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ENTERTAINMENT
October 8, 1988
Reading about the new partnership between Joffrey Ballet (based in New York and Los Angeles) and Cal State L.A. made me realize that even here art is about politics ("Joffrey and Cal State L.A.--Both to Benefit?" by Lewis Segal, Sept. 27). In the 10 years since I relocated from New York City, I see less and less support and opportunity for the Los Angeles dance companies. It never ceases to amaze me how the arts organizations and institutions continually look toward New York for their glory.
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ENTERTAINMENT
June 4, 1989
So, Aman's dirty laundry has finally been aired. In a piece more worthy of a gossip column than the arts and entertainment magazine of the Los Angeles Times, Perlmutter has revealed all. Or has she? Did she bother to check the accuracy of statements made by Anthony Shay and Bonita Edelberg with current Aman artistic directors Barry Glass and Leona Wood? Perhaps Mr. Glass and Miss Wood found other topics more interesting than gossip about disputes of more than a decade ago. It is a pity that Perlmutter chose to focus her article on this dead issue, rather than on the more interesting subjects of Aman's upcoming concert and world premieres, the state of ethnic dance in general and on the vibrancy of the arts scene that comes from having two such interesting dance companies in Los Angeles.
ENTERTAINMENT
December 2, 1992 | CHRIS PASLES
Before the centennial "Nutcracker" ballet festivities grab too much attention, let's take a few moments to cheer and reflect on the first appearance of the Paul Taylor Dance Company at the Orange County Performing Arts Center, last weekend. Modern dance--indeed, modern work of any kind--generally has taken a back seat at the center.
ENTERTAINMENT
October 31, 1994 | SERENA TRIPI, Serena Tripi is president of the board of directors of the Dance Resource Center of Greater Los Angeles
After reading Martin Bernheimer's commentary ("Balletic Blight Still Plagues L.A.," Calendar, Oct. 16), I felt I should set the record straight on the status of dance in Los Angeles. Bernheimer seems to think that the end-all and be-all for Los Angeles would be a ballet company. How does he propose we pay for it? And what do we do with the large number of dance companies that already exist? And, may I say, barely exist, in some instances.
CALIFORNIA | LOCAL
September 15, 1986 | JUDITH MICHAELSON, Times Staff Writer
Dressed in colorful tights and stark-white, in flamenco costumes and bathrobes, 143 dancers from 26 California dance companies joined together Sunday to perform a new work, filling Grand Avenue with dance choreographed by Bella Lewitzky. It was a fitting high point as city and state officials, artists and fund-raisers participated in the formal "ground-breaking" of the new home for Lewitzky's Dance Gallery on Bunker Hill at 4th Street and Grand Avenue. Scheduled to open in 1988, the $17.
ENTERTAINMENT
November 12, 1995 | Lewis Segal
Choreographers form dance companies to ensure their creative freedom--but, as Twyla Tharp and Bella Lewitzky have detailed in these pages, sustaining those companies immediately becomes their prime task. What happens to creativity when you're constantly touring, teaching, doing interviews and fund-raising? Lar Lubovitch is the latest to rebel against these conditions.
ENTERTAINMENT
February 17, 2002
Lewis Segal's Perspective on trading "bootleg" ballet videos brings up crucial questions about copyright law ("Psst--Wanna See a Ballet Video?," Feb. 10), the most important being making art available to the most people while not violating the copyright owners' ability to profit from their work. Since home video became a viable medium in the late '70s, hundreds of bootleg videos have hit the streets. Many violated clearly defined copyrights--and deserved to be stopped. However, many also brought to eager fans films/TV shows/concerts/performances that were thought "lost" or "unavailable."
ENTERTAINMENT
March 11, 2012 | By Susan Josephs, Special to the Los Angeles Times
Gideon Obarzanek can trace much of his artistic drive to a creative restlessness that stems, he says, "from an interest beyond pure dance. " "How can dance coordinate with other forms?" he asks. "This has been a creative engine for me, in that I've been able to make unique works. But it's also a frustration. Because a part of me always wants to go off and do other things and then I keep getting pulled back into a dance context. " Since founding the Australian dance company Chunky Move in 1995, Obarzanek has consistently pushed the boundaries of how contemporary dance can be viewed and understood through mining his omnivorous interests in theater, film, visual art, science and technology.
ENTERTAINMENT
September 27, 1991 | LEWIS SEGAL, TIMES DANCE WRITER
Los Angeles-based Aman Folk Ensemble will work in modern dance for the first time beginning this spring, collaborating with New York composer-choreographer Laura Dean under the auspices of a new national dance fund. The 24-month project, which will eventually enter Aman's repertory, will be funded by Philip Morris, the Lila Wallace-Reader's Digest Fund and the National Endowment for the Arts.
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