According to a superstition shared by several Mediterranean countries, the frantic buzz of a fly trapped in a room spells the arrival of unpleasant news.
Two weeks ago, the unsettling proximity of a perfectly sculpted naked male butt with my nose made me think again about the critic/artist relationship.
After a few thematically uneven mixed programmes, the Royal Ballet takes its summer leave from the Royal Opera House with a nearly ideal triptych of works.
Call me biased, but I believe that my illustrious compatriot Giuseppe Verdi composed ballet music like no one else.
One of the intriguing components of The Most Incredible Thing, Javier De Frutos’s latest creation, is its structure.
According to some sources, the legendary impresario Sergei Diaghilev invented the mixed-bill formula for ballet.
Christopher Wheeldon’s Alice’s Adventures in Wonderland is to ballet what Pixar and DreamWorks movies are to cinema.
The history of Western ballet over the past 40 years can easily be divided into two chapters: the pre- and post-William Forsythe eras.
Legend has it that when the Romantic ballerina Marie Taglioni gave her farewell performance in St Petersburg a group of wealthy fans bought a pair of her slippers, and cooked and ate them as a token of their admiration.
Those who believe that ballet today is often no more than a grotesque physical display ought to have seen American Ballet Theatre’s performance of Jardin aux Lilas last week.
English National Ballet has a long history of Nutcrackers, each memorable in its own way.
Put the life of a legendary music-maker/campaigner in the hands of a controversial choreographer and you’ll possibly end up with some explosive stuff.
According to the programme note, the message in Thierry Smits’s To the Ones I Love ‘does not direct itself to the mind but to the senses’.
Emanuel Gat’s Winter Variations is not just another male duet. It is also an intense dance piece which captivates viewers from the opening sequence with its unique interplay of movement, music and enthralling performance.
Sadler’s Wells Contrary to some claims, the late Pina Bausch did not invent Tanztheater.
Postmodernism must be the key motif of this year’s autumn dance season in London, because almost everything there is to see at the moment abides by the uncertain rules of that much-debated artistic movement.
Once upon a time, in America, a group of dancers and performance artists gathered in the Judson Church Theater and challenged long-held artistic tenets.
The Dance Umbrella season has always been a unique window on international choreography, as well as a great platform for national talent.
According to some, Onegin is the ultimate expression of John Cranko’s choreographic and theatrical genius.
The somewhat straightlaced theatre-going audiences of 1880s America, eager for performances by European artistes like Jenny Lind and solid, home-grown, classical actors such as Otis Skinner, were hardly prepared for the on-stage vulgarity that the (usually) Russian and Polish immigrant impressarios, with their particular nous for show-biz, were to unleash into the saloons and fleapits across the young nation.
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