Tuesday, August 28, 2012
Monday, August 27, 2012
The following images are pulled from the product's website. The first image shows the product itself, followed by images of a dancer without and then with the arch enhancer.
Thursday, July 12, 2012
Sunday, May 20, 2012
Sunday, February 26, 2012
Shop Yumiko online.
Saturday, February 18, 2012
Friday, February 17, 2012
From theballetbag.com: Commissioned by ROH2, the story follows a travelling salesman who awakes to discover that he has been transformed into a giant insect. Gregor Samsa’s horrifying nightmare is brought to life by the distinctive theatrical style of award-winning director and choreographer Arthur Pita, composer Frank Moon and an eclectic cast. Designed by Simon Daw and with lighting by Guy Hoare, the Linbury Studio Theatre is altered to provide an intimate, surreal and doom-laden Kafkaesque experience.
1. What were the events that transpired leading to the creation of the Gelsey Kirkland Academy of Classical Ballet?
We believe that dancers should be actors first and foremost. We created GKACB to provide comprehensive classical ballet training with the goal of developing well-rounded artists. Our approach to training is unique in that the curriculum we offer is not available anywhere else in this country.
2. What does each Artistic Director bring to this project?
Gelsey brings a ballet background with some theatre; Misha brings a theatre background with some ballet. Gelsey brings detail; Misha brings ideas and broad strokes. Our shared vision is to merge our backgrounds, knowledge and strengths to enhance the training our students receive and to give direction to the studio company.
3. You advocate a return to the story ballet. Can you explain a bit about how you will be working toward this ideal?
We believe that the future of ballet lies in dramatic storytelling. Stories help people to understand themselves and life. To work towards this, we will offer residencies to emerging choreographers, dance companies, designers and musicians, providing them with space to create new works in a collaborative environment. Our plan is to draw on in-house workshops to develop new, innovative dramatic ballets. At the same time, we will build a repertoire of traditional, classical works.
4. What will the training at the Academy be like-and how will it prepare and inspire students?
We take a specialized, multidisciplinary approach to training our students. At the base of our training is core dynamics, which includes dynamic alignment exercises, Pilates reformer and practical anatomy classes. This foundation work is built into the curriculum on a daily basis. Our ballet training includes daily technique classes, which draw from the Russian, Danish, and French traditions, with an overall kinesthetic approach. Classical character, historical dance, pantomime, acting, history, music, and critical analysis make up the remainder of the training.
Dramatic development is a key element of our training program. Students will learn how to build a character through physical and psychological gesture and how to communicate with the audience using the Michael Chekhov technique, as well as learning the art of pantomime and period movement.
5. Can you talk a bit about the Studio Company?
Our hope is to develop an ensemble studio company capable of realizing diverse and compelling theatrical ideas. We will build repertoire based on established classical works and new works by collaborating and bringing together actors, mimes, directors, dancers, musicians, choreographers, and production designers. We are building on established ideas; there have been many times in history that people have tried to achieve a synthesis of many disciplines to create a single work of art. We believe that only a small organization these days may be able to achieve this due to restrictions of unions, budgets, and critical expectations. The ability to experiment in large companies is very limited due to economic restrictions.
6. Your “Teacher Training” program appears to offer a unique synthesis of traditional methods and techniques. Can you share with readers some of the basic principles and why you chose them?
Our teacher training program will provide a systematic approach to teaching ballet: focusing on what to teach, how to teach, when to teach and for how long at any given level. It includes hands-on training by masters in the field of ballet pedagogy. The methods and techniques we have chosen reflect our desire to develop and train the dancer from the inside out and to provide them with the tools they need to develop into well-rounded artists. Teachers in training learn how to construct lessons that develop kinesthetic awareness, coordination, strength and flexibility. This goes hand in hand with the training that our students receive. Music training and understanding of musicality, time signatures and rhythms are integral parts of the training for teachers. Graduates will be recognized as certified teachers in the syllabus in the Gelsey Kirkland Academy of Classical Ballet.
7. You will be offering a summer intensive. Can you tell us a little about that?
Our summer intensive is a rigorous program (three weeks’ duration) that incorporates key elements of our year-round program. We have truly great teachers for our inaugural summer intensive. Our faculty includes master teachers David Howard, Nina Osipyan, Irina Kolpakova and Vlad Semenov; men’s class, variations and pas de deux teacher, Mikhail Ilyin; mime teacher, Pilar Garcia; Bournonville specialist, Karina Elver; character teachers, Larisa Calero and Nadejda Loujine; drama teacher, Lenard Petit; and nutrition/wellness specialist and physical therapist, Suzette Madson.
8. As you launch this endeavor, what do you most want the dance community to understand about GKACB?
Our vision is about fostering creativity. It isn’t simply about image-making; the emphasis is on the spirit, not the shape. The focus is on finding the creative spirit, wedding form and content.
9. How have you gone about the process of selecting your faculty?
We have brought together people who have a common vision. These teachers are specialists in their respective areas, and even though some are teaching different disciplines, their approach is in line with our vision for GKACB.
10. Are there any opportunities for sponsorship?
Absolutely, we accept monetary donations, as well as donations in kind (all tax-deductible). We welcome corporate sponsorship, as well as sponsorship for projects by individuals.