With the strong British influence throughout ABT's history -- it currently counts its Macmillan and Ashton repertory among its greatest strengths -- it is no surprise that ABT has focused on the narrative potential of the work.
Margot Fonteyn was a simple dancer. She wanted urgently to live up to the expectations of others, placing no limit on how hard she would work to do that. In 1935, just 16, she danced her first leading role in The Sleeping Beauty.
She knows herself that she was not given a perfect instrument. Nonetheless, Bouder is perennially one of NYCB's most popular dancers. Certainly it's true that she's probably the fastest dancer in the company but that's not what makes her so popular. It's her happiness.
American Ballet Theatre soloist Isabella Boylston defines space around her by moving through it. As she moves, whether on stage or in rehearsal, everything seems to shift and realign itself around her.
Imagine a sleep-away camp where you dance, morning, noon and night. Where you stage performances and learn from the masters. This is a world created by author, Lynn Swanson. Here are some excerpts from a recent Q&A with the author.
Isabella Boylston and Sarah Lane are two young soloists at American Ballet Theatre who are working hard to buck the odds and become principal dancers. It's not easy and there are obstacles to overcome.
We in the arts face major challenges, including, but certainly not limited to, the short-term economic situation in which we all work. But simply suggesting that 'things must change' without giving us concrete proposals is not helpful. What exactly do these people mean by 'old models' anyway?
Matthew Bourne's Swan Lake in 3D not only reflects the psychological and mystical currents of the ballet's original narrative, it also floats the same physical and creative demands upon its featured star. Richard Winsor is well-equipped to handle both.
Aronofsky has plumbed the Swan Lake fairytale for its inbuilt elements of Goth-horror. He proposes the black swan as a gateway to mayhem and madness. It becomes a malevolent creature -- think were-swan instead of werewolf.
In Bourne's modern dance-inspired version of Swan Lake, the swans are men and the prince longs not only for the love of the virile, lead swan, but also for the affection of his cold, unloving mother, the Queen.