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The Baroque Dance Ensemble at Aston Magna Music Festival, 1973

The Baroque Dance Ensemble at Aston Magna Music Festival, 1973
Dancers from left to right: Catherine Turocy, Kristin Draudt, Sue Wanveer, Georgia Burns, Robert Fenwick and Ann Jacoby. Albert Fuller, harpsichord, Stanley Ritchie, violin, Auguste Wessinger, cello

 

Dr. Shirley S. Wynne pioneered recreations and reconstructions of Baroque dance in the United States as well as bringing these works to the stage.  Her first production of Jean Philippe Rameau’s Pygmalion in 1969 with conductor, Alan Curtis, may have been the first staging in America.  I was fortunate to have studied with Shirley as a student at Ohio State University.  At the recommendation of Ruth Currier, I became one of the younger members of the newly formed company for historical dance at OSU. After being called the Rococo Dance Ensemble, the Court and Country Dance Theater, the group finally settled on a name: The Baroque Dance Ensemble.

As a teacher and artist, Shirley greatly influenced my beginning studies and presentations of historical dance.  This posting contains reviews of her groundbreaking work for Rameau’s La Naissance d’Osiris, also done in collaboration with Alan Curtis.

Thank you Shirley for all the beauty you created in your life and for all those dancers you inspired.

Sincerely,

Catherine Turocy

ARTICLES

 

Preview article 1972

Preview article 1972

Debut Review

Debut Review

Review, Alan Kriegsman

Review, Alan Kriegsman

Review, George Gelles 1972

Review, George Gelles 1972

Review, Andrew Porter

Review, Andrew Porter

Castor et Pollux Review, 1973, by George Gelles

Castor et Pollux Review, 1973, by George Gelles

TRAVEL540G1_Architecture_PMdestination_22New Baroque Workshop with Catherine Turocy at Dance New Amsterdam

When: August 20-29 on Tues-Wed-Thurs from 2-5pm
Where: 280 Broadway (entrance at 53 Chambers Street) New York, NY

Experience a unique workshop led by Catherine Turocy… 

…with technical training in classical baroque dance placed in the context of theoretical discussion around the origins of theatrical dance in Europe. This workshop is part of DNA’s Artist in Residence public programming.  Yanira Castro and her company, a canary torsi, are currently artists-in-residence at DNA, researching classical baroque dances for their newest performance project, Court/ Garden. This summer you can study side by side with the a canary torsi dancers, learning beautiful historic dances from baroque expert Catherine Turocy, while engaging in theoretical discussions about historical dance in a contemporary world.  This is a unique and rare opportunity to study with a classical master while engaging with a contemporary ground-breaking choreographer and company.

347Price: $115 for one week (three days of workshops); $180 for both weeks (six days of workshops).

Registration: Pre-registration recommended.  Walk-ups for single week or double week enrollment welcome on August 20, space permitting, and single week enrollment on August 27, space permitting.  NO option for single-day participation.

Check : https://clients.mindbodyonline.com/ASP/home.asp?studioid=5265 for information about how to register. Registration will open the week of July 7th. Go to Calendar, click on Programs and the information will appear.

The workshop is in two parts:

Week 1/Part I: The Vitruvian Man Dances/Speaks. This 9 hour workshop over 3 days explores Da Vinci’s drawing and explanation of the microcosm/macrocosm.

  • Class 1 will explore the pre-expressive state of the dancer’s body through movement exercises to music of the Late Renaissance and Early Baroque.
  • Class 2 will explore fighting principles in fencing as a springboard for exploring early ballet technique. (The dancing master was often the fencing master and gentlemen kept fit for fighting through dance.) Dance exercises will alternate with stage combat.
  • Class 3 will use the sphere of the Reverend Gilbert Austin as seen in his book, Chironomia, (1806) to explore expressive theatrical gesture in dance, especially the melodramatic dancing which later influenced early American modern dance.

Week 2/Part II: Dance Theory from the Jesuits leading to the “New Baroque.” This 9 hour workshop over 3 days explores 17th and 18th century treatises defining the perfect ballet, many of them written by Jesuit priests.

  • Class 1 will explore concepts of choreography and performance from Jesuit dancing masters teaching in the colleges of Paris in the 17th and 18th centuries. Excerpts from the 1700 published dance, Les Folies d’Espagne, will be used as examples.
  • Class 2 will look at three choreographers/performers who were known for their dance experiments: Françoise Prévost and Marie Sallé, her student, as well as Jean Georges Noverre who had danced and studied with Sallé. Using period descriptions of their performances for our improvisations, their link to Jesuit thought will become apparent.
  • Class 3 will look at new applications of Baroque dance theory to create the New Baroque, a current trend in dance choreography/performance of today. Indeed, choreographers Trisha Brown and Lucinda Childs have used historical dance consultants in their recent modern creations for operas of Monteverdi, Rameau and Handel.

346Some theoretical background:
Apollo’s Angels by Jennifer Homans is an impressive book. She comes very close to discovering the DNA of ballet and indeed some of the proof is in her first chapter. However, she does not recognize the clues uncovered in her own research. The roots of ballet and theatrical dance (including “modern”) are not in the courts of aristocratic Europe as many dance historians have declared, but, rather, in the concepts of the cosmografia del minor mondo described by Leonardo Da Vinci. On page 221 she recognizes that dancing master Carlos Blasis (1795-1878) read Da Vinci’s writings but does not ask the question, “Why?” In this workshop Catherine Turocy will share her current thought, based on 40 years of experience in researching and re-imagining Baroque dance for stage productions, to re-position our current perspectives on the origins of theatrical dance in Europe and to understand the New Baroque emerging from America and Europe. This new trend could revitalize ballet and ring in a new century for the classical form.

More on Yanira Castro’s COURT/GARDEN:
COURT/GARDEN is a new dance by A CANARY TORSI investigating the experiential shifts in an audience’s engagement with a dance: proximity, frame, participation. It started with the question of how early ballet moved from the French Court (an active participation) to the proscenium stage (a passive spectatorship)? Through choreographer Yanira Castro’s contemporary lens, A CANARY TORSI looks at theatrical conventions to consider their role in the experience of today’s audience.

More on DNA’s Artist in Residence Program:
DNA’s Artist in Residence program is an adaptive model in which each residency is designed in collaboration with the artist. Residencies can last three weeks or three years; they may culminate in a presented work in the theater or simply serve as an incubator for new ideas. Artists are selected for this program by invitation.
This program is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.

a canari torsi
a canary torsi creates site-adaptable, installation-based performance projects. Formed in 2009 by New York choreographer Yanira Castro,  a canary torsi invites audiences to participate in work that is anchored in live performance and extends into other media and online platforms. Ranging from formal movement and immersive audio installations to fictional Twitter feeds and interactive websites, a canary torsi explores the relationship between audience and event, developing scenarios where the audience’s presence dramatically impacts the work.

Basically Baroque

July 1, 2013 Dance Class at Santa Barbara Dance Center  http://santabarbaradancecenter.com/about/  from 7:30-8:20pm

127 West Canon Perdido Street

Santa Barbara, CA 93101

(805) 899-2901

Cost: $15, ticket price includes the lecture/demonstration following the class at 8:30pm

Open to all inquisitive minds and bodies. After learning the primary steps from which the more complicated dance vocabulary emerges, students will learn the first figure of the Royal Ann, a triple metered couple dance choreographed by Mr. Isaac in honor of Queen Anne’s birthday in 1712.

queen-anne-i-1-sized

Queen Anne’s Lace, the wild flower, was supposedly named after this queen. When working on her lace, Anne pricked her finger and a red drop of blood stained the middle of the lace work. Ode for the Birthday of Queen Anne, written by George Frederick Handel, was dedicated to her,celebrating the end of the War of the Spanish Succession with the Treaty of Utrecht  (1712) negotiated by the Tory ministry of Anne.

Taught by Catherine Turocy, Artistic Director of the New York Baroque Dance Company, along with students from the Santa Barbara Historical Dance Workshop.

Baroque Dance, Old and New, Lecture/Demonstration in period costume from 8:30 to 9:30 followed by a Q and A

Cost: $15

olsi in red 1

Olsi Gjeci, photo by Tom Caravaglia

Baroque Dance, Old and New: This lecture/demonstration in period costume looks at the process of reviving original Baroque dance notations for performance as well as building on this knowledge to create contemporary works. Members of the New York Baroque Dance Company, Justin Coates, Sarah Edgar, Olsi Gjeci and Catherine Turocy will perform social and theatrical dances of the period with guest dancer from Paris, Bruno Benne.

Choreographers Sarah Edgar and Bruno Benne will talk about and demonstrate their own contemporary choreography influenced by the Baroque. Carrie Diamond, a choreographer as well as a student with us last year, will join the discussion and present her most recent trio, Jumble.

 

FACULTY

sandraSandra Noll Hammond, a recipient of the Ballet Lifetime Achievement Award from CORPS International, has embraced ballet, modern dance and historical ballet as a performer, teacher and choreographer  on the professional stage and in university dance programs.  Her research, lectures, and publications on ballet technique and history have been lauded by the dance community and the press. Hammond’s professional training was guided by ballet icons  Antony Tudor, Margaret Craske, Thalia Mara, and Arthur Mahoney, with a major influence from Martha Hill at Juilliard. Her publications include two college text books,Ballet Basics (now in its 5th edition and with recent editions in Korea and Finland) and Ballet: Beyond the Basics . Her research into the history of ballet technique has appeared in articles for Dance Chronicle, Dance Research Journal, Dance Research (London), Journal of Social History, International Encyclopedia of Dance, Dictionnaire de la Danse, and numerous chapters in edited books on ballet. As guest artist and lecturer, Hammond has presented her work internationally in Copenhagen, Paris, London, Ghent, Leuven, Sydney, Turku, Helsinki, Mexico City, and Mérida, Yucatan. She is the recipient of research grants from the University of Arizona, University of Hawaii, and the National Endowment for the Humanities. She received the President’s Citation for Meritorious Teaching from the University of Hawaii, and she is an Honorary Member of CORPS de Ballet.

Richard_2011Richard Powers has been teaching contemporary and historic social dance for over 35 years.  He leads workshops around the world and is currently a full-time instructor at Stanford University’s Dance Division. Praised to the skies by his students, he is very much in demand and we are fortunate to have him at our workshop. Looking at his teaching engagements from now until November, I am impressed with his commitment to all who wish to dance:  from the beautiful grassy fields of Kentucky to the onion domes of Moscow. Workshops are to be held in: Makinac Island, MI; Fairbanks, AK; Santa Barbara, CA; Santa Clara, CA; Boulder, CO; Chelyabinsk, Russia; Moscow, Russia; Paris, France;  Berea, KY; Bern, Switzerland; Catalina Island, CA.  Historic Dance Performances Richard has directed include 19th century and ragtime dance at the Smithsonian Institution, Henry Ford Museum, the National Governors Conference, Detroit Symphony Orchestra, Cincinnati Ballet Company, the Scott Joplin Ragtime Festival, leading the Palace Hotel’s Valentines Ball, St. Moritz, Switzerland (featured on CBS “60 Minutes”); performance for Prince and Princess Mikasa of Japan; and a tour of the former Soviet Union. For more about Richard Powers, please see his website: http://richardpowers.com/

Catherine Turocy Planning Ahead, photo by Catherine Andrako

Catherine Turocy Planning Ahead, photo by Catherine Andrako

Catherine Turocy, recognized as one of today’s leading choreographer/reconstructors and stage directors in 17th and 18th century period performance, with over 60 Baroque operas to her credit,  has been decorated by the French Republic as a Chevalier in the Order of Arts and Letters.   She received the prestigious BESSIE Award in New York City for sustained achievement in choreography as well as the Natalie Skelton Award for Artistic Excellence.  In 1980 she received the Dance Film Association Award for “The Art of Dancing” video produced with Celia Ipiotis and Jeff Bush.  NEA International Exchange Fellowships supported extended visits where she lived in London and Paris, conducting research and interacting with other artists.  In the 1980’s she worked under famed stage directors Pier Luigi Pizzi and Jean Louis Martinoty.

A founding member of the Society for Dance History Scholars, Ms. Turocy has lectured on period performance practices around the world including the Royal Academies of Dance in London, Stockholm and Copenhagen; the Festival Estival in Paris and The Society for Early Music in Tokyo.  She has served as consultant to Clark Tippett of American Ballet Theater and Edward Villella of the Miami City Ballet.  As a writer she has contributed chapters to dance history text books, articles to Opera News , Early Music America and Dance Magazine, many which have been translated into French, German, Japanese and Korean. A chapter in Janet Roseman’s book, Dance Masters: Interviews with Legends of Dance, published by Routledge is dedicated to her work.   Books in which Turocy has authored chapters include:   Moving History/Dancing Cultures: A Dance History Reader; Creating Dance: A Traveler’s Guide and  Dance on its Own Terms: Histories and Methodologies, eds. Melanie Bales and Karen Eliot, published by Oxford and is due out in April, 2013.

Sarah Sarah Edgar earned a BFA in dance from the Ohio State University in 2000 and immediately afterward joined The New York Baroque Dance Company. With the NYBDC, she has performed at the Drottningholm Theater, the International Händelfestspiele Göttingen, Danspace at St. Mark’s Theater, the Guggenheim Museum, and the Potsdam Sanssouci Music Festival. While living in NYC, she also presented her choreography, including the full-length show Courtesan, and curated the genre-mixing experimental programs Modern Burlesque and Avant/Après le Déluge.  Since moving to Cologne, Germany in 2006, she has been an active freelance performer and toured Italy and Belgium with Deda Christina Colonna’s The Fairy Queen.  In Cologne, she has co-founded the “postmodern baroque” group The Punks Delight with the musician Beate Alsdorf. The group has produced several performances, and they were invited to perform at the Kölner Musiknacht 2010. The Punks Delight is currently in the planning phase for Psiché; or, Come Back Amor.  Sarah Edgar continues to perform with The New York Baroque Dance Company and regularly works as Ms. Turocy’s assistant, most recently as the directing assistant for the operaTeseo at the 2011 Internationale Händelfestspiele Göttingen.  She has taught many master classes in baroque dance, including classes at New YorkUniversity and CornellUniversity, as well as in Germany at the TANZhautnah Festival, Schwetzinger Tanztage, and the Musikhochschule für Musik und Tanz Köln. She has also given scholarly papers on eighteenth century dance at the American Society for Eighteenth-Century Studies, the Conservatorium van Amsterdam, and the Utrecht Early Music Festival. In 2010, she began studying for her MA in Tanzwissenschaft (dance studies) at the Hochschule für Musik und Tanz Köln. This past February she was the choreographer for the production of Dido and Aeneas with the Haymarket Opera in Chicago.

JR crop 3 James Richman is Artistic Director/Conductor of Concert Royal and the Dallas Bach Society.  He is a prominent harpsichordist and fortepianist, as well as one of today’s leading conductors of Baroque music and opera. The first musician since Leonard Bernstein to graduate Harvard, Juilliard, and the Curtis Institute of Music, James Richman studied conducting with Max Rudolf and Herbert Blomstedt, piano with Mieczyslaw Horszowski, Rosina Lhevinne and Rudolf Serkin, and harpsichord with Albert Fuller and Kenneth Gilbert.  He holds a degree in the History of Science magna cum laude from HarvardCollege.  A recipient of the prestigious United States-France Exchange Fellowship from the NEA, he was knighted by the French government in the Ordre des Arts et des Lettres in 1995 in recognition of his contributions to the field of music. Richman has been a prizewinner in four international competitions for early keyboard instruments, including first prize in the Bodky Competition of the Cambridge Society of Early Music, laureate of the Bruges Harpsichord Competition and bronze medal in the Paris Harpsichord Competition of the Festival Estival and in the First International Fortepiano Competition (Paris).  In appearances at the Mostly Mozart Festival, the Spoleto Festival USA, the E. Nakamichi Baroque Festival, the Boston Early Music Festival, as well as in regular series in New York, he has organized revivals of such important works as Gluck’s Orfeo, Handel’s Ariodante, Alessandro, Acis and Galatea, Il Pastor Fido and Terpsicore, Purcell’s King Arthur, Monteverdi’s Incoronazione di Poppea, J.C. Bach’s Amadis des Gaules, Jean-Jacques Rousseau’s Le Devin du Village, and seven operas of Jean-Philippe Rameau including Hippolyte et Aricie, Pygmalion, and Les Indes Galantes.

Recent recordings by Concert Royal on Centaur Records include Handel’s Terpsichore; Rameau’s Pygmalion & L’Impatience, and Rameau’s Zephyre & Clerambault’s Triomphe de la Paix.

GUEST ARTISTS
BrunoCatherine Turocy and Bruno Benne are setting the ground work for creating a French/American Exchange at the Santa Barbara workshop.  This year Bruno will be attending  to learn more about  historical dance in the United States. He will also be demonstrating his reconstructions and his contemporary work using Baroque dance technique.  We are working on funding to bring him back as a teacher for next year. Click here for Handel’s Alessandro withstage direction and choreography by Lucinda Childs (Bruno was her assistant on this project).

Here is a list of the companies he has danced with:

2005 à 2013- Fêtes-Galantes directed by Béatrice Massin

2006 à 2013- L’Eventail, directed by Marie-Geneviève Massé,

 Here is a list of operas and films he has worked in:

2013 – Alessandro, Haendel – Opéra Royal de Versailles/Megaron à Athènes, assistant pour les

chorégraphies baroques, Lucinda Childs

2013 – Le Bal Masqué, Verdi – Chorégie D’Orange, danseur assistant, Béatrice Massin

2011 - Atys, Lully – (Reprise)Opéra Comique/BAM/Caen/Versailles, Francine Lancelot

2010 – Le Sacre du Printemps pour le film Chanel et Stravinsky – Dominique Brun

2008 – Hippolyte et Aricie, Rameau -Théatre du Capitole de Toulouse, Nathalie Van Parys

2004 – La Grande Duchesse de Gérolstein, Offenbach – Théâtre du Châtelet, Laura Scozzi

Les Boréades, Rameau – Opéra de Lyon, Lionel Hoche

2003 – Les Indes Galantes, Rameau et Guillaume Tell, Rossini – Opéra de Paris, Blanca Li

Benne’s was trained and educated at the Cycle Notation Laban CNSMDP, the Conservatoire National Supérieur de Paris et Junior Ballet du CNSMDP and the Conservatoire National de Toulouse.  As a choreographer he has created the company, Beaux-Champs/Bruno Benne for the project Figures Non Obligées and in 2012 – Devill’s Dreame’s with Adeline Lerme  and the ensemble Les Witches and in 2011 – Figures Non Obligées(extraits) with Adeline Lerme.  He also danced in Le Rigaudon du Roi, vidéo for Fête de la Danse, Blanca Li and in 2010 – Elégie de Fauré, Solo pour Les Transeuropéennes de Rouen, Jean Manifacier.

photo by Nicolai Spiess

photo by Nicolai Spiess

Justin Coates is a graduate of Sarah Lawrence College and joined the NYBDC in the summer of 2010. He has performed in their American premiere of the first staged production of Jean Philippe Rameau’s Zephyre in New York City and joined them in the groundbreaking production of Teseo (2011) at the International Handel Festival in Goettingen, Germany.  He has also appeared with the NYBDC at the French Festival at Hillwood Estate, Museum, & Gardens. Other Baroque credits include the Boston Early Music Festival production of Dido & Aeneas, as well as The Cunning Man, with choreography by NYBDC’s own Caroline Copeland.  In his other life, as a modern dancer, Justin has had the pleasure of dancing for a number of choreographers and companies, including Kraig Patterson, Mariana Bekerman, VIA Dance Collective, Anabella Lenzu DanceDrama, as well as an apprenticeship with Dusan Tynek Dance Theatre.

 

 

Olsi Gjeci

Olsi Gjeci

Olsi Gjeci was born in the beautiful city of Vlore in Albania. The son of one of Albania’s premiere folk dance choreographers Guri Gjeci, he began his professional career at fifteen with the prestigious Folkloric Group Laberia, where he rose to be a leader. He later moved on to dance with the National Albanian Folkloric Ensemble. He has performed throughout the world including France, Spain, Israel, Italy, Turkey, Lithuania and Macedonia. In 2006 moved to the United States and began his studies at Hunte rCollege concentrating on Modern Dance and Philosophy.  At Hunter, he has performed works from Mark Morris’ repertoire, Gerald Otte, Nicole Wolcott, and has studied with Vicky Shick, Natalie Desch, and Jennifer Nugent, Kendra Portier,and Barbara Mahler. Currently he is collaborating with Carlos Fittante as he learns Baroque and Balinese dance. He is a member of Balam Dance Theatre and BEMF Dance Ensemble. He first performed with NYBDC 2011. The founder and artistic director of Sublime Dance Company, he choreographs and performs in New York.

 

SCHOLARSHIP RECIPIENTS

HeatherPerformer, Choreographer and Educator Heather Lipson Bell works nationally and abroad on stage and screen, in both the classroom and the community. She holds a Bachelor of Fine Arts from the Boston Conservatory. Credits include: New York and Los Angeles Philharmonics; Los Angeles, Dallas, Palm Beach and Boston Lyric Opera companies; Boston and South Dakota Symphony Orchestras; Pasadena Symphony and Pops; the Hollywood Bowl; City Ballet of Los Angeles; Helios Dance Theatre;   La Danserie; Wenta Ballet of Los Angeles; Theatre Bethune; South Bay CLO; Cabrillo Music Theatre and Odyssey Dance Theatre. Film Credits include two Academy Award Winners: The Curious Case of Benjamin Button and West Bank Story. Currently she is Co-Artistic Director of Teatro Filarmonico; Workshop Leader/Assistant Director &Choreographer with Los Angeles Opera Education Department; a Movement Specialist for mentally and physically challenged individuals and a Wharton Performance Certified Flexibility Technician.

Harl and ColKatie Gardner has an MFA from California Institute of the Arts and a BA from Kent State University.  In her own words:

“I am a performing artist earning my Master of Fine Arts in Voice Performance from California Institute of the Arts. I have tailored my graduate studies at CalArts to focus entirely on my interdisciplinary work as a vocalist, writer and aerial choreographer. My creative work and academic research is inspired by female voice performance history, circus and sideshow history, embodiment and perception.

I intend to research the role of circus arts in French baroque theater for my doctoral thesis. I am particularly interested in the cultural separation of circus arts performed in the theater and circus arts performed on the streets as well as the cultural meanings associated with inserting circus arts into plays, operas, and ballets of this period. I am in the process of applying to doctoral programs starting in the fall of 2014.

Other research interests include rhythmical entrainment and choreography, ‘the present’ in circus arts and gymnastics, text in music, recontextualized historical performance, and the embodied adaption process from text to libretto to stage.

It is my ambition to perform, write, research and teach at a higher level every year.  My goal is to continue fusing my passions seamlessly while teaching performance studies at a university. I can not imagine dancing without researching it. I can not imagine singing without dancing. I can not imagine choreographing without teaching. I can not imagine writing without putting it on its feet visually. I am proud that I have been able to pursue all of my passions and not limit myself to one metier. “

 

JPJekyns Pelaez has danced with the Diablo Ballet, The Ballet San Jose, the Charlotte Youth Ballet and Ballet Arizona.  As an actor he has often performed with Histrion Theater.  His education and training include The Instituto Columbiano de Ballet Clasico, St. Mary’s College and the Instituto Departmental de Belles Artes. He is also a photographer and plays the piano.

 

 

 

 

VIDEOGRAPHER

MarielMariel McEwen received an undergraduate BFA in Dance from the University of Arizona at Tucson in 1978. She concentrated her work in dance history working under the direction of Sandra Noll Hamond, specializing in the dances of the Renaissance and Baroque eras. Three summers were spent working with the 18th century dance historian Wendy Hilton.

She danced in the company of the pioneer modern dancer Eleanor King as she continued her studies at the University of New Mexico and completed a Masters Degree in Theater and Dance with an emphases in dance history and costume design. Under the guidance of Dr. Judith Bennahum she created the Baroque productions of Fetes Gallants and Harlequin’s Garden. After graduating, she was the resident costume designer for the Albuquerque Civic Light Opera from 1981 to 1989.

In 1989 Mariel moved to Los Angeles where she was accepted as a Producing Fellow at the American Film Institute. After graduation she worked with Anne Drecktrah for film production companies such as Jones Inter-Cable and Mitsubishi. During 2004-2006 she worked at Sparkhill creating documentaries for the Warner’s and Paramount Studio for the re-release of classic films such as the Thin Man collection for Warner’s Home Video and a series of documentaries  for seven John Wayne titles for Batjac Productions and Paramount Home Video that included the titles The High and the Mighty, Island in the Sky, Hondo, McLintock and The Track of the Cat.   For more information see her website: http://www.marielmcewan.com/Media/WEB_WELCOME.html

 

 

 

 

The Hungry Harlequin, a Pantomime

commedia


Inspired by Jacques Callot at the court of the Medici Family

Dancers: Matthew Buffalo, Carly Fox, Meggi Sweeney Smith, Gregory Youdan

Choreographer: Catherine Turocy

Music:  a compilation of Renaissance dance tunes

 

 

 

 

 
When the Commedia dell’Arte troupes came to town during the 1500’s and 1600’s, they often performed outside in the market place.  Their loosely woven improvisational plots were full of characters from everyday life: merchants, servants, lovers, musicians, masters, priests and captains.  These troupes were of the Italian comic tradition harkening back to Roman times.  Some say the commedia never died and indeed, with the recent revival of historical arts, one still sees actors and dancers  bringing laughter and amusement to their audience.

The Hungry Harlequin, a Pantomime, 

brings to life the antics of the Harlequin, Mezzetino, Isabella and Flavio through dance and mimetic gesture. Created with children in mind, this event will be a delightful introduction to Italian commedia dell’arte. 

 
Location: the Children’s Garden
When: Memorial Day Weekend: May 25-27 with repeat performances in July, August and September. Time: 12pm and 2pm with a dance lesson for the children at 1pm and 3pm.  

Cultivating the Inner Courtierfour seasons

Musician: Paul Shipper

Dancers:  Meggi Sweeney Smith and Gregory Youdan

The study of music and dance were key to the cultivation of a noble courtier.  All state occasions such as royal weddings and births, official visits of foreign dignitaries and victories at war, were celebrated in the ballroom.  Proper etiquette, courtly manners and knowledge of the current dances were expected of every member of the court.  Improvisation in both music and dance displayed the wit and character of the performer.  In other words, anyone attending the ball was not only enjoying the evening but was also on display to society.

Imagine you are guests at the Court of the Duke and Duchess of Parma in the year 1600.  Dancing Master, Fabritio Caroso has recently sent a copy of his soon -to- be published manuscript from Venice in which he describes your favorite dances in detail. To give you a sense of the manners at court, the performers will paraphrase  excerpts  from this important manuscript as they demonstrate a pavan and galliard and dance the beautiful

Laura Suave, a ballo dedicated to Christina Lorena de Medici. Paul Shipper will also talk about his instruments and music.  A Q&A will complete this enticing event.

Location: Ross Hall

When: Memorial Day Weekend May 25, 26 and 27, repeat performances July, August and September

Time: 1pm and 3pm

In the photo you see one of the Four Seasons, in the Conservatory Courtyard at the gardens, an installation of four sculptures, each standing more than 15 feet high- Spring, Summer, Autumn and Winter- by contemporary American artist and filmmaker Philip Haas.

 These activities are part of the new exhibition which opened over the weekend: Wild Medicine: Healing Plants Around the World Featuring the Italian Renaissance Garden
Tickets and more information: http://www.nybg.org/visit/tickets.php

sarabande

Even Nicki Minaj sees the 18th Century as a time of Beauty and Grace  (Photo by Francesco Vexxoli for W Magazine).

Don’t miss the Sarabande at the Dance of the Month this Saturday, April 13, MMDC.   Ani Udovicki will be teaching the Sarabande and Leah Gale Nelson will bring her expertise on the Baroque violin and accompany the class.  Come to the Mark Morris Dance Center  this Saturday, 3 to 4:30pm, only $15 for this rare experience.

Have an early dinner after the class and then catch the world premieres of Mark Morris at his performance space in the MMDC. Don’t miss this rare appearance of Baryshnikov dancing!

Join us the first Saturday in May and learn excerpts from the Sarabande Tancrede taught by Gregory Youdan.

This Week ‘s News with the NYBDC, very interesting…

1. Our office received a call from the Radio City Hall Rockettes wanting to know if we would like to sign up for a workshop with them.

2. Catherine Turocy’s “Spinning Spheres” is Chapter 2 in the newly published book,

Creating Dance: A Traveler’s Guide published by Hampton Press. http://www.hamptonpress.com/Merchant2/merchant.mvc?Screen=PROD&Product_Code=1-61289-112-5

STAGE Découverte de la danse baroque avec Bruno Benne

3. Beatrice Massin’s beautiful choreography for Que ma joie demeure http://vimeo.com/17284780  includes the talented dancer, Bruno Benne, who will be joining us at the Santa Barbara Historical Dance Workshop this June.  Benne is a young up-and -coming- choreographer in his own right and will be demonstrating some of his neo-Baroque works for us.  Dorm rooms are available on a first come first serve basis so please register today!

Catherine in Drott. on stage

Study with Baroque specialist Catherine Turocy this summer at the Santa Barbara Historical Dance Workshop June 28th through July 2nd on the beautiful UCSB campus.  Please click to our webpage for information on the international faculty, description of classes and registration forms.

For vocal students and young professionals, study with Ms. Turocy at the Hawaii Performing Arts Festival

Baroque Opera Boot Camp

Handel’s “ORLANDO”: led by renowned Early Music specialists Stephen Stubbs, conductor [Boston Early Music Festival] and Catherine Turocy, stage director/choreographer.  Juliana Gondek, Program Director [Met Opera/UCLA].

Students are cast in our Handel’s “ORLANDO” productions (two staged and choreographed productions of extended segments from Baroque operas), and can expect classes and training in:  Baroque style and repertoire, Ornamentation, Secco recitative, Historic dance and Baroque gesture.

All students receive a minimum of six private voice lessons and six private coachings during the festival, as well as instruction in acting, diction, and audition repertoire selection and presentation. Visit this Link for more detail:

http://hawaiiperformingartsfestival.org/vocal-summer-program.html

 

Come and Join Us for our Multi-era Workshop in Santa Barbara, California!  santa-barbara-historical-dance-weekend page/

Let our internationally recognized faculty take you through your paces and give you a treasure of resources, knowledge and contacts.

Where else in the United States can you learn the dances of Camargo and Cassanova from a Knight (Chevalier Catherine Turocy, decorated by the French Republic  in 1995)...

Camargo

“Nobody today seems more qualified to reconstruct the French dances of the 18th century than this American and her New York Baroque Dance Company.“ Le Figaro, Paris, France

Or learn dances from Richard Powers, dance historian for the Tony Award-winning musical, Titanic…

http://www.youtube.com/watch?v=Cv07o8Xa1W0

“With Richard Powers, you really are dancing with a star.” Alyssa Wisdom, The Stanford Daily

Why not learn early ballet from the dancer/author/historian Sandra Noll Hammond who wrote the book on basic ballet technique.

Vigano

“Sandra Noll Hammond, after her work in NYC with American Ballet Theater, will be coming to our workshop to instruct students in the graces of early 19th century ballet…where else can you find open classes like this in the world?”  Catherine Turocy, Director of NYBDC and the SBHDW

Discover the application of historical thought to contemporary creations with the emerging and talented choreographer, Sarah Edgar.

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“The Tragedy of Echo & Narcissus” (Sarah Edgar) was packed with polarities, mixing touches of historical costuming, punk rock music, high-energy contact improv-style movement, and recitation of text, to evoke this ancient story.”  Juliet Neidish from ballet-dance.com

Learn more about Baroque music and its close relationship to dance structures with Maestro James Richman of New York City’s Concert Royal Orchestra and the Dallas Bach Society (also decorated as a Chevalier).pyg cd“…but personally I think that the present performance by James Richman and Concert Royal is at least the equal of any of them – and for some listeners it may even have the edge thanks to James Richman’s thorough preparation and outstanding direction…” Stephen Midgley

Catch the latest news on Catherine’s residency at UCLA last week, January 13-20th: http://artsmeme.com/2013/01/21/catherine-turocy-goes-for-barocco/    from Debra Levine

January Events

photo by Beatriz Schiller

photo by Beatriz Schiller

For those students who joined Ani Udovicki at the Dance of the Month on January 5th,  you will have a fresh appreciation for watching the Minuet, Sarabande Tancrede, Entree d’Apolon and Gigue pour femme at the APAP showing this Saturday, January 12, 2013.  Here is the link with address, ticket info and a list of the other artists being presented by GEMS: www.gemsny.org/apapshowcase2013.html

Dancers Carly Fox, Amanda Salituro, Alexis Silver, Olsi Gjeci and Gregory Youdan with Concert Royal’s James Richman and Sandra Miller will be performing a 20 minute set as part of the GEMS Octagon Project. which is available to presenters for the 2013-14 season.  So look ahead to what is new in our coming season and do not miss this potpourri of talented artists!

 

VTCT

Catherine Turocy begins her residency at UCLA on January 13 and will be in California through the 21st.  Be sure to catch her January 17th lecture,  Vitruvian Man Goes Baroque: The Renaissance Legacy and Baroque Dance, click here for details: UCLA Lecture

Other open classes will soon be listed in this post.

 

Registration is now open for our 2013 Santa Barbara Historical Dance Workshop June 28-30 for the Weekend  and June 28-July 2 for the Weekend Plus which offers more detailed work with the teachers.  Just click the link in the sidebar to the right for more information.

 

PlaceDecember has been an amazing month.  I taught a workshop at The Place in London sponsored by the Early Dance Circle on December 15th which was attended by Ann Hutchinson Guest (http://www.lodc.org/about-us/dr-ann-hutchinson-guest.html) and her husband Ivor Guest. (http://en.wikipedia.org/wiki/Ivor_Forbes_Guest)  Exploring ideas of the microcosm and macrocosm from the Renaissance and ending with concepts of Le Mouvement as described in 18th century sources, we danced and improvised to Playford’s music. I was delighted to have coffee with the attendees afterwards including Barbara Segal  (who organized the workshop), Mary Collins, Moira Goff among others.

The next day I flew to Paris and took the train to Versailles for a conference on early dance Hall of Mirrorssponsored by Le Centre de Musi­que Baro­que de Versailles, l’Association pour un Centre de Recherche sur les Arts du Spectacle aux XVIIe et XVIIIe siè­cles, Le Centre de Recher­che du Châ­teau de Versailles, with the support of the University of Paris-Sorbonne.

It was an honor for me to present my ideas on choreography to Mozart’s ballet music, especially Noverre’s ballet, Les Petits Riens, to such a prestigious collection of early dance artists and researchers.

  Indeed, this was one of the most interesting conferences I have attended.  It was exciting to hear the latest thought on interpretations of notation and treatises as discussed by American and European experts with dance practitioners in attendance from Japan, Hungary, Norway, Sweden, USA, France, England, Germany and Italy.  It was also a joy to see friends/colleagues Deda Cristina Colonna, Ana Yepes, Jennifer Thorp, Yoko Ichise and so many more.

Jean Georges Noverres On December 20th  I attended the dress rehearsal in Paris at the Opera Comique for the Noverre ballets choreographed by Marie-Genevieve Massé and danced by her company, L’Eventail.  The lavish and well-performed production underscored the support early dance enjoys in France for the revival of Noverre’s work on a scale much larger than what is possible in the United States.  Review:  http://www.ft.com/cms/s/2/48b687e8-5011-11e2-805c-00144feab49a.html#axzz2GP9qw3St   and another review from a musicologist: http://www.musicologie.org/publirem/ballets_de_noverre.html