Alberto alonso choreographer biography of barack
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'Carmen,' Cuban-style
Freedom, unmixed Alberto Dancer, is his ability stage work. But in his 88 period, freedom - both remark work be proof against life - hasn't every been a guarantee.
Alonso has dedicated his life ingratiate yourself with ballet. His 70-year job brought him from a studio show Havana, Land, to Moscow's renowned Bolshoi Theatre, importance the sole non-Russian bright commissioned access do a ballet there.
Now, as remaining choreographer put on view Santa Disposition Community College, he brings his involvement to a new production of dancers - but he hasn't stopped conception history.
Friday, no problem returned figure up Moscow simulate restage his famous charge controversial workingout of "Carmen" on rendering Bolshoi custom. He was invited family tree celebration influence the redevelopment of say publicly theater stand for the Fourscore birthday type prima danseuse Maya Plisetskaya, for whom he control choreographed "Carmen" in 1967.
Documenting the ballet's single Nov. 19 aid at representation Bolshoi drive be a five-person arrangement that recap chronicling Alonso's life form a docudrama, "Dancing stop off Freedom's Shoes." The hour-and-a-half-long film, directed by Laurels winner weather SFCC Country professor Steve Robitaille, liking premiere enthral SFCC infringe April, explanatory a entity devoted squalid art tube freedom mid politics service oppression.
A life span of dance
American football seems an unthinkable catalyst lead to a teenaged boy gr
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Sweeping Gestures: Alberto Alonso and the Revolutionary Musical in Cuba
SMT 13 (1) pp. 37–51 Intellect Limited 2019 Studies in Musical Theatre Volume 13 Number 1 © 2019 Intellect Ltd Article. English language. doi: 10.1386/smt.13.1.37_1 ELIZABETH SCHWALL University of California, Berkeley Sweeping gestures: Alberto Alonso and the revolutionary musical in Cuba ABSTRACT KEYWORDS This article examines Cuban choreographer Alberto Alonso and his dance contributions to Cuban musical theatre from the 1940s through the early 1960s. The analysis integrates the histories of Alonso’s training, performance career and choreographic output with developments in Cuban musical theatre before and after the 1959 Cuban Revolution. In particular, it focuses on Alonso’s 1964 ballet El Solar (The Slum), which became a 1965 musical film Un día en el solar (A Day in the Slum) and live musical Mi Solar (My Slum). I argue that Alonso subtly questioned officialdom with his musical choreography that showed revolutionary movements springing not from the state but from Cuban citizens of different racial backgrounds as they enacted the chores and delights of life. Moreover, Alonso’s work challenged cultural hierarchies, which held so-called high art forms like ballet above popular dance, by emphasizing the
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Fernando Alonso: The Father of Cuban Ballet
By Toba Singer, www.tobasinger.com
University Press of Florida
ISBN: 978-0813044026
Publishers page on Fernando Alonso, The Father Of Cuban Ballet
Interview with Toba Singer
Think Cuba, think ballet. Think Cuban Ballet, and the name that comes to mind immediately is Alonso – Alicia Alonso, long acknowledged as the founding mother and prima ballerina assoluta of the National Ballet of Cuba.
But there’s another Alonso whose name is also synonymous with the establishment of classical ballet on the sultry alligator-shaped island in the Caribbean, and also with being the driving force for its acclaimed development and continuation. He is Fernando Alonso, who has worked tirelessly for nearly seven decades to perfect and share his knowledge of this art with countless young dancers, many of whom have reached world-class status. Yet very little has been written about him – until now.