As if opening a treasure chest to discover a trove of precious stones, the audience oohed and aahed every time the curtains were raised to reveal dancers in glittering costumes, poised in front of sparkling backdrops of enormous gems. Boston Ballet’s 50th season concluded this year with George Balanchine’s Jewels.
Patrick Yocum began dancing eleven years ago, in his hometown of Souderton, PA. After graduating high school, he trained for a year at the Pittsburgh Ballet Theatre School, and then joined the Boston Ballet II trainee program, working his way through to join the Corps de Ballet in 2011. He spoke to The Tech about life as a dancer, and Boston Ballet’s upcoming performance of Pricked.
Editor’s Note: Some parts of this interview were shortened and edited for clarity.
From start to finish, Boston Ballet’s Cinderella is an enchanting telling of the beloved fairytale. Set to a score by Sergei Prokofiev and choreographed by Sir Frederick Ashton, the ballet was premiered in 1948 by the Sadler’s Wells Ballet (now The Royal Ballet), and is now being performed for the first time by Boston Ballet.
2013 has been an exciting year for arts both on and off campus. As always, there have been plenty of performances and exhibitions at MIT, running the gamut of creative endeavours from Senegalese drumming, to experimental theater, to ballroom dancing. In addition, for the first time, there has been a push to promote entrepreneurship in the arts at MIT, with a new category in the 100K competition for art/design-related ventures and a hackathon event.
Last week the Boston Ballet began their 2013–14 season with La Bayadère, a classical ballet set in a fantastical-version of ancient India, that artistic director Mikko Nissinen describes as “one of the most iconic and quintessential pieces in the classical ballet collection.”
Your MIT ID can get you free or heavily discounted admission to nearby arts venues. The Council for the Arts at MIT gifts these memberships and discounts as a way to greaten students’ exposure to and appreciation for the arts. The following is a list of the places where you can flash your card. In addition, you can use it to check out museum passes from Hayden Library for guests in town.
Oz The Great and Powerful is a prequel to Victor Fleming’s 1939 film The Wizard of Oz, starring Judy Garland as Dorothy. In keeping with this, Oz The Great and Powerful begins in gray scale and transitions to color, and the plot involves the Wizard making a medley of new friends. Like the musical Wicked, the film imagines the origins of an important but secondary character, in this case the Wizard of Oz. This version of events, too, explains how the Wicked Witch of the West became so wicked, and sets the scene for L. Frank Baum’s story in the book The Wonderful Wizard of Oz.
“These images are probably the most acute examples of everything I cherish” is how Mario Testino describes his debut museum exhibition in the United States. On display at the MFA, Mario Testino: In Your Face is a collection of 122 photographs drawn from the last 30 years of Testino’s work.
You may think of a painting as a work of art, but do you ever think of a paintbrush as one? What about music — you may think of musical pieces as works of art, but how do you view musical instruments? Are they just tools, or can they be works of art themselves?
A giant lamp with a crown of bulbs turns its head into position. Like an alien saucer it beams down onto the stage, illuminating a single motionless dancer. The dancer moves in a rapid jerking motion. Is it a man or a woman? Suddenly, the sound of Bach’s Goldberg Variations breaks the silence.
Anne Makepeace, from Lakeville, Connecticut, has been making films for almost 30 years. Her most recent film, We Still Live Here, had its broadcast premiere on the Independent Lens series of PBS and also screened at MIT on Nov. 17. The film is about a movement to revive the Native American language of Wampanoag. It centers on Jessie Little Doe Baird, who spearheaded the movement and whose daughter is the first native speaker in over a century.
Sylvia Deaton, 20, has been dancing since she could walk, and knew she wanted to be a professional dancer from a very young age. At age six, she began taking ballet, jazz and tap classes, and was soon participating in dance competitions and winning regional and national titles. She was inspired by Broadway shows and local ballet performances her family would bring her to, and would practice the moves at home, using her sister as a male partner and rows of stuffed animals as her audience.
It is quite an ambitious project to create a 24-hour film. More ambitious yet is to create one without main characters, without a plot, and which comprises entirely of scenes involving clocks from other films. Yet that is precisely what Christian Marclay has done — and very effectively, too.
In celebration of the Red Sox winning the American League in 1912, a distinguished woman attended a performance of the Boston Symphony Orchestra touting a headband with, “Oh, You Red Sox” splashed across it and caused quite a stir in the media. This is one of many stories, both true and false, about Isabella Stewart Gardner, or “Mrs. Jack.” She did nothing to deny or affirm these claims about her, and is often quoted as saying, “Don’t spoil a good story by telling the truth.”
This morning I rollerbladed to Harvard to get some breakfast from Darwin’s. Paying the cashier, I noticed a little pamphlet entitled One City One Story: “The Whore’s Child.” My curiosity piqued, I picked it up and began reading it as I waited for my sandwich. I found myself drawn in instantly, and I had thoroughly devoured it by the time I had similarly finished off my sandwich.