For over two decades, Michael was a Principal Dancer with the Paul Taylor Dance Company, creating over 25 roles with, and appearing in more than 70 dances choreographed by Mr. Hailed by the New York Times as “one of the world’s most luminous dancers,” Michael Trusnovec grew up dancing on Long Island and earned a BFA in Dance Performance from Southern Methodist University. In 2005 she was invited to judge and teach for the burgeoning Youth America Grand Prix in both the regional and final Competitions, and has been with the organization ever since. Saland has been a freelance instructor traveling to teach in NY, San Francisco, Los Angeles, Kansas City, Buenos Aires, Copenhagen, Madrid, Mallorca, Mexico and Canada. Since finishing her performance career, Ms. Before moving to Seattle in the fall of 1993, she taught movement for student actors at Playwrights’ Horizons and helped develop a body-awareness class for actors with theater teacher Caymichael Patten. In a 21year career with City Ballet, she was showcased in leading roles under Balanchine’s direction, as well as principal roles in Jerome Robbins’ repertoire. Three years later she was invited by George Balanchine to join the New York City Ballet for the remarkable Stravinsky Festival. Stephanie Saland was born in Brooklyn and entered The School of American Ballet just before her 15th birthday. Balanchine then choreographed the second section for New York City Ballet, with an additional solo for Paul Taylor, who was then a member of the Graham company and later developed his own technique and choreographic identity. Since 1961, NYCB has performed its section alone, without the solo created for Taylor. Balanchine invited modern dance titan Martha Graham to choreograph the first section for her company. With Stephanie Saland and Michael TrusnovecĮpisodes was created in homage to Anton von Webern’s complete orchestral works. In 2017, he led New York City Ballet’s four-person interim artistic leadership team and was named Artistic Director of both New York City Ballet and the School of American Ballet in February 2019.īalanchine’s Episodes Episodes at New York City Ballet, Photo by Paul Kolnik Stafford served as Ballet Master for New York City Ballet. Stafford joined SAB’s permanent faculty in 2007 and was named the School’s first Professional Placement Manager in 2015. After retiring from dancing in 2014, Mr. He joined New York City Ballet in 1999, was promoted to soloist in 2006 and principal dancer in 2007. After attending two summer courses at SAB, he enrolled full time in 1997. Jonathan Stafford began his ballet training at Central Pennsylvania Youth Ballet. To complement the sparkling score, he created a work of prodigious ingenuity featuring a regal cast of dancers. Jonathan Stafford and Debra Austin danced this ballet at different points in its history, and now they continue to shape its performances through their roles as Artistic Director of New York City Ballet and Ballet Master for Carolina Ballet. 15 at SAB’s 2013 Workshop Performances Photo by Paul Kolnikīalanchine considered Mozart’s Divertimento No. It continues to be, and I hope always will be, a place that brings together formidable artists that dare and inspire.Balanchine’s Divertimento No. When I think back I remember a free, creative, wildness present at NDT. We were vulnerable together, we were amazing together and we were fearless together. I was inspired by generations of incredible dancers, artists, people, souls. I experienced worlds and worlds within worlds. I was humbled by it and at the same time felt completely a part of it. I continue to be grateful for this.įor twenty years at NDT, I was surrounded by creativity and a wonderfully intense, mad energy. I was able to travel many miles within myself and geographically as the moon princess. The creation process took many months and much exploration, discovering what our theater had to offer and how to combine this with Maki Ishi’s incredible music. Jiří created Kaguyhime using every aspect of NDT’s new home. One pivotal moment in my career at NDT was being a part of Kylián’s Kaguyahime. Carel Birnie was the most unorthodox financial director one could wish for and in reflection, I’d like to celebrate his venturesome spirit that made so much possible at NDT. This was for a film that NOS and the dancers put together to celebrate the feat of NDT having their own ‘designed for dance’ theatre, a project that Carel worked on for many years. I was just about to run over the wavy Rem Koolhaas rooftop of the theatre to the finale of Janáček’s Sinfonietta. “This photo of Carel Birnie and myself captures a very lighthearted moment but was taken during a transitional time in NDT’s history – the opening of the ‘new theatre’. Photo Carel Birnie and fiona lummis: sven ulsa
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