![]() ![]() Catherine is currently a fulltime dance educator at PS 89 in Lower Manhattan. She is currently on the Duncan Archive Committee and is a regular contributor to. She began her study of the technique of Isadora Duncan with Julia Levien, a student of Anna and Irma Duncan, in 1982. Catherine is also the director and co-founder (with Patricia Adams in 1989) of Dances by Isadora, which performs, teaches, and collaborates with Duncan dancers throughout the world. She has been creating new works as Catherine Gallant/DANCE since 1999. She has taught college dance courses at Boston Conservatory, Curry College, and MIT. ![]() Gallant has received funding for her work from the Harkness Foundation for Dance, LMCC/Creative Engagement, the Bossak/Heilbron Charitable Trust, City Parks Foundation, Jody and John Arnhold, and NYFA. In 2016, he created MoMA Dance Company, performed by some of its staff members and he has also been invited to contemporary art biennials and museums, where he has put on performances and shown films.Ĭatherine Gallant has been dancing, choreographing, and teaching for more than 30 years, in both traditional and alternative venues. In offering the stage to non-traditional performers (amateurs, people with physical and mental handicaps, children in Gala), he shows a preference for the community of differences over the formatted group, and a desire to dance over choreography, and duly applies the methods of a process of emancipation through art. In The show must go on, which was awarded a Bessie in 2005 and Disabled Theater, he started dealing with questions about what the theatre can be in a political sense. Through his use of biography, Jérôme Bel politicizes his questions, aware as he is of the crisis involving the subject in contemporary society and the forms its representation takes on stage. The series of portraits of dancers ( Véronique Doisneau, Cédric Andrieux, Pichet Klunchun and myself…) broaches dance through the narrative of those who practice it, emphasizes words in a dance spectacle, and stresses the issue of the singularity of the stage. His interest subsequently shifted from dance as a stage practice to the issue of the performer as a particular individual. The last part will address Bakst’s interest in movement and body in his costume designs.Jérôme Bel was born in 1964, lives in Paris. In his early pieces, Jérôme Bel applied structuralist operations to dance in order to single out the primary elements from theatrical spectacle. The second part will focus on coloristic decisions of the stage sets and particular oriental traits of the productions that paralleled the search for a national identity. The first part of this essay will delineate Bakst’s role in the idea of total design, or Gesamtkunstwerk of the Ballets Russes, as well as his innovations in stage perspective and picture plane orientation. Moreover, conflating high and low art, the Ballets Russes raised many of the same questions that were to haunt decorative arts for decades to come. I have chosen the palette of the Ballets Russes, as they were, arguably, the most well-known works of Bakst that had great influence on the society at large. The main argument of this paper is that Bakst’s designs for Diaghilev’s productions were modern in a way they were attuned to the moods of a given period, in their re-appropriation and synthesis of the past, while not being conventionally and deliberately modern, but rather ambiguous, representative of Bakst’s own oscillations between high and low art and the dissociation between his intellectual system of beliefs and his artistic sensitivity. Primarily interested in Bakst’s oscillation between ‘high’ and ‘low’ art, dissociation between his aesthetic desires and those of others, this research will focus on the collaboration between Bakst and the Ballets Russes. Bakst was formed in a classical academic tradition and was perceived as a “refined and curious collector of historical artifacts.” However, he extended his practice far beyond the conventional framework and incorporated many concepts and movements, such as Symbolism and Fauvism he acted as a prism of modernity, adapting historical findings to reflect contemporary moods in art and culture. Utterly representative of contradictory complexities of the early 20th century modernity, he had grown to fame at the turn of the century and was older than many of his peers. As this paper will argue, struggling to define himself between the old and the new, Leon Bakst attempted to answer the same questions that are haunting the discourse of decorative arts today.
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