretto written with the artist André Derain, a pioneer of Fauvism. Derain also designed the décor and costumes for the ballet. Ottorino Respighi wrote the music based on piano pieces by Gioachino Rossini. Its world premiere was at the Alhambra Theatre in London on 5 June 1919, performed by Sergei Diaghilev's Ballets Russes. La pentola magica, a glowing tribute to lesser-known Russian composers. Purchase the music (without talk) at: http://www.classicalsavings.com/store/p1287/Respighi%3A_La_boutique_fantasque%2FLa_pentola_magica.html Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock #ClassicalMusicDiscoveries #KeepClassicalMusicAlive #LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans #CMDGermanOperaCompanyofBerlin #CMDGrandOperaCompanyofBarcelonaSpain #ClassicalMusicLivesOn #Uber Please consider supporting our show, thank you! http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com

Les doctorant.e.s de l'Université de Paris ont investi pour quelques jours les studios de Radio Campus Paris. Iels présentent leur émission "A la recherche de la recherche". Sur le plateau nous retrouvons Elham, Barbara, Mouna, Alehandra, Florian, Morgane et Massine. Nous sommes une équipe de jeunes chercheurs de différents domaines réunis autour du micro de la station Radio Campus Paris. Aujourd'hui, un programme riche nous allons parler de physique quantique, traductologie, on va visiter des labos, parler aux gens dehors, et bien d'autres. Prenez un truc à grignoter, allez c'est parti pour 1h de notre émission « A la recherche de la recherche ! » Dans cette première partie, à la recherche de la recherche vous propose d'aller à la rencontre des gens pour leur demander leur avis sur des sujets aussi obscurs et sombres que sont la physique quantique et la traductologie. Pour nous accompagner, Alehandra, Elham et Mouna. Dans une seconde partie, on vous propose d'aller à la rencontre de là où se fait la recherche, c'est-à-dire les laboratoires. Pour nous accompagner Morgane, Barbara et Florian. Un cycle d'atelier animé par Jean-Baptiste Prévost et Nicolas Chevassus-au-Louis. 

Les doctorant.e.s de l'Université de Paris ont investi pour quelques jours les studios de Radio Campus Paris. Iels présentent leur émission "A la recherche de la recherche". Sur le plateau nous retrouvons Elham, Barbara, Mouna, Alehandra, Florian, Morgane et Massine. Nous sommes une équipe de jeunes chercheurs de différents domaines réunis autour du micro de la station Radio Campus Paris. Aujourd’hui, un programme riche nous allons parler de physique quantique, traductologie, on va visiter des labos, parler aux gens dehors, et bien d’autres. Prenez un truc à grignoter, allez c’est parti pour 1h de notre émission « A la recherche de la recherche ! » Dans cette première partie, à la recherche de la recherche vous propose d’aller à la rencontre des gens pour leur demander leur avis sur des sujets aussi obscurs et sombres que sont la physique quantique et la traductologie. Pour nous accompagner, Alehandra, Elham et Mouna. Dans une seconde partie, on vous propose d’aller à la rencontre de là où se fait la recherche, c’est-à-dire les laboratoires. Pour nous accompagner Morgane, Barbara et Florian. Un cycle d'atelier animé par Jean-Baptiste Prévost et Nicolas Chevassus-au-Louis. 

Guest host Jane Kaczmarek presents works celebrating dance.  A domineering mother uses an evening at the ballet to find fault in "My Mother Explains the Ballet to Me,” by Jesse Eisenberg, performed by Patricia Kalember. A pioneering African-American dancer remembers an audition in “Léonide Massine,” by Janet Collins, performed by Carmen de Lavallade. A magical garment transforms its owner in “The Cape,” by Ben Loory, performed by Tony Yazbeck. And the “Tango” undermines a stuffy WASP community in this funny story by Kurt Vonnegut, performed by Tony Shalhoub. Join and give!: https://donatenow.networkforgood.org/symphonyspacenyc?code=Splashpage See omnystudio.com/listener for privacy information.

Ciclos de conferencias: Pablo Ruiz Picasso: su vida, su obra, su tiempo (III). Memoria y deseo. 1914-1933. Eugenio Carmona. Si el collage y el ensamblaje eran contradictorios con respecto a la "pintura pura", lo que comenzó a desarrollar Picasso en 1914 era contradictorio con respecto al "principio collage". Picasso volvió al arte figurativo y puso las bases de una nueva comprensión moderna del clasicismo como propuesta estética situada en el devenir de la historia del arte. A este nuevo clasicismo picassiano, o a este clasicismo moderno picassiano, se lo ha considerado como estímulo y parte del llamado "retorno al orden". Pero nada en la propuesta picassiana tiene que ver, en verdad, ni con la noción de "retorno" ni con la idea de "orden". Picasso quiere convocar la memoria del arte clásico en el presente. Picasso quiere una reescritura del arte clásico que, considera –y esto es difícil de entender, pero hay que pensar en ello– como algo "equivalente" al cubismo. Pero esta visión retrospectiva de un "Picasso Clásico" es engañosa. Picasso, al mismo tiempo que "reescribía" el clasicismo, expandía el cubismo y lo diseminaba acercándolo de nuevo a la abstracción y difería el cubismo hacia algo que, por primera vez en la historia, Apollinaire llamó "super-realismo". Picasso interiorizaba cada vez más su sujeto múltiple y lo aplicaba a su arte múltiple. Con este bagaje, y totalmente ajeno a la Revolución Rusa y a sus consecuencias, Picasso, por amor, por necesidad, por provecho económico, por interés estético, por puro ponerse en movimiento en los difíciles años de la Primera Guerra Mundial, trabajó con Los Ballets Rusos. Algunos historiadores más exigentes no han entendido bien este hecho y casi lo plantean en la esfera de la superficialidad mundana como si se tratara de un ocasional ex cursus picassiano. Pero Picasso, en su trabajo con Los Ballets Rusos, acarició la tentativa de la "obra de arte total", sintió la necesidad –gracias a Massine– de reencontrarse con su cultura vernacular (otra "reescritura") y vio la posibilidad de expandir el arte moderno ante públicos antes inesperados. En este transcurso, el matrimonio y la paternidad situaron un punto de inflexión en la vida de Picasso. El artista lo recogió en su obra. Pero en apenas un lustro la situación giró sobre sí misma. Picasso tuvo problemas de identificación con su propio sujeto. Picasso creía que la verdad era algo distinto de la praxis. Se equivocó. Pero también ocurrió que "los felices veinte cambiaron" y que una nueva generación de creadores pasó a ocupar el protagonismo de la escena del arte moderno. Los más jóvenes convirtieron a Picasso en mito y referente, pero el artista se sintió extraño consigo mismo al verse situado en la posición "senior" y ante la mirada retrospectiva sobre sí mismo y su obra. Habían llegado los surrealistas. El arlequín picassiano mostró su rostro escindido y la imagen sexualizada se convirtió en metáfora de un cambio profundo en la compresión del mundo, de la vida privada y de las relaciones interpersonales. Explore en www.march.es/conferencias/anteriores el archivo completo de Conferencias en la Fundación Juan March: casi 3.000 conferencias, disponibles en audio, impartidas desde 1975.

Desde enero de 2018, el bailarín y coreógrafo Igor Yebra, es el director artístico del Ballet Nacional Sodre de Uruguay. Su trayectoria, conocida mundialmente, le ha llevado desde el Ballet Nacional de Cuba, o el Nacional de Hungría, al Ballet Nacional del Teatro de la Ópera de Sofía y la Ópera de Limoges o la de El Cairo. Yebra también fue director de la escuela del programa televisivo Fama a bailar en la Temporada 2018. Durante su carrera ha recibido numerosos premios y distinciones como el Premio ‘Danza & Danza’ al ‘Mejor Bailarín’, el Léonide Massine o el Premio del Ministerio de la Cultura Italiano Gialino d`Oro.

Marie-Cecile Massine is a 17-year-old artist and activist from Berlin Germany. She spent her primary and middle school years as a student of public education in Germany, before moving to Bali to attend the internationally recognised Green School, in which she is currently a senior student.Marie-Cecile has a very keen eye for detail and this is obvious in the art she produces. She uses her art to express her ideas, humor and to promote causes she is passionate about. Marie-Cecile openly admits that she is someone who loves to learn, she finds a deep interest in other people and their journey. Marie thrives on pushing boundaries and testing new things. She is a curious learner.Marie-Cecile has a genuine interest in making her community (and the world) greener. She is a very active participant in organising events and raising awareness about ocean conservation and climate change.Marie is an engaging public speaker who possess the ability to engage an audience through her passion, preparation and by being a living example of the message she wants to convey.We live in tumultuous times globally. Natural disasters, economic ruin, misbalanced distribution of wealth, poverty, food contamination, and the list goes on. Yes, it can sound grim. Since I can remember, I’ve heard the term “children are our future” but what does that mean and are we actually preparing them for the future? I’ve also heard that we need to listen to the voice of the next generation, young people, but are we?Marie-Cecile, soon to be graduate of high school, soon to be 18 years old and soon to transition into “the real world” (whatever that is). Marie-Cecile is with me this week to give an insight into being on the cusp of adulthood, share her journey, perspectives, challenges, and hopes for the future. Support the show (https://terriblehappytalks.teemill.com)

Around half of Insead MBA graduates end up working in consulting each year. Darren invites Massine Bouzerar, Insead MBA '19J, to share how he landed a job with Bain & Company AND made the most of his ten months at Insead's Fontainebleau campus. Questions Massine’s overview of management consulting recruiting at Insead (4:35) Differentiating yourself from thousands of other MBA students applying to consulting firms (7:55) How Massine's career plans evolved at Insead (10:30) Work visas in Europe for non-Europeans (12:35) How Massine explored consulting offices worldwide (14:46) What helped Massine prepare for recruiting in management consulting (18:00) The culture of recruiting at Insead (20:55) Student clubs and recruiting (24:10) Recruiting for non-consulting jobs (26:00) Dealing with FOMO in a 1-year program (29:20) Making connections at Insead (31:40) Academics at Insead (32:55) Massine's takeaways from his MBA experience (40:23) Outsead, Insead's LGBTQ+ student club (44:20) Dating at Insead (47:56) Massine's final thoughts (51:00) About Massine Massine Bouzerar worked as a product manager and e-commerce strategist in Canada before attending the Insead MBA. Massine served as President of Outsead, Insead's LGBT+ student club, and as the academic representative for his section. He currently is an Associate for Bain & Company in Brussels. Episode summary, show notes and more at: http://touchmba.com/management-consulting-student-life-insead-massine-bouzerar  

Around half of Insead MBA graduates end up working in consulting each year. Darren invites Massine Bouzerar, Insead MBA '19J, to share how he landed a job with Bain & Company AND made the most of his ten months at Insead's Fontainebleau campus. Questions Massine's overview of management consulting recruiting at Insead (4:35) Differentiating yourself from thousands of other MBA students applying to consulting firms (7:55) How Massine's career plans evolved at Insead (10:30) Work visas in Europe for non-Europeans (12:35) How Massine explored consulting offices worldwide (14:46) What helped Massine prepare for recruiting in management consulting (18:00) The culture of recruiting at Insead (20:55) Student clubs and recruiting (24:10) Recruiting for non-consulting jobs (26:00) Dealing with FOMO in a 1-year program (29:20) Making connections at Insead (31:40) Academics at Insead (32:55) Massine's takeaways from his MBA experience (40:23) Outsead, Insead's LGBTQ+ student club (44:20) Dating at Insead (47:56) Massine's final thoughts (51:00) About Massine Massine Bouzerar worked as a product manager and e-commerce strategist in Canada before attending the Insead MBA. Massine served as President of Outsead, Insead's LGBT+ student club, and as the academic representative for his section. He currently is an Associate for Bain & Company in Brussels. Episode summary, show notes and more at: http://touchmba.com/management-consulting-student-life-insead-massine-bouzerar  

Massine Bouzerar, a 25-year old Canadian, was backpacking through Myanmar in July when he realized he wanted to start his MBA asap. First round deadlines were looming in September. Within 3 months he wrote the GMAT and submitted a successful application to Insead. What should you do when your back is against the wall? Massine shares his experience and what he did to get accepted to one of the world's top MBA programs: Insead. About Our Guest Massine Bouzerar worked as a product manager for two leading Canadian telecommunication companies before starting his current role as a Manager for E-Commerce Strategy at Ecobee. Massine graduated from Brock University where he majored in Finance. He'll start at Insead in Fall 2018. Episode summary, show notes and more at: http://touchmba.com/how-i-got-into-insead

Massine Bouzerar, a 25-year old Canadian, was backpacking through Myanmar in July when he realized he wanted to start his MBA asap. First round deadlines were looming in September. Within 3 months he wrote the GMAT and submitted a successful application to Insead. What should you do when your back is against the wall? Massine shares his experience and what he did to get accepted to one of the world’s top MBA programs: Insead. About Our Guest Massine Bouzerar worked as a product manager for two leading Canadian telecommunication companies before starting his current role as a Manager for E-Commerce Strategy at Ecobee. Massine graduated from Brock University where he majored in Finance. He’ll start at Insead in Fall 2018. Episode summary, show notes and more at: http://touchmba.com/how-i-got-into-insead

Igor Fyodorovich Stravinsky was a Russian composer, pianist, and conductor. He is widely considered one of the most important and influential composers of the 20th century. Pulcinella is a ballet by Igor Stravinsky based on an 18th-century play—Pulcinella is a character originating from Commedia dell'arte. The ballet premiered at the Paris Opera on 15 May 1920 under the baton of Ernest Ansermet. The dancer Léonide Massine created both the libretto and choreography, and Pablo Picasso designed the original costumes and sets. It was commissioned by Sergei Diaghilev. - Wikipedia

In a notable scene from Women in Love (1920), D. H. Lawrence draws attention to the popularity of Diaghilev’s enterprise as representative of the avant garde in the arts in contemporary Britain. He describes how, following Hermione’s dinner party, guests perform a dance in the style of the sophisticated Ballets Russes. Elsewhere, Lawrence’s sympathies lay rather with the individualism of free dance that would have been closer to the innovative work of Loïe Fuller, Isadora Duncan or the natural rhythms of Jaques-Dalcroze’s Eurhythmics. Indeed, Lawrence more often explores dance’s function as individual expression of the body’s liberation from Edwardian inhibition rather than the spectacle of dance as entertainment or performance. On another occasion his fictional evocation of dance draws on an imaginative reconstruction of primitive ritual that uncannily suggests the performance strategies of Diaghilev’s production of the Rite. Lawrence’s short story, ‘The Woman Who Rode Away’ (1925) on the surface springs from anthropological interests in dance stimulated by his travels in the American south and Mexico. Yet the structure and tone of the narrative indicates that Lawrence’s thinking about gender and primitivism owed something to the treatment of these issues in Diaghilev’s radical production of 1913 and its brief 1920 revival. The story tells of a young white American woman who is abducted by an indigenous pueblo Indian tribe and offered as a sacrifice to the sun to ensure the fertilisation of the land when winter is over. By exploring the text in the context of early performances of the ballet and a range of Lawrentian responses to the visual arts, dance, and psychoanalysis, this paper shows how Lawrence’s story combines anthropological observation and performative strategies recalling Roerich’s, Stravinsky’s, Nijinsky’s and Massine’s contributions to The Rite of Spring.

Seven years after the succès de scandale of the Stravinsky-Nijinsky-Roerich ballet Le Sacre du printemps, Serge Diaghilev decided to revive the ballet with new choreography by his young protégé, Léonide Massine. The collaboration with Stravinsky and the process of rechoreographing Sacre gave Massine new directions for defining his choreographic voice through developing his own movement vocabulary. In working with Stravinsky, Massine also developed his ideas of using counterpoint between the movement and music. Chosen by Diaghilev to replace Vaslav Nijinsky as leading dancer and choreographer, Massine did not have the bravura classical ballet technique of his predecessor, but he had a ‘spark’ on stage that captured Diaghilev’s attention. Mentored by Diaghilev in the collaborative process, Massine achieved a notable success with his early ballets, particularly Parade (1917), which had a scandalous premiere; La Boutique Fantasque (1919), which charmed audiences; and Le Tricorne (1919), which was an instant success. With these and other successful ballets later in his career, Massine’s 1920 version of Le Sacre du printemps is often overlooked. Massine’s Sacre premiered in the same theatre as the original production, Théâtre Champs-Elysées, and it was the last ballet that Léonide Massine created for the Ballets Russes under Diaghilev’s tutelage. (He returned to choreograph two ballets a few years later.) He left the company shortly after the premiere and embarked on a long and remarkable choreographic career, using the tools that he had developed during his collaboration with Stravinsky. This paper will examine Léonide Massine’s choreography for Le Sacre du printemps, with an introduction to his movement vocabulary in his theory of composition and a discussion of the Massine-Stravinsky collaboration. The author worked with Léonide Massine as a dancer and choreographic assistant, and holds the Massine Diploma in Theory and Composition.

Discusses Dalí’s extraordinary costumes for the Ballets Russes and the events that surround the opening of Léonide Massine’s Bachannale in New York.

"Con una conferencia de la conservadora del Museo Picasso de París, Brigitte Léal, el pasado 7 de mayo se inauguraba en la sede de la Fundación Juan March la muestra sobre «Picasso: El sombrero de tres picos», integrada por 58 acuarelas, guaches y dibujos que realizó Picasso por encargo de los Ballets Rusos de Serge Diaghilev para el decorado, vestuario y aítrezzo del ballet de ese nombre con música de Manuel de Falla y coreografía de Léonide Massine, estrenado en Londres en 1919.La exposición, que estará abierta en Madrid hasta el 4 de julio próximo, se ha organizado con la colaboración del Museo Picasso de París, de donde proceden la mayor parte de las piezas, siendo otras de la Opera de París y del Archivo Manuel de Falla, de Granada. La muestra ofrece también numerosas fotografías del montaje escénico del ballet, de algunas de sus representaciones y otro material documental, como maquetas, cartas y trajes, reconstruidos a partir de los dibujos, por la Opera Garnier, para la representación del ballet que se realizó en marzo del año pasado.En torno al citado ballet El sombrero de tres picos, la Fundación Juan March organizó también en mayo un ciclo de cuatro conferencias en las que se analizaban los aspectos musical, escenográfico, coreográfico y literario de la obra, a cargo de Antonio Gallego, Delfín Colomé, Julián Gállego y Jesús Rubio Jiménez; así como un ciclo de tres conciertos sobre Manuel de Falla, en uno de los cuales se interpretó la versión para piano de El sombrero de tres picos."Más información de este acto

Roy Plomley's castaway is choreographer Leonide Massine. Favourite track: I Have Attained The Highest Power by Modest Mussorgsky Book: The Theory of Choreography by Leonide Massine