The other new work on the program was Heart Starvation, a solo for Corbett by choreographer Peter Schmitz. The score for this, reinforcing Corbett's panoramic taste in music, butted the Shirelles' "Will You Love Me Tomorrow" up against Camille Saint-Saëns's plodding variation on the cancan, the "Tortoise" from his Carnival of the Animals. In a lexicon that emphasized inclinations, swings, and twistings of the upper body rather than traveling or jumping, Corbett savored going into a new direction but then didn't make a big point of it when she got there. In this and all of her own choreography, she lets you know, simply and without imposed mimicry or melodrama, that there's a real person dancing.
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One thing that impressed me was that dance invention seems to be making a comeback as a major challenge for young choreographers after years of being stirred into the multimedia stew.
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The eponymous directors of Alonzo King Lines Ballet and the Mark Morris Dance Group both came from backgrounds in modern dance with sprinklings of other styles, and they both subsequently invented movement vocabularies to serve their choreographic ideas.
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Buoyed by President Barack Obama's campaign slogan, many had hopes for change after his election.
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Considering that Alan Ayckbourn may be the most staged living English playwright besides Shakespeare, as some accounts declare, why isn't he produced more often in American theaters?
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When Hank Williams sang a song like "My Son Calls Another Man Daddy" he could sell it because he'd been down low: born with spina bifida, father with a paralyzed face thanks to a stroke, brother he never knew because he was already dead.
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If great art and great artists are supposed to contain multitudes, then in music, at least, pianists have the edge: 10 fingers theoretically capable of 10 different simultaneous paths for the music to take. Of course, it's not that simple.
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Dance
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