Podcasts about nijinsky

Matty and Kikau chat with Steven Gross who is currently the program head of The Abbott MFA in Musical Theater Collaboration Program at Temple University. Steven is the founder and CEO of MusicalTheatreSongs.com. His recommendation for today is the television show Hacks. ---Steven Gross has worked on Broadway, Off-Broadway, the West End and internationally as a music director, conductor, pianist, sub and vacation conductor. He is a Lortel Award nominee for Best Musical for his adaption of The Pirates of Penzance at the South Street Seaport. He has conducted the European premieres of The Life, Urinetown, Falsettos, Beehive, Forever Plaid, Closer Than Ever, Flora the Red Menace and other works. He also works extensively as a classical conductor and has appeared with many national and international opera companies, symphony orchestras and festivals. He is as an orchestrator and arranger for many symphony orchestras, theatrical, digital and online productions. His musical Nijinsky has been performed in Berlin, Zurich and Monte Carlo.Steven has collaborated on new musicals with Award-winning composers and lyricists including Benny Andersson & Bjorn Ulvaeus, Sam Carner & Derek Gregor, Douglas Cohen and Zoe Samuel, Cy Coleman, David Friedman, Zina Goldrich & Marcy Heisler, Mark Hollmann & Greg Kotis, Brett Macias, Lauren Taslitz & Danny Ursetti. Steven holds a Doctor of Musical Arts in Conducting from Yale University and is a Fulbright and Rotary Scholar. He has extensive experience working in academia as a clinician, guest artist and professor. 

Our third Parisian revolution is another explosive night in the theatre, this time in the world of dance. David talks to Dominic Dromgoole about Stravinsky's The Rite of Spring, which provoked absolute outrage when it premiered in 1913. Is that what its impresario Diaghilev wanted? How did Nijinsky cope? Did the response foreshadow the trauma to come in 1914? And how did the set designer Roerich end up playing a part in American presidential history? Dominic Dromgoole's Astonish Me! First Nights that Changed the World is available wherever you get your books https://profilebooks.com/work/astonish-me/ Out this weekend: a new bonus episode on PPF+ exploring the far-reaching impact of Marinetti's Futurist Manifesto (1909), from pre-WWI Europe to Silicon Valley. Sign up now to get this and all our bonus episodes plus ad-free listening https://www.ppfideas.com/join-ppf-plus Next time: PPF Live: Churchill – The Politician With Nine Lives Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode we speak with Callum Linnane, a principal dancer with The Australian Ballet. Linnane, 29, has been dancing since he enrolled in tap classes as a seven year old in regional Victoria. Now he’s a star of the show - the kind of person who does magazine spreads and launches spring fashion campaigns. (His social media followers have described him as everything from Australia’s answer to Rudolf Nureyev, to a young David Bowie.) Good Weekend senior writer Konrad Marshall talks to this son of a bricklayer about growing up in Ballarat, surviving (and thriving) on the grandest stage, and his upcoming titular role in Nijinsky, the latest offering from The Australian Ballet.See omnystudio.com/listener for privacy information.

Australian theatre legend Robyn Nevin is directing And Then There Were None, a classic murder mystery by Agatha Christie. She talks to Michael about the darkness in Christie's stories, her view on changing acting styles and how Robyn finds her 'inner clown'. Playwright Patricia Cornelius explains why she has five actors playing the world's most famous hacker — Wikileaks founder Julian Assange, in her new play TRUTH. She's joined by director Susie Dee.And you'll discover a ballet about the great Russian dancer Vaslav Nijinsky. Michael speaks to Australian Ballet principal artist Callum Linnane, who first danced the part nine years ago in the ballet Nijinsky.

Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

In this special year ender, we look at the great and not so great moments in horse racing in 2024. Along the way, we enjoy the great work of Moira, Caitlinhergrtness, Velocitor, Roscar, Mystik Dan, Seize the Grey, Dornoch, Julie Walker, Sofia Vives, Rafael Hernandez, Patrick Husbands, Doug McNair, Jody Jamieson, James MacDonald, Pietro and David Moran, Nijinsky, Emma-Jayne Wilson, Justin Stein, Josie Carroll, Mark Casse, Kevin Attard, Scott Zeron, and Bill Megens.

Le Beau Bizarre Critique #71 – Une exploration sensible et chorale de la critique Le Beau Bizarre est un espace vivant et ouvert, où les voix se croisent et s'entrelacent pour réinventer les manières de voir, d'écouter et de parler des créations contemporaines. Cet épisode se veut un appel à prolonger les résonances, transformant la critique en un lieu de partage et de discussions passionnées. Pour clore l'année 2024, Le Beau Bizarre propose une table ronde critique en présence de trois voix singulières et engagées : Belinda Mathieu, Léa Poiré et Callysta Croizer, journalistes et critiques aux trajectoires riches et affûtées. Ensemble, elles offrent un regard à la fois analytique et viscéral sur des œuvres qui bouleversent et enchantent. À 3 min : La séquence archive critique À partir d'archives, nous explorons les multiples visages de la critique : est-elle un exercice de subjectivité assumée ? Un art à part entière ? Ou bien un espace poreux où se rencontrent analyse, création et engagement ? Au programme, deux œuvres marquantes de l'automne : À 20 min : In Absentia de François Chaignaud et Geoffroy Jourdain Une œuvre où danse et chant s'entrelacent dans une polyphonie organique, immergeant le spectateur dans un souffle collectif, à la frontière entre incarnation et absence. À 41 min : Skinless de Théo Mercier Un voyage radical au cœur d'un paysage composé de rebuts et de métamorphoses. Ici, les corps, la matière et le désir interrogent nos excès, nos limites, et l'humanité qui nous reste. Et à 51 min : Clin d'œil à Mathis Grosos À travers ces deux créations, nous questionnons les tensions entre utopie et désenchantement, la fusion des formes et les ruptures intimes. Une tentative, peut-être impossible, d'épuiser les possibles de la discussion critique. Terminer l'année en beauté : Les coups de cœur des critiques À 1h07 : Le coup de cœur de Callysta Croizer Avec Kill Me, Marina Otero clôt sa trilogie (Fuck Me, Love Me) dans une autofiction audacieuse et débridée. Entourée de quatre danseuses aux troubles psychiques et d'un double de Nijinsky, elle expose les fragilités et les folies de ses interprètes. Une performance radicalement libératrice, où les corps deviennent porteurs d'une vérité poignante et intime. À 1h13 : Le coup de cœur de Belinda Mathieu Dans Bless This Mess, la chorégraphe Katerina Andreou nous plonge dans une rave techno effrénée. Sur un rythme infernal, les gestes et les musiques évoquent les univers du gabber et de la hardtek. Les corps des quatre interprètes tiennent bon, alimentés par l'énergie des secousses, dans un vibrant éloge de la résistance face à un monde en perpétuel ébranlement. À 1h17 : Le coup de cœur de Léa Poiré Les sœurs Labrosse, fondatrices du magazine Censored, nous offrent un abécédaire féministe de l'autoédition. Avec une sincérité désarmante, elles partagent leurs apprentissages et leurs outils, dévoilant les arcanes d'un savoir-faire souvent inaccessible. Un guide pensé et écrit avec un soin rare, qui incarne l'essence même de l'engagement éditorial. Une invitation à penser la critique autrement Entre archives, discussions collectives et coups de cœur, cet épisode de Le Beau Bizarre célèbre une critique vivante, sensible et plurielle. Un espace où les œuvres se racontent, se confrontent et trouvent leur écho dans nos réflexions et nos passions. Suivez nous sur les réseaux, abonnez vous sur les plateformes d'écoute ! Facebook Linkedin Instagram

“Pues si se quiere definir la verdadera locura, ¿en qué consiste sino en estar simple y llanamente loco?”. Así hablaba Polonio en Hamlet, demostrando que era menos “charlatán” de lo que algunos afirmaban. Pues estar loco es estar loco es estar loco, como prueban los protagonistas de esta entrega. Paul Gascoigne, Amanda Bynes, el pintor feérico Richard Dadd, Brian Wilson de los Beach Boys, Rudolf Hess de los Nazi Lads, el bailarín Nijinsky y el productor pop Joe Meek. Todos ellos fritos y “volátiles”, por una u otra razón. Todos (menos el nazi) haciendo grandes cosas, a pesar o gracias a la chaladura (más de lo primero, con franqueza). Un capítulo de extensión fluvial, y nivel de jocosidad del 60%, que hará las delicias de la Pop y Muerte Army.

The original production of Westside Story ran for 732 performances, spawned a movie that won 11 Academy Awards, and is still a go to on every list of the greatest Broadway Musicals ever written.  The collaboration between Leonard Bernstein, Stephen Sondheim, and Jerome Robbins was a revolution on par with the collaborations of Stravinsky, Diaghilev, and Nijinsky on the Rite of Spring.  No Broadway show had ever been so gritty, so tragic, and so raw.  The first performances of Westside Story were done against the backdrop of a rise in gang violence in New York City.  The socio-economic aspects of the show were evident to everyone who watched it, and I always like to remind people that the location where Bernstein, Arthur Laurents, who adapted Shakespeare's Romeo and Juliet for this show, and Sondheim imagined the story taking place is where Lincoln Center now sits, a seat of opulence and extravagance. Simply put, this was a musical, a comedy, a tragedy, a political statement, and most importantly, a stunningly revolutionary work of art by these collaborators.  Today, I want to tell you about the music, and more specifically, the Symphonic Dances from Westside Story, an arrangement that Bernstein made with his colleague Sid Ramin 3 years after the show's premiere.  The Symphonic Dances brought Bernstein's electric music from the theatre to the concert stage, and it's stayed there ever since.  So today, we'll go through each number, talking about just what makes this music so great, and also about the show itself - its background, its production, and the issues that Bernstein, Laurents, Sondheim, and Robbins were trying to tackle, all through the eyes of a tale of woe about Juliet and her Romeo, or of course, Maria and Tony. Join us!

Woodlands Winners: "Bettors Delight" The victory of Mirage Hanover over Nijinsky highlights this stallion's prowess. Mark and Stacey are back for another week to showcase the excellent work all the boys are doing at www.woodlandsstud.co.nz Woodlands Stud NZ

Ace and Garnet Barnsdale join Mike Pribozie for their first official podcast, which is done together and covers the Stakes for Saturday night at Woodbine Mohawk Park. Divisions of the Champlain and Simcoe are discussed featuring the matchup of Legendary Hanover and Nijinsky. Kirsten Petersen stops in for coverage of the International Trot at Yonkers. Kirsten is a harness racing enthusiast from Holland who has provided coverage of International Racing on the Sweden Harness Players Pods in the past. She gives her impressions of the shippers for this year's International Trot at Yonkers for Saturday, September 7, 2024.

It had never happened before. The King's Plate got rained out! Woodbine CEO, Mike Copeland announces when it will be run. Kevin Attard says Woodbine made the right decision. Attard is also in this podcast talking about his great mare, Moira winning the $500,000 Beverly D Stakes in Virginia. Trainer Blake MacIntosh gets our props for crashing over the $20 million mark with a horse named Mamba. The classy pacer, Nijinsky returned to Mohawk and bossed a field around. Jockey Diego Benitez was the star last week at Ajax Downs, winning 3 races, including the feature. Garnet Barnsale gives us the Gold Cup and Saucer race from Charlottetown. And just how sensational was Yannick Gingras' Friday afternoon at Harrah's Philly? The great Blues singer/guitarist Sister Rosetta Tharpe and Mambo Number 5 performer, Lou Bega help this podcast along.

James MacDonald had another sensational weekend, winning the Canadian Driving Championships at Hippodrome 3R and delivering Legendary Hanover in a Meadowlands Pace elimination, though the win in the other elim by Nijinsky was the most impressive. Apprentice jockey, Austin Adams was in a special race in Deauville, France. Trainer Mark Casse gives Down The Stretch another wonderful interview about the day he won 3 of 5 Stakes races at Woodbine - along with the disappointment of the 2 he didn't win. It was Legends Day at Clinton and we've got one Hall of Famer, Frank Salive calling the win by another Hall of Famer, Randy Waples. An apprentice jockey named Kelsi Harr demolished the tote board in Minnesota producing a record daily double payoff. Brian Bell, a veteran jockey at Ajax Downs is the reason fans got a tasty treat at Wendy's. And just how good was Friday to trainer Bill Tharrenos when his two horses dead-heated for the win?

On this episode of the Harness Players' Podcast, Edison Hatter is first joined by Garnet Barnsdale to discuss the first Hambletonian Society/Breeders Crown Top 10 poll of the year. The 35 voters of the poll, including Edison and Garnet, put NIJINSKY in the top spot after his North America Cup win, with TWIN B JOE FRESH and KARL rounding out the podium positions.Next, Edison is joined by Thomas Svensen, Derick Giwner, and Greg Reinhart to discuss the Friday, June 21 program at Yonkers Raceway that includes eliminations for the Yonkers Trot and the MGM Grand Messenger Stakes. The quartet also give out tickets for the Pick 5 sequence that includes Races 5 through 9 on Friday evening. Finals for the Yonkers Trot and MGM Grand Messenger will take place next Friday, June 28.

We had another great North America Cup at Mohawk on a night of big money Stakes races. Imagine being John Fielding, the owner of NA Cup winner Nijinsky and you had to watch the race from a wedding in Massachusetts. Driver James MacDonald won a pair of Stakes races Friday at the Meadowlands and scored 3 more wins Saturday at Mohawk. Jockey Rachel Slevinsky is from St. Abert, Alberta; we've got her winning at Hawthorne on her birthday. At Ajax Downs last Wednesday, a natural hattrick for Diego Benitez and an unusual double for his younger brother, Christian. We go to Belterra Park where Perry Ouzts, who is almost 70, won 3 times on the same card, and moments of profound relief from Grand River – one horse broke a 53 race losing streak, then another snapped off a 69-race bummer.

Writer and director Francis Greenslade discusses his play The Platypus, Theatre Works, St Kilda, 19 June to 6 July.  Performed by Rebecca Bower and John Leary.  A bleak comedy about a relationship's end.  The Platypus (theatreworks.org.au)  3CR broadcasts from the stolen lands of the Kulin Nation.

Sandy Powell won her first Academy Award for dressing Joseph Fiennes and Gwyneth Paltrow in Shakespeare in Love, and has since won two more Oscars - along with a further dozen nominations - and three BAFTAs. Her credits range from Gangs of New York for Martin Scorsese to Mary Poppins Returns for Disney, and she's worked with many of the biggest current screen stars, including Leonardo di Caprio, Cate Blanchett and Al Pacino. Sandy was born in south London and completed an art foundation course at St Martin's School of Art. In 1981 she got her first job designing costumes for the choreographer Lindsay Kemp's show Nijinsky at La Scala in Milan. She later worked for the director Derek Jarman on his film Caravaggio and continued to collaborate with him until his death in 1994. She has also enjoyed long working relationships with Martin Scorsese and Todd Haynes. Sandy has won acclaim for her designs on films with historical settings, including The Wings of the Dove, The Young Victoria and The Favourite starring Olivia Colman, as well as the flamboyant glam rock world of Velvet Goldmine and the fairy-tale fantasy of Cinderella, starring Lily James. In 2011 she was awarded an OBE for services for the film industry and in 2023 she became the first costume designer to receive a BAFTA Fellowship. DISC ONE: Jeepster - T Rex DISC TWO: Adagietto, Symphony No. 5 in C-Sharp Minor. Composed by Gustav Mahler and performed by Orchestre de l'Académie de Santa Cécilia and conducted by Franco Mannino DISC THREE: Life on Mars? - David Bowie DISC FOUR: La Vie en Rose - Alan Dunn DISC FIVE: I'll Never Fall in Love Again - Bobbi Gentry DISC SIX: Satellite of Love - Lou Reed DISC SEVEN: Where Love Lives (Come On In) - Alison Limerick DISC EIGHT: I Left My Heart in San Francisco - Tony BennettBOOK CHOICE: Josef Koudelka: Gypsies LUXURY ITEM: A lemon tree CASTAWAY'S FAVOURITE: Life on Mars? - David BowiePresenter Lauren Laverne Producer Paula McGinley

SEASON 20 BEGINS!!! We meet ICON of film and Hollywood costumes SANDY POWELL OBE!!!! We discuss her love of art, collaborating with legendary queer artists/creative minds Derek Jarman and Lindsay Kemp, a 25 year collaboration with choreographer Lea Anderson, and how art informs her costume design. Sandy is a multi award-winning Costume Designer who has won three Academy Awards, three BAFTA Awards for Best Costume Design, plus the recent honour of BAFTA Fellowship 2023, and a Costume Designers Guild Award.Londoner, Sandy, studied at St Martins School of Art and the Central School of Art and Design where she specialised in theatre design. She started her professional career in fringe with the National Theatre working on numerous productions including Orders of Obedience and Rococo. She went on to design sets and costumes for productions of Lumiere and Son, Bright Side and Culture Vulture. As a student and one of the leading lights of the international theatre scene she most admired was Lindsay Kemp, the gifted director, designer and performer. On impulse she spoke to him on the phone and said how much she wanted to work with him. After seeing samples of her work he asked her to join him in Milan as costume designer for his theatre company. During her 3 year spell with him she worked on Nijinsky which was a study of the start and madness of the great Russian dancer. She also designed the costumes for The Big Parade, a tragic- comic homage to the silent screen, and the stage and screen versions of A Midsummer Nights Dream. In 1985 she rapidly established herself in the world of video working on many pop promos with director Derek Jarman and with him on his film Caravaggio, and Zenith's For Queen and Country.Born in 1960, she was raised in south London, where she was taught to sew by her mother on a Singer sewing machine, and began experimenting with cutting and adapting patterns at a young age. Educated at Sydenham High School, she went on to complete an Art Foundation at Saint Martins in 1978, and in 1979 she began a BA in Theatre Design at Central School of Art and Design (now Central Saint Martins.)In 1981 she withdrew from her degree to assist a costume designer who worked for a fringe theatre company called Rational Theatre, and also began a long collaboration with Lindsay Kemp designing for him in Italy and Spain.In 1984 when, after a spell as a costume designer on music videos, she moved into the film industry. Her break came when the film director and stage designer Derek Jarman appointed her costume designer on his film, Caravaggio (1986), starring Tilda Swinton and Sean Bean. To date, Powell has worked as Costume Designer on over 50 films, including Orlando (1992);The Crying Game (1992); Interview with the Vampire (1994); Michael Collins (1996); The Wings of The Dove (1997); Hilary and Jackie (1998); The End of the Affair (1999); Gangs of New York (2002); Far From Heaven (2002); Sylvia (2003); The Aviator (2005); The Departed (2006); Shutter Island (2010) Hugo (2011) The Wolf of Wall Street (2013); Cinderella (2015); Carol (2015); Mary Poppins Returns (2018); and Living (2022). She has earned 76 award nominations and won 27 awards in her career, including Academy Awards for Shakespeare in Love (1998) and The Aviator (2004), a BAFTA Award for Velvet Goldmine (1998), and both an Academy Award and a BAFTA Award for The Young Victoria (2010).Follow @TheSandyPowell on Instagram.Thanks for listening!!! This season is shaping up to be one of the most fascinating so far!!! Thanks for listening. Follow us @TalkArt for images of works we discuss in today's episode. Hosted on Acast. See acast.com/privacy for more information.

We're back! Welcome to Season 10! Leonard Bernstein to his wife: "These days have flown so -- I don't sleep much; I work every -- literally every -- second (since I'm doing four jobs on this show -- composing, lyric-writing, orchestrating and rehearsing the cast). It's murder, but I'm excited. It may be something extraordinary. We're having our first run thru for PEOPLE on Friday -- Please may they dig it!."  Westside Story ran for 732 performances, spawned a movie that won 11 Academy Awards, and is still a go to on every list of the greatest Broadway Musicals ever written.  The collaboration between Leonard Bernstein, Stephen Sondheim, and Jerome Robbins was a revolution on par with the collaborations of Stravinsky, Diaghilev, and Nijinsky with the Rite of Spring.  Simply put, no Broadway show had ever been so gritty, so tragic, and so raw. This was a musical, a comedy, a tragedy, a political statement, and most importantly, a stunningly revolutionary work of art by these collaborators.  And today, I want to tell you about the music, and more specifically, the Symphonic Dances from Westside Story; an arrangement that Bernstein made with his colleague Sid Ramin 3 years after the show's premiere.  The Symphonic Dances brought Bernstein's electric music from the theatre to the concert stage, and it's stayed there ever since.  So today, we'll go through each number, talking about just what makes this music so great, and also about the show itself - its background, its production, and the issues that Bernstein, Laurents, Sondheim, and Robbins were trying to tackle, all through the eyes of a tale of woe about Juliet and her Romeo, or of course, Maria and Tony. Join us!

This week on Finding Your Bliss, we have our annual holiday special! Life Coach and Bliss Expert Judy Librach is joined by Prima Ballerina Heather Ogden (The National Ballet of Canada) and our very own film critic, Thom Ernst!

Esther Apituley is violist. Apituley studeerde af aan het Sweelinck Conservatorium Amsterdam en volgde lessen aan de Hochschule für Musik in Berlijn. Ze was solist bij onder meer het Nationaal Ballet Orkest, het Noord Hollands Philarmonisch en het Metropole orkest. Het nieuwe concert, De sprong van Nijinsky is een dansconcert gebaseerd op het leven van danser Vaslav Nijinski. Femke van der Laan gaat met Esther Apituley in gesprek.

Something for almost everyone in this programme. We talk to dancer Mischa van Leeuwen of Scapino Ballet about the show he is currently on tour with, DE SPRONG VAN NIJINSKY. We also pay a visit (@ 8mins40)to The Dome at the Meseon-Omniversum in The Hague to see the amazing RECOMBINATION -THE FULLDOME JOURNEY and talk to its creator Julius Horsthuis. And (@ 13mins30)we talk to two members of the Amsterdam-based English language theatre company Strike Me Pink about their new production CALAMUS.

Met vandaag: Gesprek met minister-president Rutte | Het marketingbureau achter het BBB succes | Vaccineren tegen vogelgriep | Altvioliste Esther Apituley maakt 'De sprong van Nijinsky' | Presentatie: Simone Weimans

Welcome to the Instant Trivia podcast episode 736, where we ask the best trivia on the Internet. Round 1. Category: Birthplaces 1: Audrey Hepburn "sprouted" in this Belgian city. Brussels. 2: This legendary lawman’s birthplace wasn’t Dodge City or Tombstone, but Monmouth, Illinois. Wyatt Earp. 3: This "Pretty Woman" hails from Smyrna – Smyrna, Georgia, that is. Julia Roberts. 4: She was born in Tokyo on July 1, 1916; her sister Joan Fontaine was born there the following year. Olivia de Havilland. 5: Nijinsky made his first appearance in this capital of Ukraine in 1890. Kiev. Round 2. Category: Ukraine On The Brain 1: The worst nuclear accident in history happened at this Ukrainian site in 1986. Chernobyl. 2: After conquering the region, this empress introduced serfdom to Ukraine in 1795. Catherine the Great. 3: Ukraine's capital lends its name to this poultry dish in which breasts are rolled up with butter, breaded and fried. Chicken Kiev. 4: Ukrainians call this body of water "Chorne More". the Black Sea. 5: This strategic peninsula became part of Ukraine in 1954. the Crimea. Round 3. Category: Of An Englishman 1: Last name of the men whose firm is credited with creating the felt hat we call the derby. Bowler. 2: Prince Charles is the Duke of Cornwall and Prince Philip is the Duke of this. Edinburgh. 3: From Latin for "servant", it's a gentleman's gentleman. Valet. 4: Encarta calls it "the cue game most popular in Britain". snooker. 5: "Row" in Mayfair that's home to the finest British tailors. Savile Row. Round 4. Category: J.r.r. Tolkien 1: It's the third volume in the "Lord of the Rings" trilogy. The Return of the King. 2: Tolkien was born in Bloemfontein in 1892 in this country and lived there until he was 4. South Africa. 3: He's the title hobbit in "The Hobbit". Bilbo Baggins. 4: It's the university where Tolkien studied and later taught languages and literature. Oxford. 5: This prequel to "The Lord of the Rings" was published posthumously in 1977. The Silmarillion. Round 5. Category: Ordinary "World" 1: In 1851 new products on display at the first one of these included the Colt revolver and a reaper. world's fair. 2: This satirical Aldous Huxley novel is set in the year 632 AF (After Ford). Brave New World. 3: It's the "aged" nickname for prostitution. oldest profession in the world (world's oldest profession). 4: Numerical term referring collectively to more than 100 countries of Asia, Africa and Latin America. third world. 5: The "U.S.A." in "U.S.A. for Africa" stood for "United Support of Artists" when they recorded this '85 No. 1 Hit. "We Are the World". Thanks for listening! Come back tomorrow for more exciting trivia! Special thanks to https://blog.feedspot.com/trivia_podcasts/

November 28, 1954 - Jack Takes Dennis to the Psychiatrist. Meanwhile it's the sportsman quartette's birthday. References include the chidren's television host Pinky Lee, the Aurthur Murray dance studio, ballet dancer Nijinsky, the sound barrier, the LA Times and Nat "King" Cole.

This episode originally aired on July 18th, 2019. Steve Cooper talks with musician Kip Winger. Kip is best known as being the front man for the band Winger. Kip's first commercial break came in 1984, when he co-wrote a song for Kix's third album and in 1985 he joined Alice Cooper's band. He left in 1987 to form Winger who broke onto the scene in 1988 with their self-titled debut which was a success, achieving platinum status and included the hits Madalaine, Headed for a Heartbreak and Seventeen. Throughout their career they have recorded 6 studio albums. As a solo artist he has released 5 albums and composed Conversations with Nijinsky that was nominated for a Grammy in the Best Classical Contemporary Composition category. His current project that just came out is the musical Get Jack that he co-wrote with Damien Gray. Cooper Talk website: CooperTalk --- Support this podcast: https://anchor.fm/supercoolradio/support

Nick Bostrom discusses the ethical implications of uploading humans to computer networks.

Harold Meyerson comments on the LA Mayoral race, where the police union is spending millions to defeat Karen Bass. Also: the coming end of constitutional protection for abortion gives us a lot of work to do–Katha Pollitt explains. And Lynn Garafola talks about "an Amazon of the Avant-Garde," the ballet dancer who went from revolutionary Russia to Kiev to Hollywood in the 1930s – "La Nijinska," sister of the legendary Nijinsky.

Harold Meyerson comments on the LA Mayoral race, where the police union is spending millions to defeat Karen Bass. Also: the coming end of constitutional protection for abortion gives us a lot of work to do–Katha Pollitt explains. And Lynn Garafola talks about "an Amazon of the Avant-Garde," the ballet dancer who went from revolutionary Russia to Kiev to Hollywood in the 1930s – "La Nijinska," sister of the legendary Nijinsky.

À Paris, le 29 mai 1913, les Ballets russes de Diaghilev présentent un nouveau spectacle : le Sacre du printemps, chorégraphié par Nijinsky sur une musique de Stravinsky… Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.

Siphesihle November was born in Zolani, South Africa and trained at Canada's National Ballet School. Siphesihle joined The National Ballet of Canada as a member of the Corps de Ballet in 2017 and was promoted to Principal Dancer in 2021.Siphesihle recently made his debut as Benvolio in Romeo and Juliet. He has danced such roles as Bluebird in The Sleeping Beauty, Lewis Carroll/White Rabbit in Alice's Adventures in Wonderland and Puck in The Dream and in such ballets as The Nutcracker, Giselle, The Winter's Tale, Nijinsky, Anna Karenina, The Four Seasons, The Vertiginous Thrill of Exactitude, Chroma, Emergence, Angels' Atlas, Chaconne, Etudes, Being and Nothingness, Paz de la Jolla, Night, The Dreamers Ever Leave You and Orpheus Alive.In 2019, Siphesihle won The International Competition for The Erik Bruhn Prize.Siphesihle was featured in a documentary, Beyond Moving, which follows his journey from Zolani, South Africa to Canada's National Ballet School and The National Ballet of Canada.

S3: Ep1Naomi Sorkin, one of America's leading classical and dramatic ballerinas, joins Dance Dialogues Podcast to talk about the life and work of Ida Rubenstein - the Russian dancer, actress and impresario who worked alongside iconic names like Diaghilev, Fokine and Nijinksy but herself remains relatively unknown.

Ay, Diáguilev! Ojalá todo el éxito profesional que tuvo y la fama que alcanzó hubiera sido directamente proporcional a su vida sentimental! Se pasó la vida entre bailarines, compositores, pintores y lo más granado de principios del XX, fundando los Ballets Rusos con su amante Nijinsky, un pedazo de bailarín que al final abandonó al empresario y con ello casi su propia carrera. Como siempre, las músicas que acompañan al episodio están en esta lista: https://open.spotify.com/playlist/6dAINH9Y9HyNnEF8TWVFHL?si=6bf31c4dc3d54d44 y, por cierto, casi todas ellas escritas por encargo de Diáguilev; una maravilla.

Welcome to the Instant Trivia podcast episode 66, where we ask the best trivia on the Internet. Round 1. Category: Ancient Rome 1: The last emperor of Rome, who was overthrown in 476, shared his name with this legendary founder of the city. Romulus. 2: His second wife, Pompeia, was a granddaughter of Sulla who, like him, ruled Rome as a dictator. Julius Caesar. 3: Roman roads were built with concrete made from pozzolana, ash from these; the roads by Pompeii must've been good. volcanoes. 4: Less valuable than the aureus, the denarius was a coin made of this. silver. 5: Carved on stone or metal, the acta diurna was an early newspaper posted this often in a public area. daily. Round 2. Category: Nixon's The One 1: In this year, Nixon faced off against JFK in the first presidential debates ever. 1960. 2: It was Richard Nixon's mother's maiden name. Milhous. 3: These 2 men served under Nixon as vice president. Gerald Ford and Spiro Agnew. 4: Herbert Hoover and Nixon were the only 2 presidents of this religious group. Quakers. 5: This daughter of Nixon married Edward Cox at the White House in 1971. Tricia. Round 3. Category: 2007 Bestsellers 1: This Robert Ludlum character returned to the list in 2007 with a "Betrayal". Jason Bourne. 2: "The Lost Files Of" this Carolyn Keene sleuth provide an interactive guide to her cases. Nancy Drew. 3: Walter Isaacson's biography of this scientist was based on the subject's personal letters. Albert Einstein. 4: She is the subject of Carl Bernstein's "A Woman In Charge". Hillary Clinton. 5: This Tibetan, a noted big hitter, hit the list with "The Universe In A Single Atom". the Dalai Lama. Round 4. Category: Write 1: Aida Marcuse translated this children's classic into Spanish as "Huevos Verdes Con Jamon". Green Eggs and Ham. 2: "Suzanne's Diary for Nicholas" is a 2001 change of pace for this suspense writer known for his Alex Cross books. (James) Patterson. 3: 2001's "Black House" is this pair's sequel to "The Talisman". King and Straub. 4: As Sue Grafton had the alphabet locked up, Janet Evanovich is using these for her Stephanie Plum titles. numbers. 5: Parnell Hall and Nero Blanc write mysteries you may have come across and can't put down as they include these puzzles. crossword puzzles. Round 5. Category: Final Resting Places 1: Father Damien was buried on this Hawaiian island but in 1936 his remains were moved to Belgium. Molokai. 2: This Diaghilev dancer is buried near the great French dancer Auguste Vestris in Montmartre. Nijinsky. 3: Joseph Conrad is buried in the cemetery at this Gothic cathedral, as the archbishop could tell you. Canterbury. 4: You'll find the 13 imperial tombs of the Ming dynasty in a valley on the outskirts of this capital. Beijing. 5: He was buried on St. Helena in his favorite uniform in 1821 but was moved to Paris in 1840. Napoleon. Thanks for listening! Come back tomorrow for more exciting trivia!

Today we talk to true luminary Catherine Nichols about her novel, which is based on Nijinsky's life and is an exploration of how someone could create something so powerful when they're not the one in power. If that hasn't blown your mind, then wait until you find out about all the research she did. Oh, still hemming and hawing? Get a load of this: Catherine wrote this book by writing every scene from every character who was part of it and then revising. Let that sink in. Plus: kids as internet citizens; how does Catherine read so much? And: Would you like to hear Lindsay's impression of Alex? Books discussed: How to do Nothing; Notes on a Silencing; Mrs. Caliban

This conversation with Shockwave is deep and very important to listen about the expectations that we have as humans in which we have the power to improve in society. In this episode you will learn about:Where your street dance movements come from.The importance of you knowing where styles originated.How you can improve society expectations by being yourself and not following the leader.How some trends become toxic instead of creating unity.How artists can create more money by working together to create a better financial industry. Favorite Quote: “The great thinker talks about ideas, the average thinker talks about events, the small thinker talks about people .” Shockwave has experience learning from freestyle popping legends and he is able to teach where those movements come from. About Shockwave:Shockwave is a  Los Angeles born dancer who expresses through physical and spiritual energy with respect to tradition. He strives to instill belief in one’s self and unlock creativity while preserving the culture of art forms.Through foundation, perspective and vision, he looks to inspire others to feel what can’t be expressed through words and be more than what society dictates, for the new generation, and to those who dance for a lifetime. Follow Shockwave:Instagram Facebook Shockwave - Soul Levels (by Beatslaya) Text: ANNIVERSARY to (323) 524-9857 to view our WATCH PARTY for our 20th Anniversary Maxt Out Dance Competition online! Follow us:Learn more: Dance Your LifeLearn more: Maxt Out Dance CompetitionInstagram @maxtoutdanceMaxt Out on FacebookTikTok @maxtoutdanceSign-up for our FREE Maxt Out at Home Dance Classes!Follow Joanna:Learn more The Get Up GirlJoanna Vargas on InstagramJoanna Vargas on FacebookTikTok @joannavargasofficialOperation Underground Railroad – OURRescue.org

Mit gerade mal zehn Minuten Spielzeit markiert Debussys Orchestervorspiel von 1894 einen Wendepunkt der Musikgeschichte. Während sich Europas Komponisten im Pathos der Hochromantik austoben, schreibt der Franzose ein Werk voller Klarheit und Eleganz und entdeckt die Klangfarbe als kompositorisches Prinzip. (Autor: Michael Lohse)

ആധുനിക ഇന്ത്യയിലെ നൃത്തത്തിന്റെ നൂറുകൊല്ലത്തെ ചരിത്രത്തിലേക്ക് ഒരു വിശദ വീക്ഷണമാണ് ഈ ലക്കം ദില്ലി -ദാലി . കഴിഞ്ഞ ദിവസം കൊൽക്കത്തയിൽ നൂറ്റിയൊന്നാം വയസ്സിൽ അന്തരിച്ച അമല ശങ്കറിന്റെ വിയോഗത്തോടെ അസ്തമിച്ച ഒരു കാലഘട്ടത്തെ കുറിച്ച് ആധികാരികമായി സംസാരിക്കുന്നത് പ്രശസ്ത കലാനിരൂപകനായ ശ്രീ സദാനന്ദ് മേനോനാണ് . ദേശീയ പ്രസ്ഥാനവും , കലാരംഗവും , 1920 -1930 കളിൽ ലോകനൃത്തരംഗം , ഉദയ് ശങ്കർ സംഘത്തിന്റെ ആവിർഭാവം , ഇന്ത്യ എന്ന ആശയവും ലാവണ്യലോകവും , ഓറിയന്റലിസവും ഇന്ത്യൻ നൃത്തവും , Marius Petipa , Nijinsky, Ruth St Denis, Alice Boner, Anna Pavlova തുടങ്ങിയവർ , വള്ളത്തോളും ആലീസ് ബോണറും , ടാഗോറും നൃത്തവും , 1948 ലെ കൽപ്പന എന്ന ചലച്ചിത്രം , എങ്ങനെ ഇന്ത്യൻ നൃത്തരംഗം പിന്നോട്ടു പോയി ...45 മിനിറ്റ് ദൈർഘ്യമുള്ള പോഡ്കാസ്റ്റ് . ഒരു കാലഘട്ടത്തിലേക്ക് തിരിച്ചുവെച്ച കണ്ണാടി

Not only will you get up to speed on the upcoming Royal Ascot meeting, Vanessa and Naomi go over last weekend's 2,000 & 1,000 Guineas winners whilst diverting into racing families and European top racehorses.  The (Epsom) Derby and its significance is discussed, against the growing sentiment of breeders being drawn towards speed favouring sires. Vanessa highlights how the UK Triple Crown isn't as fashionable anymore, in comparison to the popularity of the USA Triple Crown trail.   The Ballydoyle facilities come into play, as well as the Galileo angle and Aidan O'Brien's structured formula approach to the Classics.  40:20 We get started on the Royal Ascot Meeting! 1:34:30 Quick Fire round of questions for Vanessa Before you go: Vanessa recommended a must watch documentary on Nijinsky, following the last UK Triple Crown winner in his glorious 1970 season: A Horse Called Nijinsky (1970)

Sesión siniestra la de hoy, con el grupo madrileño Alphaville (no confundir con los rubitos nórdicos homónimos) y con Décima Víctima. Alphaville vinieron a RNE en dos ocasiones. La diferencia entre ambas está en la presencia de la bajista, Almudena de Maeztu que venía de La Mode y dio una consistencia importante a las elucubraciones oníricas y muy culturales de José Luis Fernández Abel. Ella está en la segunda sesión. Por otro lado, en el grupo estaba también Charly, José Carlos Sánchez que llegaría a ser jefazo de la Warner-España años después. ALPHAVILLE: CANCIONES EN DIRECTO (1982). Estudio Música 2. Casa de la Radio. Prado del Rey. 13 abril 1982. 01.- NIJINSKY (2:09) 02.- NIETZSCHE DER GEISTESKRANK (2:23) 03.- PAISAJES NOCTURNOS (5:25) 04.- TU DOLOR (5:38) 05.- ARREBATO (4:06) Intérpretes (según la ficha de los estudios): JOS6E LUIS FERNANDEZ ABEL (SOLISTA | VOCAL | GUITARRA ELECTRICA), JOSÉ CARLOS 'CHARLY' SÁNCHEZ , (SOLISTA | TECLADOS), PABLO VEGA (SOLISTA | BAJO ELECTRI6CO), JUAN ANTONIO NIETO 'PANGEA' , , (SOLISTA | BATERÍA). Segunda sesión: ALPHAVILLE: CANCIONES EN DIRECTO (1983) (PARA EL CONCURSO DE RNE "DON DOMINGO")Estudio Música 2. Casa de la Radio. Prado del Rey. 17 noviembre 1982 01.- ARTAUD (LE MEME) (2:55) 02.- PAISAJES NOCTURNOS (5:35) 03.- MUERTE EN VENECIA (3:15) 04.- ALABAMA SONG (DEL MUSICAL "RISE AND FALL OF THE CITY OF MAHOGONNY") (4:15) 05.- EL INNOMBRABLE (2:12) Intérpretes: Según la ficha son los mismos que en la primera sesión, pero me consta que la bajista es Almudena de Maeztu, que hace un trabajo exquisito y contundente. Tras Alphaville vamos con la única sesión de Décima Víctima, grupo también oscuro, con menos referencias culturales pero con más éxito y muy prolífico. Presentaron temas de su primer elepé homónimo y de dos singles previos. Joya de sesión. DÉCIMA VÍCTIMA: CANCIONES EN DIRECTO (1982) Estudio Música 2. Casa de la Radio. Prado del Rey. 26 noviembre 1982 01.-ESCOMBROS DE UN TRIUNFO (2:07) 02.- pero es: Un lugar en el pasado (3:28) 03.-NOVIEMBRE (2:25) 04.-DECISION (4:10) Pendiente: 05.-DESDE EL ACANTILADO (3:00) Intérpretes (según la ficha del estudio): CARLOS ENTRENA (SOLISTA | VOCAL) LARS MERTANEN (SOLISTA | GUITARRA ELECTRICA) PER MERTANEN (SOLISTA | BAJO ELECTRICO) JOSE BRENA (SOLISTA | BATERIA ).   Escuchar audio

Nicoletta Bidoia"Scena muta"introduzione di Alberto CellottoRonzani Editorehttps://www.ronzanieditore.it/ Sulla soglia del frontespizio c'è un titolo che precipita nell'afasia e nel silenzio: in queste zone, del resto, un componimento poetico prende avvio e in queste è continuamente ricacciato. Il titolo del quinto libro di poesia di Nicoletta Bidoia smaschera la contraddizione e l'esitazione che tutto plasma: la partenza, in poesia come in una musica o a teatro, è sempre silenzio e mutismo. Pensiamo, esemplificando, alla fatica sovraumana che fa l'attacco dell'Incompiuta di Schubert per fuoriuscire dal silenzio. Pensiamo soprattutto a quanto dicono i versi di Massimo Ferretti, richiamati a un certo punto quale constatazione e dilemma e a conferma di un'aporia originaria: ricorrere alla parola scritta quando si vorrebbe unicamente ballare. (dall'introduzione di Alberto Cellotto) Quando finiràquesto secolo lungo di ghiaccie novene, l'irrigidirsi dei propositiche cristallizzano col fiato? Ci chiediamo se sia del biancol'invenzione dell'eterno.La sera ci stacchiamo dalle frasi,dai lampioni e mentre andiamo,risalendo piano la corrente,confrontiamo i sassi coi pensieri,torniamo ai baci corsari, inventiamoa uno a uno ogni presente che si avvera.Poi di giorno si tirano le tendeper calmare ogni cautela, mentre le venesi svuotano dalla pressione del sangue.Sostiamo in qualche verso che la radioaccende e confidiamo che arrivi l'istanteindovinato la sera. Il cane dei viciniè contento e lo fa sapere, così comequi sotto i ragazzini. Hanno ragione,niente, non facciamo niente.Nicoletta Bidoia (Treviso, 1968) ha pubblicato i libri di poesia Alla fontana che dà albe (2002), Verso il tuo nome (2005, con prefazione di Alda Merini), L'obbedienza (2008, con prefazione di Isabella Panfido) editi da Lietocolle e Come i coralli (2014) con La Vita Felice. Nel 2013 è uscito il libro di narrativa Vivi. Ultime notizie di Luciano D. per le edizioni La Gru. Ha ideato e realizzato gli spettacoli Un piccolo miracolo, insieme alla cantautrice Laura Mars Rebuttini, e Sotto terra sopra un prato, col cantautore Gerardo Pozzi. Compone collage e teatrini di carta.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Well our Spring Break theme month has taken a turn due to reality. But we will be here for you at Night Call, some of us calling in remotely, to keep taking your night calls. Pandemic talk leads to a condemnation of wellness grifters giving junk advice about Coronavirus and selling garbage dust. Then Emily has a serious q&a with a listener who responded to our call for doctors and medical professionals to give real advice about the crisis. But it’s still Spring Break March, so we tuck into the appropriately weird Stravinsky piece The Rite Of Spring and the riot-causing Nijinsky ballet. Also spring rituals from around the world and Molly’s Excellent French Canadian Spring Break.  Footnotes: - Moon Juice coronavirus protocol - *NIGHT CALL CANON!!!' - Alison Roman caramelized shallot pasta - The UCSF conference notes post, that Molly and Emily described and debunked, has been deleted since we recorded - Rite of Spring  - Nicolas Roerich - Circle Dance - Dancing in the Streets - Baba Marta Day - Marzanna - Maslenitsa (butter lady) - Explore.org Animal Cams Learn more about your ad-choices at https://news.iheart.com/podcast-advertisers

In the brexit era, Nijinsky talks about his experiences switching to Monster Hunter World: Iceborne on PC, his favourite mods, the superior load times, and the competitiveness of a damage parse!We discuss about our desire to play Escape fro Tarkov evolving into PC upgrade experiences. Goat and Pony take a guess at crisp of the weekThen we ramble about, vegan gamechangers, goop vagina candles, bacon sarnies, and Nijinskys beatings as a youth. Goat has second thoughts about his beard but his focus is soon reasserted by topless photos from ponyWe end disucussing the latest grand appreciation fest in monster hunter

Juliette speaks with Grammy-nominated musician Kip Winger. Kip got his start playing bass for Alice Cooper. He formed rock band Winger in the 80s, who is still touring and making music today. He is also a composer of classical symphonies. In this conversation, Kip discusses his unusual career, creating classical music album “Conversations with Nijinsky” and concept album and musical thriller “Get Jack,” plus what's coming for the band Winger.

The Rite of Spring was the startling result of a collaboration between Stravinsky, Nijinsky (choreography) and Roerich (sets and costumes). In the immediate aftermath, it seemed to be a fiasco because of its riotous reception, but it proved to be the successful introduction of a new modernist aesthetic that cultivated ugliness and machine-like movements. We will trace the musical, visual and choreographical consequences of this new trend through several later Diaghilev ballets: Parade (Satie/Picasso), Chout (Prokofiev/Larionov), Le Pas d'Acier (Prokofiev/Yakulov).A lecture by Marina Frolova-Walker 21 JanuaryThe transcript and downloadable versions of the lecture are available from the Gresham College website: https://www.gresham.ac.uk/lectures-and-events/rite-of-springGresham College has been giving free public lectures since 1597. This tradition continues today with all of our five or so public lectures a week being made available for free download from our website. There are currently over 2,000 lectures free to access or download from the website.Website: http://www.gresham.ac.uk Twitter: http://twitter.com/GreshamCollege Facebook: https://www.facebook.com/greshamcollege Instagram: http://www.instagram.com/greshamcollege

Actor, dancer and influencer from her teens, an acclaimed Cleopatra, impresario – and a Jewish star… This is an apt description of both the eponymous heroine of Ida Rubinstein: The Final Act, and Naomi Sorkin, the multi-talented performer who takes on the title role in this biographical drama. Rubinstein worked with the likes of Diaghilev, Nijinsky and Debussy, and commissioned Ravel’s Bolero! Famed to this day in Russia and her native Ukraine, she is all but forgotten in the West. But all that is about to change now that Sorkin is championing her in this multimedia show, combining text, movement, music, projections and film to evoke the shock of the new in early 20th-century performance arts.In the auditorium of The Playground Theatre – one of London’s newest and the only theatre in White City, which she runs with her husband, fellow actor, director and impresario Peter Tate – Sorkin speaks to JR's Arts Editor Judi Herman about her own career, as well as the life and loves of Ida Rubinstein.Ida Rubinstein: The Final Act runs Thursday 23 January – Saturday 15 February. 7.30pm, 2.30pm (1, 8 & 15 Feb only). £22, £18 concs. The Playground Theatre, W10 6RQ. https://theplaygroundtheatre.london

Waclaw Nijinsky und sein Freund und Mentor Sergej Diaghilew sorgten in den Jahren vor dem Ersten Weltkrieg für Aufsehen in ganz Europa. Ihr künstlerischer Elan und ihre Ideen faszinieren bis heute. Auf dem Höhepunkt seines Ruhms erkrankt Nijinsky an Schizophrenie. Seine Biografen fassen ein aufregendes Leben in einem Satz zusammen: Zehn Jahre Wachsen, zehn Jahre Lernen, zehn Jahre Tanz, dreißig Jahre Dunkelheit. Autorin: Monika Buschey

---------------------- Appreciation written, produced, and narrated by Remedy Robinson Twitter: @slowdragremedy Email: slowdragwithremedy@gmail.com Podcast music by https://www.fesliyanstudios.com Rate this Podcast: https://ratethispodcast.com/slowdrag ---------------------- "Damnation's Cellar": https://www.youtube.com/watch?v=-mMIP8WCf_w  Elvis Costello Wiki Resource, “Damnation’s Cellar” http://www.elviscostello.info/wiki/index.php/Damnation%27s_Cellar Companion Blog: https://slowdragwithremedy.home.blog/2019/10/15/episode-12-damnations-cellar/ References: “Damnation’s Cellar” https://www.youtube.com/watch?v=-mMIP8WCf_w People write to Juliet Caplet: http://www.elviscostello.info/wiki/index.php/The_Juliet_Letters_(1993)_liner_notes Rhyme Scheme: https://www.creative-writing-now.com/rhyme-schemes.html https://literarydevices.net/rhyme-scheme/ Thank you to Comeron Mazafair @world_on_a_wire for his help with linguistic terminology. Punter slang definition: https://dictionary.cambridge.org/dictionary/english/punter Mona Lisa’s Last Name (sometimes questioned) https://www.wga.hu/html_m/l/leonardo/04/1monali.html English Triple Crown: https://www.britannica.com/sports/Triple-Crown-British-horse-racing Nijinsky, the crowd favorite triple crown winner: https://www.telegraph.co.uk/racing/greatest-derby-winners/nijinsky-epsom-1970-profile/  So, until next time, Adieu, my little ballyhoo   "Damnation's Cellar" Lyrics: Did anybody notice, over marmalade and eggs In between the Princess' legs What with wars and floods and beggars Not to mention stocks and shares Well, if you have a moment to spare Can you write and reassure me that I have seen That they're constructing a time machine There will be no need for the obituary pages We can have any hero from the bygone ages 'Til the truth emerges, an argument rages The major and the minor turn from tallow into tar Should we leave them in their place down in damnation's cellar? When any form of deity that you might enjoy Can be conjured with a test-tube and a flame If it's out there then science can explain it Or at least remove the blame And if there is anyone you'd like to see again Then speak up quickly Send us back Da Vinci then we don't have to ponder The maddening smile of "La Giaconda" The critics say Nijinsky, the dancer, of course While the punters would probably prefer the horse You'll find it's quicker than history, cheaper than divorce The major and the minor turn from tallow into tar Should we leave them in their place down in damnation's cellar? Bring back Liberace or Ollie and Stan Shakespeare will have to wait his turn Elvis Presley and Puccini shall return I suppose we live and learn Though it's hard to believe as we cheerfully burn It's curious Some will call for justice, there are murders to solve What about Hitler? Or at least Lee Harvey Oswald Give us this day and everything we squander Anyone beautiful, somebody blonder They'll never please mankind, so lie back and enjoy it Stop press: They've just decided to destroy it The major and the minor turn from tallow into tar Should we leave them in their place down in damnation's cellar?

"...Desde hace un par de siglos, los humanos hemos empezado a cuestionarnos por qué las sociedades diferenciaban de tal modo a hombres y mujeres en cuanto a jerarquía y funciones. Alguna hembra especialmente intrépida ya se había planteado esas preguntas antes, pero tuvieron que llegar el positivismo y la muerte definitiva de los dioses para que los habitantes del mundo occidental desdeñaran la inmutabilidad del orden natural y comenzaran a preguntarse masivamente el porqué de las cosas, curiosidad intelectual que por fuerza hubo de incluir, pese a la resistencia presentada por muchos y muchas, los numerosos interrogantes relativos a la condición de la mujer: distinta, distante, subyugada..." En el programa de hoy hablaremos de un libro fascinante, escrito, y muy bien, por cierto, por la periodista, novelista y articulista Rosa Montero. En palabras de su autora “no sé bien donde encuadrar estos trabajos: aunque están bien documentados, no son ni biografías académicas ni artículos periodísticos, sino unos textos muy apasionados, muy personales. Son historias de mujeres singulares a las que intenté entender. Las hay generosas y las hay malvadas, cobardes o valientes, turbulentas o tímidas; todas, eso sí, muy originales, y algunas resultan pasmosas por lo extraordinario de sus peripecias”. El libro narra la vida de dieciséis mujeres cuyas vidas, salvo alguna excepción, fueron trágicas en gran medida debido al fuerte rechazo de la sociedad en la que vivían, solo por el hecho de ser mujeres y pretender que su talento fuera reconocido. La obra comienza con la figura de Agatha Christie, la famosa escritora de novelas policíacas. Nació en 1.890 y pertenece, por tanto, a esa generación británica que hubo de superar la herencia victoriana y enfrentarse a las primeras ruinas del imperio y su visión del mundo “tan firme y definida como un cubo de plomo”. Mary Wollstonecraft, que en el siglo XVIII fue capaz de establecerse como escritora profesional e independiente en Londres (algo rarísimo para la época) y que publicó, en 1.792 el ensayo “Vindicación de los derechos de la mujer” donde estableció las bases del feminismo moderno y la convirtió en la mujer más famosa de Europa de su tiempo. Murió a los 38 años y su obra ha sido injustamente olvidada siendo solo recordada por haber sido la madre de Mary Shelley, la autora de “Frankenstein”. De Zenobia Camprubí (1.887 – 1.956), se puede decir que no solo fueron las circunstancias las que provocaron que no fuera una de las intelectuales que fueron influyentes en su tiempo; fue su esposo, Juan Ramón Jiménez. Este hombre confundió el amor con la necesidad patológica del otro y el parasitismo más feroz y destructivo, lo que hizo que la vida de esta mujer fuera un infierno y que anuló las perspectivas de una persona inteligente, generosa, activa, culta y con una clara vocación narrativa (fue la primera traductora de la obra del nobel bengalí Rabindrahah Tagore). Al contrario que en el caso de Zenobia Camprubí, Simone de Beauvoir consiguió, con grandes esfuerzos, convertirse en una figura que gravitó sobre generaciones de mujeres. Sin embargo su vida privada deja mucho que desear en cuanto a honestidad y su mezquindad, al igual que la de su marido, Jean Paul Sartre. La de Lady Ottoline Morrell es la historia de una mecenas de grandes artistas del primer cuarto del siglo XX ( Virginia Woolf, E.M. Foster, Maynard Keynes, D.H. Lawrence, Henry James, Aldous Huxley, Nijinsky, Robert Graves, Bernard Sahw, Graham Greene, Charles Chaplin etc.) que paso de la gloria mundana al triste final de una mujer despreciada y arruinada. El caso de Alma Mahler es el de una compositora que ya a los 21 años había escrito un centenar de obras y era una magnífica pianista y que fue totalmente eclipsada por la fama de su marido, el músico Gustav Mahler, que le doblaba su edad. ¿ Les suena ?. La historia de María Lejárraga es asombrosa. Fue la esposa de Gregorio Martínez Sierra, uno de los dramaturgos españoles más famosos del siglo XX. Hoy es un hecho comprobado que la verdadera autora de las obras firmadas por él, están escritas por ella. Sin embargo, ella es el silencio y él el afamado autor...todavía. El capítulo dedicado a la escritora y crítica literaria Laura Riding, Rosa Montero lo subtitula “La más malvada” y resulta apasionante como esta mujer cuya negra locura arrastró en su delirio a escritores, pintores, fotógrafos etc. , uno de ellos fue el gran Robert Graves, que fueron vampirizados por esta mujer, dejando a algunos de ellos en un estado de verdadero delirio del que pocos consiguieron recuperarse. La vida de George Sand fue más feliz, a pesar de algunos acontecimientos trágicos, que los de otras mujeres célebres, gracias a su poderosa personalidad. Por contra la existencia de Isabelle Eberhardt fue muy distinta. Cito textualmente el primer párrafo de Rosa Montero sobre su vida: “El 21 de Octubre de 1.904, una riada destruyó la mitad del pueblo argelino de Ain Safra. Cuando las aguas bajaron, los soldados de la guarnición francesa descubrieron, entre las ruinas de una pobre choza, dos piernas de mujer hincadas en el lodo. Pertenecían al cadáver de Isabelle Eberhardt, también llamada Mahmoud Saadi, también llamada Nicolás Podolinski, una escritora suiza de 27 años que se hacía pasar por un muchacho musulmán: hablaba y escribía árabe a la perfección, se había convertido al islamismo y pertenecía a una hermandad sufí “. Frida Kahlo. El Mundo es una cama. Así titula la autora la breve biografía de la pintora mexicana. Y es que en la existencia de la artista la cama es su refugio, potro de tortura y altar sagrado. La esposa del muralista Diego Rivera, que murió en 1.954 a los 47 años, sufrió un accidente a los 18 años. Un tranvía embistió el autobús donde ella viajaba; el pasamanos la había empalado y las lesiones fueron terribles y su agonía duró lo que duró su vida y sin embargo esta fue intensa y creativa. Aurora y Hildegart Rodríguez; “madre muerte”. La historia de estas dos mujeres es escalofriante: la madre, Aurora, mata a su hija Hijdegart en la madrugada del 9 de Junio de 1.933, de varios disparos mientras esta dormía. ¿el motivo?, Hildegart, que entonces tenía 18 años, quería emanciparse de su férrea y devoradora posesividad. La chica había sido educada por Aurora, madre soltera por propia decisión, para ser la adalid de los derechos de la mujer, “la primera mujer libre”. Hisdegart, que antes de los tres años hablaba y escribía correctamente; a los ocho dominaba cuatro idiomas y estaba versada en filosofía y temas de educación sexual. A los catorce años ya era famosa, llegando a ser una de las figuras destacadas del Partido Socialista publicando obras sobre política, sociología, educación sexual etc. y se da a conocer en toda Europa. Tal vez las balas que acabaron con la vida de Hildegart le trajeron la liberación de la posesiva y demente obsesión de su madre. La antropóloga Margaret Mead (1.901 – 1.978. EEUU), revolucionó esta ciencia y la popularizó gracias a desarrollo de métodos modernos de estudio y difusión. Su vida fue intensa y extremadamente interesante. La vida de Camille Claudel, nacida en Francia en 1.864, es otro de los ejemplos de cómo una mujer de talento es relegada al olvido por los prejuicios de una época y la supremacía casi absoluta del hombre. Su fin fue muy triste y solo se la conoce por ser la amante del escultor Auguste Rodin, aunque era una destacada escultora y, como ahora se sabe algunas de las obras atribuidas a él eran suyas, y como la hermana “artista” del escritor Paul Claudel. “Cumbres Borrascosas”, de Emily Brontë; “Jane Eyre”, de Charlotte Brontë; “Agnes Grey”, de Anne Brontë, son tres novelas que tuvieron un éxito sin precedentes en la Inglaterra del siglo XIX y lo siguen siendo hoy en día en todo el mundo. Sin embargo estas tres hermanas vivieron toda su vida casi en el anonimato (publicaban con seudónimos, masculinos naturalmente), en un desolado páramo del campo inglés.

A pilot episode where four friends Pony, Goat, Nijinsky, and Titips fumble and ramble through a podcast about monster hunter. We give our initial impressions of Iceborne, review a packet of crisps, and create a weapon tier list based on nothing but our feelingsMusic from https://filmmusic.io/"Sneaky Snitch" by Kevin MacLeod (https://incompetech.com/)"Lobby Time" by Kevin MacLeod (https://incompetech.com/)License: CC BY (http://creativecommons.org/licenses/by/4.0/)

Steve Cooper talks with musician Kip Winger. Kip is best known as being the front man for the band Winger. Kip's first commercial break came in 1984, when he co-wrote a song for Kix's third album and in 1985 he joined Alice Cooper's band. He left in 1987 to form Winger who broke onto the scene in 1988 with their self-titled debut which was a success, achieving platinum status and included the hits Madalaine, Headed for a Heartbreak and Seventeen. Throughout their career they have recorded 6 studio albums. As a solo artist he has released 5 albums and composed Conversations with Nijinsky that was nominated for a Grammy in the Best Classical Contemporary Composition category. His current project that just came out is the musical Get Jack that he co-wrote with Damien Gray. Find more out about him at www.kipwinger.com  

Upon visiting Stravinsky in late 1910, expecting to find him immersed in composing the Rite of Spring, Serge Diaghilev, director of the Ballet Russe, was quite surprised to find him instead composing the ballet of an anthropomorphized puppet.  The story recounts the rise and fall of mischievous Petrushka, a puppet brought to life by a magician as he courts the Ballerina and fights the Charlatan.  The work was premiered one hundred years ago, with Nijinsky dancing the title role. Former SFS Music Director Pierre Monteux conducted the work’s world premiere.

"Attack of the Five Foot Ten Woman" Boobs, bush, and Blahniks topped with chocolate, prostitution, and low self-esteem. The lovely and talented Emily Fenton (@ylimenotnef_) joins us for hot takes on the encounter of the century: Naked SJP vs. Nijinsky. See you *THEIR*! Please remember to subscribe, rate, and follow us! No One Will Watch TV with Us: @noonewillwatch Lilian Tanner: @liliantanner Ethan Charles Abramson: @_ethancharles Emily Austin: @chemilychaustin --- Support this podcast: https://anchor.fm/no-one-will-watch-tv-with-us/support

Welcome to Season 7!  This week, former rock idol Kip Winger talks about his new life in classical music, and about his 1 Track Conversations with Nijinsky.

The Russian dance impresario Sergei Diaghilev transformed not only ballet, but all the arts in the 20th century. His ground-breaking Ballets Russes burst onto the scene in Paris in 1909 and replaced stuffy set pieces with shockingly vibrant performances that brought together scenery by artists Picasso and Matisse, costumes by Coco Chanel, avant-garde music by Stravinsky and Prokofiev, and a new style of movement from innovative dancers such as Nijinsky. The Ballet Russes became the world's leading dance company for nearly quarter of a century, and its creative impulse still influences dance, music and art today. Bridget Kendall explores Diaghilev and the Ballets Russes with Lynn Garafola, Professor of Dance at Barnard College, Columbia University in the US; Jane Pritchard, Curator of Dance at the Victoria and Albert Museum in London; and the French dance writer Laura Cappelle. Photo: Portrait Of Sergei Dyagilev (Fine Art Images/Heritage Images/Getty Images)

Today we start a two week exploration of Stravinsky's earthshakingly revolutionary Rite of Spring. Focusing on Part 1, we'll talk about the cast of characters involved in the ballet: Diaghilev, Nijinsky, Roerich, Monteux, and of course Stravinsky. These 5 men were part of a performance that quite literally changed the musical world. We'll also talk about the famous riot that made the opening night a sensation, the hidden folk music influence on Stravinsky, and Stravinsky's remarkable rhythmic invention.

PROGRAM NOTES In today's VINYL VIBRATIONS podcast, we explore Odd Meters. First, a quick primer on meter.  If you are a musician… bear with me if you will…Rhythm is the arrangement of sounds in time. ...Meter places time into groupings, called measures or bars. The meter signature, also known as the time signature, is noted as two numbers stacked one above the other….like a fraction. For example: 4/4. On top-----The number of beats in a bar or measure. And on bottom----the type of note that represents one beat, most commonly it is a quarter note. Two most common time signatures are 3/4 three-four for three quarternotes per measure 4/4 four-four ….for four quarternotes per measure We find 3/4 time in the waltz, a simple 1-2-3 dance step, it's a simple signature comprised of 3 quarter notes.   And 4/4 time can be found throughout pop, rock, country, even the classics, its a simple "even" signature comprised of 4 quarter notes. In today's podcast we will hear ODD METERS starting with… 1 "The Rite of Spring”.  Part II (The Sacrifice) "Sacrificial Dance", Igor Stravinsky 2 "Take Five", Dave Brubeck Quartet, album Time Out 3 "Toads of the Short Forest" Frank Zappa and the Mothers of Invention, album Weasles Ripped My Flesh 4 "Money"  Pink Floyd, album  The Dark Side of the Moon 5 "Good Morning, Good Morning", album Sgt. Pepper's Lonely Hearts Club Band - The Beatles 6 "Living in the Past", Jethro Tull, stand-alone single M1 The Rite of Spring”.  Part II (The Sacrifice) Sacrificial Dance by Igor Stravinsky  Experts have said that the ballet The Rite of Spring, composed in 1913, changed music forever. It is famous for causing a riot in 1913 at its premiere in Paris. This is because the music and dancing was so different than anything people had heard before. The energy, rhythms and colorful sounds are amazing, even a century later. Igor Stravinsky was one of the first to introduce odd meters into western classical music in his “The Rite of Spring”. Rite of Spring is an example of THE ABSENCE OF A PREDICTABLE METRE or REFUSAL TO ADHERE TO TRADITIONAL METRE. At the time, "traditional" meant Ballet dance with 3/4 metre, a demure orchestra supporting, building, mirroring, the dance choreography. Instead, Rite of Spring demonstrates the uses of pulses and rhythms in music and dance.  This is a complete departure from the norm.  Dancers beat the pulse of music with their feet and arms. Dancers gather and disperse like the rhythmic formations in the music. The rhythm is blatant and out front. To create further tension (and frustration to the 1913 audience), the dance rhythm breaks from the music rhythm, in the last movement - Sacrificial Dance.  The style of music is that there is no consistent downbeat. This arrangement was an outrage !! No consistent time ! Not done before. The Rite of Spring was premiered on Thursday, May 29, 1913 in Paris and was conducted by Pierre Monteux. The intensely rhythmic score and primitive stage performance shocked the audience ---as Nijinsky's choreography was a radical departure from classical ballet.  The audience began to boo loudly. There were loud arguments in the audience followed by shouts and fistfights in the aisles. Unrest turned into a riot. The Paris police arrived …but even so, chaos reigned for the remainder of the performance. Music critic Abigail Wagner described it well - "The1913 audience’s shock at hearing Rite was akin to that of someone who has only read verse in iambic pentameter, reading a prose novel for the first  time". This is the climactic final of The Rite of Spring, the closing episode of the Sacrificial Dance from The Rite of Spring”.   Igor Stravinsky  M2 Take Five, Dave Brubeck Quartet Album Time Out. Recorded in New York at Columbia Records in 1959 American Jazz pianist born 1920. Brubeck had studied with the French composer Darius Milhaud, who in turn had been strongly influenced by Stravinsky,

The National Ballet of Canada Principal Dancers Heather Ogden and Guillaume Côté discuss the dramatic life and career of Vaslav […]

Join Jennie Scholick, PhD to prep fro the National Ballet of Canada’s performances of John Neumeier’s Nijinsky in April. Learn […]

Kip Winger has been down the proverbial road and back. At age 7 he started playing music with his brothers in their basement... and never stopped. His musical path would eventually lead him to New York City to make connections, form his namesake band 'Winger' and get signed to Atlantic Records in the late '80s - right at the end of the heavy metal MTV era. Fame and fortune would follow only to be strangled by a totally unexpected turn of events. Determined to press on, Kip released solo albums through the 90s and continued to tour with his band but behind the scenes was hatching an unexpected plan of his own. After years of training, planning and writing, in 2017 he released his first full album of classical music: Conversations with Nijinsky - which was nominated for a Grammy...next came the collaboration on the Jack the Ripper Musical "Get Jack"...It turns out, Kip Winger is just getting started. To learn more about what Kip's up to: http://www.kipwinger.com/

Desde Nijinsky hasta Polunin, el cuarto episodio de nuestro podcast está dedicado a las super estrellas masculinas del género.En estos videos puede ver bailar a tres de las estrellas mencionadas:https://www.youtube.com/watch?v=4qjvGIMeIhUhttps://www.youtube.com/watch?v=qG7JvpPGdEUhttps://www.youtube.com/watch?v=dKYUAp9nxmchttps://www.youtube.com/watch?v=c-tW0CkvdDI

47. Scott Rankin on Nijinsky, St Francis and growing up on a Chinese junk Scott is the founder, CEO and Creative Director of Big hART.

Ten contemporary cultural specialists look back at the impact of the Russian Revolution of 1917 on artists of the time - in film, theatre, poetry, dance and beyond. Former ballerina Deborah Bull looks at the impact of Nijinsky's revolutionary ballet, The Rite of Spring, which in dance terms, pre-empted the events of October 1917 by several years.Part of Breaking Free: A Century of Russian CultureProducer Alison Hindell BBC Cymru Wales.

Today's episode is about Vaslav Nijinsky, a Polish-Russian ballet dancer of the early twentieth century. Considered both the best and most controversial dancer of his era, Nijinsky changed the course of ballet history. Transcript available here.

What is an outsider? Gary Lachman and Suzi Feay discuss the writings of Colin Wilson with presenter Matthew Sweet 60 years on from the publication of Wilson's best-seller which analysed literary characters in works by Camus, Hemingway, Dostoyevsky and figures including Van Gogh, T.E. Lawrence and Nijinsky. The Vulgar is the title of an exhibition of fashion on display at the Barbican - Linda Grant and Sarah Kent discuss the messages our clothing choices send out. And New Generation Thinker Eleanor Rosamund Barraclough on Norse gods. Beyond the Robot: The Life and Work of Colin Wilson by Gary Lachman is out now. He has also written the introduction to a new edition of The Outsider published by Penguin. Eleanor Rosamund Barraclough has published Beyond The Northlands: Viking Voyages and the Old Norse Sagas. She was selected as one of the New Generation Thinkers in 2013 in a scheme run by BBC Radio 3 and the Arts and Humanities Research Council which works with academics who want to turn their research into radio. The Vulgar: Fashion Redefined runs at the Barbican Art Gallery from October 13th to 5th February 2017. Linda Grant's new novel The Dark Circle is out in November.Producer: Torquil MacLeod

Upon visiting Stravinsky in late 1910, expecting to find him immersed in composing the Rite of Spring, Serge Diaghilev, director of the Ballet Russe, was quite surprised to find him instead composing the ballet of an anthropomorphized puppet.  The story recounts the rise and fall of mischievous Petrushka, a puppet brought to life by a magician as he courts the Ballerina and fights the Charlatan.  The work was premiered one hundred years ago, with Nijinsky dancing the title role. Former SFS Music Director Pierre Monteux conducted the work’s world premiere.

In this interview beloved Canadian author of historic fiction, Eva Stachniak speaks out frankly about the struggles of writing. She reveals how this draft of her latest work, a tale woven around historic facts of the life of Branislava Nijinsky, sister to the famed ballet dancer Nijinsky, emerges through much confusion. Stachniak speaks with passion about her protagonist, and life at the turn of the century in Russia and Europe with all the tumult of those times. Her energy for her creations sparkles throughout the conversation and her knowledge of Branislava's intimate life as well as her public one demonstrates the depth of Stachniak's own understanding.

In this interview beloved Canadian author of historic fiction, Eva Stachniak speaks out frankly about the struggles of writing. She reveals how this draft of her latest work, a tale woven around historic facts of the life of Branislava Nijinsky, sister to the famed ballet dancer Nijinsky, emerges through much confusion. Stachniak speaks with passion about her protagonist, and life at the turn of the century in Russia and Europe with all the tumult of those times. Her energy for her creations sparkles throughout the conversation and her knowledge of Branislava's intimate life as well as her public one demonstrates the depth of Stachniak's own understanding.

This paper examines the ways in which dancers’ body image in Vaslav Nijinsky’s 1913 ballets The Rite of Spring and Jeux looked forward to 1920s developments in ballet and fashion. Using the psychoanalyst Paul Schilder’s definition of body image as the appearance and experience of embodiment, the paper will explore how aspects of the 1913 ballets’ new corporeal modes (including an emphasis on the body’s weight and gravity in The Rite and sportive androgyny in Jeux) prefigured how women dressed, moved and perceived themselves both within the Ballets Russes and in 1920s Paris. The paper will explore body image in relation to both individual and collective experiences. Beginning with 1913, the paper will consider how the first dancers in The Rite and Jeux experienced their roles in order to contextualise the ballets within their year of creation, and assess Nijinsky’s contribution to their radical conceits of feminine embodiment. It will then examine how the feminine bodily modes of extreme physical vigour, androgyny and sexual agency evoked in the 1913 works were developed in 1920s ballet practice and body culture. In doing so, the paper questions whether the 1913 ballets’ divining anticipations of modern femininity resulted from their creator’s own experiences of embodiment or reflected female dancers’ enhanced technical abilities and dramatic versatility.

Igor Stravinsky’s Le Sacre du printemps is arguably the most influential score composed for dance in the last century. Premiered to an unsuspecting Parisian audience in 1913, this Modernist ballet was subtitled ‘Scenes of Pagan Russia,’ a moniker that evoked the rituals of pre-Christian society. Vaslav Nijinsky’s groundbreaking choreography shocked audiences with its visceral embodiment of primeval spirituality, and Sacre has subsequently been re-staged by a wide variety of classical and contemporary choreographers across the world, including Mary Wigman, Martha Graham, Pina Bausch, and Maurice Béjart. This paper focuses on a distinctly non-Western version of Stravinsky’s score, namely Min Tanaka’s Butoh choreography of 1987. Tanaka’s work, with stage settings by Richard Serra, was premiered a year after the death of his mentor Tatsumi Hijikata, one of the ‘founding fathers’ of the Butoh form. In this paper, I draw comparisons between Tanaka’s stark movement vocabulary and Western embodiments of Sacre, including those of Bausch and Wigman, in order to chart a cross-cultural dialogue in dance performance since the 1913 premiere. With his controversial work, Nijinsky explored new levels of primitive ritualism in performance. He induced a company of classically trained dancers to revert to a primordial form of movement, enacting their ritual through a new choreographic vocabulary derived from elements of Central Asian folk dance. Stravinsky’s score has come to be an ongoing source of inspiration for choreographers exploring non-Western ritual from 1913 to the present day, and I posit that Tanaka’s Sacre symbolises the logical conclusion of this dialogue between Eastern and Western performance. I argue that avant-garde dance performance throughout the twentieth century has been shaped by an amalgamation of cultural elements, and that, ultimately, this inter-cultural dialogue represents Nijinsky’s enduring Modernist legacy.

Vaslav Nijinsky’s choreography for the Rite of Spring was structured by movement patterns based on simple geometrical forms – such as circles, triangles, lines and angles – which his dancers incorporated with their bodies and limbs. Repeated over and over again, the patterns were gradually transformed or harshly interrupted by other choreographic figures, thus reflecting the repetitive character of Igor Stravinsky’s music as well as the use of ornament and colour in Nicholas Roerich’s costume design. The non-mimetic character of these ornamental patterns is also strongly related to Nijinsky’s own abstract paintings as well as to the rise of abstract art in Paris of 1913, namely the work of Sonia Delaunay-Terk and František Kupka. Applying to The Rite of Spring new theories of ornament focusing more on generative and perceptive aspects rather than on the decorative functions of ornament, I will ask: what is the relationship between the narrative – the sacrifice of an individual person for the sake of the community – and the use of ornamental patterns in Nijinsky’s choreography? To what extent do abstract ornamental patterns generate narrative, emotional, and even political references? Looking back on The Rite of Spring in the knowledge that it premiered only one year before the outbreak of World War I, does its aesthetic relationship between disruption and continuity ultimately mirror a political impact? Is its use of ornament only connected to a potential continuity of decorative transformation and a lack of representation? Or does the modus of ornament generate narrative, emotional, and even political references?

For a few nights in March 1914 if contemplating buying a theatre ticket in London, there was a brief chance when one could have seen Nijinsky dance at the Palace Theatre one night and the next the new Shakespeare’s A Midsummer Night’s Dream at the Savoy Theatre. Had one had the rare chance to view the 1913 London performance of the Sacre and then the Savoy Dream eight months later, one might well have been struck by the mutuality of Harley Granville Barker’s and Sergei Diaghilev’s strategies as much as their distinctness. The ethos and practices of these two productions striving to achieve a ‘total work of art’ resonate and contrast with each other in the principles of collaboration in the two companies: the deployment of intensified simplification in performance to achieve the ‘gesamtkunstwerk’; the use of colour and supra-temporal effects to create stage decoration rather than pictorialism; the destabilization of gender and the imagining of the primitive was at the heart of both scenarios. This paper will recuperate the creative collaboration at the centre of the Savoy Dream, examining the neglected surviving design sketches of Norman Wilkinson as well as the interpretative contribution of Barker’s wife, Lilah McCarthy, to explore the continuities and ruptures between these rites of spring and midsummer.

On the 29th of May 1912, exactly a year earlier than the premiere of The Rite of Spring, Sergei Diaghilev’s Ballets Russes had scandalized Parisian audiences with the first performance of another famous ballet choreographed by Nijinsky – L’Après-midi d’un Faune. This ballet represents a precursor for The Rite of Spring not only for this chronological correspondence, success, notoriety, and choreography by Nijinsky: both works also drew some inspiration from a rather distant prehistoric past, as shown by the sets and costumes created by Léon Bakst and Nicholas Roerich (for Faune and Rite, respectively). This paper discusses Bakst’s use of prehistoric materials for the Faune and previous Ballets Russes productions, and how this related to his ideas about a modern art of the future.

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.

With 2013 being the Centenary year for Stravinsky's Rite of Spring, Principal Conductor and Artistic Advisor of the Philharmonia Esa-Pekka Salonen discusses his relationship with this seminal work, and its continuing relevance in a 21st century context. To mark the Centenary, Esa-Pekka Salonen is touring the work across Europe with the Philharmonia Orchestra, a tour culminating in a concert at Paris's Theatre des Champs-Elysées, the venue of the work's infamously riotous première. The London Centenary concert will take place on Thursday 30th May at 7.30pm, at the Royal Festival Hall. For more information, please visit philharmonia.co.uk/concerts/30may13

With 2013 being the Centenary year for Stravinsky's Rite of Spring, Principal Conductor and Artistic Advisor of the Philharmonia Esa-Pekka Salonen discusses his relationship with this seminal work, and its continuing relevance in a 21st century context. To mark the Centenary, Esa-Pekka Salonen is touring the work across Europe with the Philharmonia Orchestra, a tour culminating in a concert at Paris's Theatre des Champs-Elysées, the venue of the work's infamously riotous première. The London Centenary concert will take place on Thursday 30th May at 7.30pm, at the Royal Festival Hall.

TV producer Tony Garnett; Zoe Wanamaker; The Eagles; artist Ellen Gallagher; Lucy Moore on dancer Nijinsky; and actor Geoffrey Rush.

With John Wilson, Nijinsky is known as one of the greatest dancers and most experimental choreographers of the 20th century, but his career was curtailed by mental illness. Lucy Moore has written the first English language biography of Nijinsky for more than 30 years, and she discusses the myths which surround him, his complex relationship with the impresario Diaghilev, and the possible reasons for his breakdown and inability to work again. More from the Cultural Exchange project, in which 75 leading creative minds share their passion for a book, film, poem, piece of music or other work of art: tonight Oscar-winning director Bernardo Bertolucci nominates Federico Fellini's film La Dolce Vita. Dead Man Down is the first Hollywood film from Niels Arden Oplev, the Danish director of The Girl with the Dragon Tattoo. This dark thriller stars Colin Farrell as a hit man working for a New York crime boss and Noomi Rapace, who Arden Oplev worked with on The Girl with the Dragon Tattoo, as a damaged woman seeking his help in her own revenge plot. Mark Eccleston discusses the film and considers the choices European directors have made when making their Hollywood debut. With less than a year to go until the first exhibition opens in the British Museum's new Exhibitions Gallery, John gets a behind-the-scenes glimpse of how the £135 million project is progressing. British Museum director Neil MacGregor explains how the new part of the building will aid conservators and museum scientists in their work, provide a new display areas - and not add a single penny to the museum's current heating or lighting bills. Producer Rebecca Nicholson.

SF Ballet is proud to present Hamburg Ballet in Nijinsky, created by Artistic Director and Chief Choreographer of The Hamburg […]

Michael Schmeltzer reads his poetry published in Issue 6 of Superstition Review: “Dog Bones,” “Sequel,” “My Affair with Mona Lisa,” and “Nijinsky.”

Ashley Macomber invited me into her home to talk about her new art project she’s created with Will Oldham (aka Bonnie 'Prince' Billy). Ashley is an amazing artist and she’s got a really clear way of thinking about the creative process and about life in general. It’s always fun to talk to her.

Last week’s blog post and Podcast lesson were inspired by a lecture that Moshe Feldenkrais once gave, in which he discussed Nijinsky. We received a wonderful follow-up post from Daniel Gesmer. If you have not yet read Daniel’s comments, please go to the post titled “Jump Thoughts,” (Nov. 2007) and click the "comments link" at the end of the article.Daniel’s post got me thinking about the use of imagination in the Feldenkrais Method®. Specifically, how Awareness Through Movement® (ATM) lessons can help to develop the ability to imagine not only the visual image of movement, but also the kinesthetic sensations associated with it. After experiencing how effective imagining was at bringing about remarkable changes in my own organization and functioning, I began to utilize imagining more and more in my teaching practice, and in life generally. This week’s Podcast lesson will introduce you to the process. Enjoy! IntelliDANCE Podcast 5: Imagining© Andrea Higgins 2007.

I have been working with the ideas and movement explorations in this week’s Podcast lesson for a number of years. I would like to share the background, for it has to do with a story I once heard about Nijinsky.When I was training to become a Feldenkrais® practitioner, the Educational Director of my program, David Zemach-Bersin, showed a video of a lecture given by Moshe Feldenkrais on Nijinsky. I was not able to obtain a transcript of the lecture, as it was under copyright, so I contacted David afterward to see if he might be able to provide further information. He was only able to provide some basic context, the essence of which, is that Moshe was introduced to a family member of Nijinsky, who let Moshe look at Nijinsky’s private journals.In his lecture, I recall Moshe talking about how Nijinsky was able to “fly out the window.” He never clarified this point further; I assume he was referring to a moment in a specific ballet, but as I am not a Nijinsky scholar (and have never studied his journals), I am not sure what he was referring to exactly. The more important part of Moshe’s lecture had to do with how Nijinsky prepared to “fly out the window.”Moshe said that Nijinsky would sit quietly in a chair and gently lift his feet off the ground. He would do this for some time. Then, he would get up and “fly out the window.” What interested me about this story was not the part about flying out the window. It was the part about sitting in a chair and gently lifting his feet. It was the glimpse into Nijinsky’s process. Much of what we do in dance is an extension of what we do in daily life. It is a more exaggerated, dynamic, faster and stylized extension of daily activities. As learners and teachers we forget that underlying the most complicated or virtuosic dance combinations are some very basic movement and body organization patterns.Think about what a jump—out the window or otherwise—really is for a moment. It is an extension of standing up. For a very young child it is often a very joyful extension of standing up. In dance we limit the expression of those basic patterns according to stylistic requirements, but by returning to the basic functional patterns from time to time, we can help to reorganize ourselves in such a way that our dance patterns improve.In this week’s Podcast lesson we will see if we can figure out what Nijinsky seemed to intuitively understand. How, by sitting quietly in a chair and lifting our feet, we can improve our jumps. Enjoy!IntelliDANCE Podcast 4: Jump Thoughts© Andrea Higgins 2007