The Creative Process
Forsythe's in the middle, somewhat elevated uses the battement like an attack. Photo by Alexander Iziliaev, courtesy Pennsylvania Ballet

Just before retiring in 2015, Sylvie Guillem appeared on "HARDtalk with Zeinab Badawi," the BBC's hard-hitting interview program. Badawi told Guillem,

"Clement Crisp of the Financial Times, 14 years ago, described your dancing as vulgar."

Guillem responded,

"Yeah, well, he said that. But at the same time, when they asked Margot Fonteyn what she thought about lifting the leg like this she said, 'Well, if I could have done it, I would have done it.' "

They were discussing Guillem's signature stroke—her 180-degree leg extension à la seconde. Ballet legs had often flashed about in the higher zones between 135 and 160 degrees before. But it wasn't until the virtuoso French ballerina regularly
extended her leg beside her ear with immaculate poise in the 1980s that leg extensions for ballet dancers in classical roles reached their zenith. Traditionalists like Clement Crisp were not taken with it.

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The Creative Process
Hallberg describes dancing with Osipova as "a bit like an addiction." Photo by Stephanie Berger, courtesy Sadler's Wells

On the surface, intercontinental ballet stars David Hallberg and Natalia Osipova would seem to make unlikely partners. He's an American paragon of elegant princeliness; she's an explosive Russian powerhouse who seems to mock the laws of gravity.

But since they first danced together in 2009, they've moved audiences to tears as Romeo and Juliet, and sent chills through spines as Giselle and Albrecht. Whether at American Ballet Theatre, The Royal or the Bolshoi, each time they're together they bring out new depths in each other's artistry.

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News
The illustrious audition panel for ABT Incubator watches a submission. Photo by Emily Northrop, Courtesy ABT

This month, American Ballet Theatre principal David Hallberg sees the first test of his directorial chops with the launch of ABT Incubator, the company's latest initiative to promote the creation of new ballets, particularly by in-house talent.

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News
Xenos, Akram Khan's final full-length solo, is an ode to the soldiers of World War I. Photo by Nicol Vizioli, Courtesy Sadler's Wells

We might have gotten a little bit carried away with this year's "Season Preview"—but with the 2018–19 season packing so many buzzy shows, how could we not? Here are over two dozen tours, premieres and revivals that have us drooling.

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