WEBVTT 1 00:00:26.760 --> 00:00:29.980 Good evening, I'm Orson Welles, your host for the Russian News. 2 00:00:30.000 --> 00:00:36.060 Welcome to the Russian Dance Festival. You've just seen a few highlights from this exciting show that's been thrilling. 3 00:00:36.720 --> 00:00:41.800 American audiences from coast to coast, playing always to standing ovations. And no wonder. 4 00:01:02.380 --> 00:01:16.900 The Russian Dance Festival was founded six years ago. Its ongoing goal has been to provide a working place and a show place for young, upcoming professional dancers, singers, musicians, directors, designers. 5 00:01:16.900 --> 00:01:35.980 And the project, Dupaplova, epitomizes this goal more than anything we've ever done because not only does it let a group of very talented young dancers have a very wonderful chance to perform, and these days that is sometimes all too rare, 6 00:01:35.980 --> 00:01:46.820 but it also gives them the opportunity to work with one of the ballerina-like star Anayas and a group of superb choreographers, designers, and other artists. 7 00:01:47.300 --> 00:02:05.480 And more than anything, it gives us a chance in the 100th anniversary of her birth, the coming 50th anniversary of her death, to pay tribute to a dancer whose spirit and love and drive still inspires all that we do in the dance world today. 8 00:02:09.500 --> 00:02:22.260 Now, I'm not going to give you a lecture on Dupaplova's life, because none of you need it, you all are very well versed, but I do want to say that in creating this program, we have decided for the most part not to try to recreate original steps, 9 00:02:22.260 --> 00:02:39.820 but to instead combine one full duplicates of original costumes and sets with a really set choreography so that we might bring some new spirit and some new life into these works that we so much want to preserve. 10 00:02:39.820 --> 00:02:56.740 Of course, we've made a couple of exceptions, which I will tell you later, but the first ballet you're going to see tonight is one of the shortest, but one of the most well-remembered of Madame Pamela's repertoire, is the ballet Christmas. 11 00:02:56.740 --> 00:03:03.900 Christmas has been re-programmed by Alexander Minnis from the American Ballet Theater. 12 00:03:04.720 --> 00:03:13.960 The costumes have been recreated, as will the entire production, eventually, by Grace Costumes, Grace and Maria Poncelli. 13 00:03:15.000 --> 00:03:24.940 The set and the lights will, when we have our first performance, will be by Milton Luke, and we hope you enjoy it. 14 00:03:24.940 --> 00:03:33.340 It is set in an 1840s Harlem scene, and this is the first ballet that we have the costumes recreated for. 15 00:03:33.960 --> 00:03:42.620 Everything else is going to be works in progress and practice clothes, but this ballet epitomizes what you want to do with this production. 16 00:03:44.080 --> 00:03:44.700 So, Christmas. 17 00:04:23.520 --> 00:04:24.920 Christmas. 18 00:04:53.520 --> 00:04:54.920 Christmas. 19 00:05:23.520 --> 00:05:24.920 Christmas. 20 00:05:53.060 --> 00:05:54.460 Christmas. 21 00:06:23.520 --> 00:06:24.920 Christmas. 22 00:06:49.420 --> 00:06:50.820 Christmas. 23 00:07:23.120 --> 00:07:24.520 Christmas. 24 00:07:53.000 --> 00:07:54.400 Christmas. 25 00:08:23.520 --> 00:08:24.920 Christmas. 26 00:08:24.940 --> 00:08:24.940 27 00:08:54.940 --> 00:08:55.460 Christmas. 28 00:09:24.940 --> 00:09:28.060 I'm a student at Howard School, and I'm also the husband of the staff in the highest. 29 00:09:30.240 --> 00:09:34.720 I would like to say, David Howard had asked me to send his regards to everyone. 30 00:09:34.900 --> 00:09:40.080 He's not only able to make it tonight, he's out of state working on another project, so it's quite a few projects around the country. 31 00:09:40.400 --> 00:09:44.420 But I'd also like to say that David has been a very, very helpful one in his project. 32 00:09:44.660 --> 00:09:53.040 He's coached many of the pieces we'll see tonight, and the future as we develop the project will also be an artistic advisor and an artist. 33 00:09:53.040 --> 00:10:02.560 He's also going to be setting up a full-length female ballet performance, just a one act female ballet, for this program. 34 00:10:03.800 --> 00:10:05.680 And so he'd like to send his regards to everyone. 35 00:10:06.040 --> 00:10:08.520 The next piece on the program is called The Music Hall. 36 00:10:09.180 --> 00:10:13.220 And it's, this is what you'll see tonight, the first movement of two movements. 37 00:10:13.460 --> 00:10:15.580 This piece that I'm right back at myself. 38 00:10:15.580 --> 00:10:22.220 It was done at Loeb's company just the first movement you see tonight, about one minute and a few seconds of it. 39 00:10:22.400 --> 00:10:26.000 It was too short for our program, so we had to add a number of movements to it. 40 00:10:26.580 --> 00:10:32.400 And a matter of fact, Miriam Stewart, our own Miriam Stewart, can I say it? 41 00:10:32.400 --> 00:10:32.500 Yay! 42 00:10:32.500 --> 00:10:32.500 43 00:11:02.500 --> 00:11:02.500 44 00:13:14.360 --> 00:13:15.760 Thank you. 45 00:13:16.560 --> 00:13:27.380 As Douglas pointed out, one of the greatest joys of this project for all of us has been getting to know and being able to work with Miriam Stewart. 46 00:13:28.180 --> 00:13:39.320 Because she has passed on to us so much of the love and the drive and the personal dedication that Anna Pavlov has possessed, 47 00:13:39.960 --> 00:13:42.900 that you're not able to get out of reading a book. 48 00:13:43.660 --> 00:13:51.460 And we feel like we are kind of direct descendants now in a very humble way because of her work with us. 49 00:13:52.640 --> 00:13:54.320 And would you please stand up? 50 00:13:54.320 --> 00:13:54.940 Thank you. 51 00:13:54.940 --> 00:13:55.520 Thank you. 52 00:14:02.500 --> 00:14:05.300 Thank you. 53 00:14:11.860 --> 00:14:28.620 The two exceptions we've made in our kind of half-rule about not reading the original steps have been the two solos that Ms. Stewart has reset on Starbanias through her wonderful memories of her years with Anna Pavlov. 54 00:14:28.620 --> 00:14:35.660 They are Drag the Fly and The Dying Splunge, which we'll see later. 55 00:14:37.380 --> 00:14:53.700 Again, we are now into our Works in Progress, but these are again both ballets that we will particularly recreate the original costumes and do our best to take a perspective of the works that we really need. 56 00:14:54.940 --> 00:15:00.060 So, I don't have a tape for this one, so I will leave you out for a few words. 57 00:15:00.060 --> 00:15:00.860 Thank you. 58 00:15:49.180 --> 00:15:51.980 Thank you. 59 00:16:10.100 --> 00:16:12.900 Thank you. 60 00:16:31.620 --> 00:16:32.800 Thank you. 61 00:17:20.400 --> 00:17:21.960 Thank you. 62 00:17:21.960 --> 00:17:22.540 Thank you. 63 00:17:49.560 --> 00:17:52.360 Thank you. 64 00:18:19.440 --> 00:18:22.240 Thank you. 65 00:18:49.680 --> 00:18:51.860 Thank you. 66 00:19:18.900 --> 00:19:20.300 Thank you. 67 00:19:20.300 --> 00:19:20.300 68 00:19:37.300 --> 00:19:49.020 Of course, when everyone thinks about a Pavlov, there is always one solo that comes immediately to mind, the solo that she was dressed up as for, The Dying Splunge. 69 00:20:15.420 --> 00:20:18.220 Thank you. 70 00:20:18.220 --> 00:20:18.220 71 00:21:11.540 --> 00:21:11.720 Thank you. 72 00:21:36.840 --> 00:21:36.900 Thank you. 73 00:22:09.020 --> 00:22:10.420 Thank you. 74 00:22:37.640 --> 00:22:40.160 Thank you. 75 00:23:07.320 --> 00:23:09.880 Thank you. 76 00:23:37.060 --> 00:23:39.860 Thank you. 77 00:23:39.860 --> 00:23:39.860 78 00:24:14.320 --> 00:24:17.120 Thank you. 79 00:24:44.300 --> 00:24:47.100 Thank you. 80 00:25:14.280 --> 00:25:17.080 Thank you. 81 00:25:17.080 --> 00:25:28.140 Thank you. 82 00:25:28.140 --> 00:25:52.140 Thank you. 83 00:26:20.680 --> 00:26:22.120 Thank you. 84 00:26:22.120 --> 00:26:26.080 Thank you. 85 00:26:33.840 --> 00:26:36.640 Thank you. 86 00:26:36.640 --> 00:26:37.560 Thank you. 87 00:26:37.560 --> 00:26:39.460 Thank you. 88 00:26:39.460 --> 00:26:39.460 89 00:27:07.180 --> 00:27:09.980 Thank you. 90 00:27:36.500 --> 00:27:39.300 Thank you. 91 00:27:39.300 --> 00:27:54.300 Thank you. 92 00:27:54.300 --> 00:28:02.700 Thank you. 93 00:28:20.800 --> 00:28:23.600 Thank you. 94 00:28:23.600 --> 00:28:26.600 Thank you. 95 00:28:53.600 --> 00:28:53.600 96 00:29:48.280 --> 00:29:48.340 Thank you. 97 00:29:48.340 --> 00:30:13.860 Thank you. 98 00:30:13.860 --> 00:30:13.860 99 00:31:08.440 --> 00:31:10.600 Thank you. 100 00:31:38.460 --> 00:31:40.260 Thank you. 101 00:32:07.180 --> 00:32:09.980 Thank you. 102 00:32:38.340 --> 00:32:38.400 Thank you. 103 00:33:05.380 --> 00:33:08.180 Thank you. 104 00:33:35.660 --> 00:33:37.920 Thank you. 105 00:34:03.160 --> 00:34:03.220 Thank you. 106 00:34:30.320 --> 00:34:33.120 Thank you. 107 00:34:55.000 --> 00:34:57.800 Thank you. 108 00:35:30.140 --> 00:35:31.540 Thank you. 109 00:35:49.120 --> 00:35:50.800 Thank you. 110 00:36:08.600 --> 00:36:11.400 Thank you. 111 00:36:28.680 --> 00:36:30.080 Thank you. 112 00:36:47.160 --> 00:36:49.960 Thank you. 113 00:37:00.080 --> 00:37:00.080 114 00:37:38.720 --> 00:37:40.120 Thank you. 115 00:37:48.000 --> 00:37:49.540 Thank you. 116 00:37:49.540 --> 00:38:13.980 Thank you. 117 00:38:13.980 --> 00:38:16.980 Thank you. 118 00:39:11.980 --> 00:39:13.780 Thank you. 119 00:39:13.980 --> 00:39:14.100 Thank you. 120 00:39:14.100 --> 00:39:14.120 Thank you. 121 00:39:14.120 --> 00:39:14.120 122 00:39:41.120 --> 00:39:42.280 Thank you. 123 00:40:20.940 --> 00:40:22.340 Thank you. 124 00:40:41.120 --> 00:40:41.240 Thank you. 125 00:41:15.540 --> 00:41:16.980 Thank you. 126 00:42:05.740 --> 00:42:08.540 Thank you. 127 00:42:36.000 --> 00:42:38.800 Thank you. 128 00:42:43.920 --> 00:42:45.340 Thank you. 129 00:43:28.700 --> 00:43:31.020 Thank you. 130 00:43:58.700 --> 00:44:01.040 Thank you. 131 00:44:28.740 --> 00:44:31.060 Thank you. 132 00:44:58.720 --> 00:45:01.000 Thank you. 133 00:45:28.840 --> 00:45:31.380 Thank you. 134 00:45:58.820 --> 00:46:00.980 Thank you. 135 00:46:29.240 --> 00:46:31.340 Thank you. 136 00:46:58.980 --> 00:47:01.340 Thank you. 137 00:47:28.740 --> 00:47:31.200 Thank you. 138 00:47:58.700 --> 00:48:01.180 Thank you. 139 00:48:29.200 --> 00:48:31.180 Thank you. 140 00:48:59.400 --> 00:49:01.080 Thank you. 141 00:49:29.280 --> 00:49:32.080 Thank you. 142 00:49:58.800 --> 00:50:01.600 Thank you. 143 00:50:28.760 --> 00:50:31.440 Thank you. 144 00:50:58.720 --> 00:51:01.080 Thank you. 145 00:51:28.720 --> 00:51:31.340 Thank you. 146 00:51:59.080 --> 00:52:01.880 Thank you. 147 00:52:39.380 --> 00:52:40.780 Thank you. 148 00:52:49.320 --> 00:52:50.420 Thank you. 149 00:52:50.420 --> 00:52:50.580 Thank you. 150 00:52:50.580 --> 00:52:51.320 Thank you. 151 00:52:51.960 --> 00:52:52.900 Thank you. 152 00:52:53.340 --> 00:52:53.340 153 00:52:53.340 --> 00:52:53.740 Thank you. 154 00:52:53.740 --> 00:52:54.660 Thank you. 155 00:52:54.680 --> 00:52:55.780 Thank you. 156 00:52:59.560 --> 00:53:00.900 Thank you. 157 00:53:01.440 --> 00:53:02.540 Thank you. 158 00:53:02.540 --> 00:53:03.000 Thank you. 159 00:53:03.000 --> 00:53:03.000 160 00:53:03.000 --> 00:53:03.920 Thank you. 161 00:53:04.200 --> 00:53:05.300 Thank you. 162 00:53:05.300 --> 00:53:06.100 Thank you. 163 00:53:06.100 --> 00:53:06.100 164 00:53:12.760 --> 00:53:15.560 Thank you. 165 00:53:17.440 --> 00:53:17.440 166 00:53:17.440 --> 00:53:18.600 Thank you. 167 00:53:18.600 --> 00:53:19.420 Thank you. 168 00:53:26.700 --> 00:53:28.420 Thank you. 169 00:53:28.720 --> 00:53:30.120 Thank you. 170 00:53:30.120 --> 00:53:30.120 171 00:53:30.120 --> 00:53:30.120 172 00:53:30.120 --> 00:53:30.120 173 00:53:30.120 --> 00:53:30.120 174 00:53:30.120 --> 00:53:30.120 175 00:53:30.120 --> 00:53:30.120 176 00:53:30.120 --> 00:53:30.120 177 00:53:30.880 --> 00:53:34.120 Thank you. 178 00:53:37.740 --> 00:53:40.540 Thank you. 179 00:53:42.040 --> 00:53:42.040 180 00:53:42.620 --> 00:53:44.020 Thank you. 181 00:53:44.020 --> 00:53:44.140 Thank you. 182 00:53:45.880 --> 00:53:47.360 Thank you. 183 00:53:51.020 --> 00:53:52.420 Thank you. 184 00:53:52.420 --> 00:53:52.420 185 00:53:52.420 --> 00:53:52.420 186 00:53:52.420 --> 00:53:53.220 Thank you. 187 00:53:53.220 --> 00:53:53.220 188 00:53:53.220 --> 00:53:53.220 189 00:53:53.220 --> 00:53:53.220 190 00:53:53.220 --> 00:53:53.240 Thank you. 191 00:53:54.980 --> 00:53:58.960 Thank you. 192 00:53:58.960 --> 00:54:03.700 Thank you. 193 00:54:05.320 --> 00:54:05.480 Thank you. 194 00:54:05.480 --> 00:54:05.500 Thank you. 195 00:54:05.500 --> 00:54:06.240 Thank you. 196 00:56:24.880 --> 00:56:29.580 The Elgin Theater is an old abandoned movie house in the Chelsea district of downtown 197 00:56:29.580 --> 00:56:30.240 Manhattan. 198 00:56:31.020 --> 00:56:35.000 Planning for the future, the Feld Ballet has bought the building and expects to convert 199 00:56:35.000 --> 00:56:37.880 it, creating a modern stage and auditorium. 200 00:56:38.620 --> 00:56:43.600 It will become a performing home, not just for the Feld Ballet, but for other dance companies 201 00:56:43.600 --> 00:56:48.480 seeking a space that offers clear viewing, one large enough for a growing audience, yet 202 00:56:48.480 --> 00:56:50.420 intimate enough for close communication. 203 00:56:50.420 --> 00:56:53.100 A theater designed for dancing. 204 00:57:32.300 --> 00:57:38.120 Next week, Great Performances presents Fannet Carroll's Urban Arts Corporation and the works 205 00:57:38.120 --> 00:57:44.080 of Langston Hughes, Paul Lawrence Dunbar, Cleveland Derricks, and Clinton Derricks Carroll. 206 00:58:07.920 --> 00:58:09.300 You're a little too far out. 207 00:58:09.460 --> 00:58:10.580 Come in a little bit. 208 00:58:11.120 --> 00:58:11.560 Right. 209 00:58:11.780 --> 00:58:12.480 Boom, drop. 210 00:58:41.360 --> 00:58:43.360 Hold it, hold it, hold it, hold it. 211 00:58:43.580 --> 00:58:43.800 Good. 212 00:58:43.900 --> 00:58:44.440 Thank you. 213 00:58:44.560 --> 00:58:45.980 Thank you. 214 00:58:46.820 --> 00:58:48.460 Come in a little bit. 215 00:58:48.560 --> 00:58:49.160 That's right.