Feeds:
Posts
Comments

Archive for the ‘Vintage Dance Workshops’ Category

Catherine Turocy

Catherine Turocy

La Danse by Adolphe -William Bouguereau reflects the importance of dance in French culture.  His portrait of Mademoiselle Martha Hoskier hangs in the museum at Santa Barbara. She is beautifully dressed in the painting and one wonders what she must have looked like while dancing.  Join our faculty and students from the Santa Barbara Historical Dance Weekend Plus as we dance our way through time, linking the eras of the dances and the paintings to give a more physical understanding of the shared aesthetics between popular and high culture.

 

This free event offered at noon is co-sponsored by the Santa Barbara Museum of Art and the New York Baroque Dance Company funded by the National Endowment for the Arts. DIRECTIONS

Read Full Post »

Catherine Turocy

Catherine Turocy

La Danse by Adolphe -William Bouguereau reflects the importance of dance in French culture.  His portrait of Mademoiselle Martha Hoskier hangs in the museum at Santa Barbara. She is beautifully dressed in the painting and one wonders what she must have looked like while dancing.  Join our faculty and students from the Santa Barbara Historical Dance Weekend Plus as we dance our way through time, linking the eras of the dances and the paintings to give a more physical understanding of the shared aesthetics between popular and high culture.

 

This free event offered at noon is co-sponsored by the Santa Barbara Museum of Art and the New York Baroque Dance Company funded by the National Endowment for the Arts. DIRECTIONS

Read Full Post »

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

Read Full Post »