By Janet Lynn Roseman

Dance Masters is a full of life ensemble of conversations with seven celebrated dancers and choreographers. In those intimate interviews, dance critic Janet Lynn Roseman probes the center of dance:
* The artistic approach
* The position of dream and rituals
* The interaction among dancer and viewers
* The religious facets of functionality

those dance masters supply infrequent insights into the interior international of the artist as they show their philosophies on dance education, speak about their mentors, and converse candidly in regards to the inventive means of dance-making and the way it really feels to bop.

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Extra resources for Dance Masters: Interviews with Legends of Dance

Sample text

I think that the most important thing in Bugaku is not to indulge the obvious. There are erotic and sensual overtones to that work. The key was not to overindulge what was available. The premise that "the art of acting is not to act but to make it happen" was key, but it was also key in terms of who the person I was working with was. Allegra Kent was phenomenal to work with because she had an incredible distance about her and yet she was fully engaged with you. There were so many incredible elements that were exchanged between us.

It's critical not to overdance, but you have to know when to hold back and how much to hold back and not let it fully go. This idea of holding back and keeping it controlled is another enticing aspect for Edward Villella 29 an audience. They may not be able to describe it, but it's enticing for them, that there is abandon and yet it is fully controlled. It's a very exciting thing to watch, rather than something that is very stifled and practiced and predictable. Does that ability come with age and experience?

When you hire a dancer to be In the company, what qualities do you look for? They don't audition. We have class and they come to that. That's the only way I have ever done it. If someone comes to the studio who is interested in working with us, we ask them to take a class. I think it's fairer than an audition; I can watch them over a period of time and they can also begin to know what the situation is, not just the technique, but also what's involved in the thinking. On occasion, only twice I remember, have there been dancers who were good ones, but they couldn't deal with the way we work.

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