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Robert Greskovic

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ENTERTAINMENT
June 14, 1998
In your layout for the review of my book "Ballet 101," you include a photograph of Mikhail Baryshnikov, with a caption dating the picture as a 1990 performance of "Push Comes to Shove" ("Ballet Education--a Turning Point?," by Jennifer Fisher, June 7). While the photo shows Baryshnikov in a characteristic moment from that ballet, the date cannot be accurate. Baryshnikov danced the performance for the videotape covered in my book in 1984. By that time, he was hardly performing the role anymore on stage.
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ENTERTAINMENT
June 14, 1998
In your layout for the review of my book "Ballet 101," you include a photograph of Mikhail Baryshnikov, with a caption dating the picture as a 1990 performance of "Push Comes to Shove" ("Ballet Education--a Turning Point?," by Jennifer Fisher, June 7). While the photo shows Baryshnikov in a characteristic moment from that ballet, the date cannot be accurate. Baryshnikov danced the performance for the videotape covered in my book in 1984. By that time, he was hardly performing the role anymore on stage.
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ENTERTAINMENT
June 7, 1998 | Jennifer Fisher, Jennifer Fisher, a former dancer and regular contributor to Calendar, is finishing her doctorate in dance history and theory at UC Riverside
'Classical ballet has a stable technique more or less familiar to everyone," philosopher Francis Sparshott has written, with enviable certainty. But he also adds, without missing a beat, that even when people don't understand ballet, "they will not feel that they have a right to their ignorance." That is the same sentiment articulated by a less formal philosopher: Carol the receptionist on the old "Bob Newhart Show."
ENTERTAINMENT
June 7, 1998 | Jennifer Fisher, Jennifer Fisher, a former dancer and regular contributor to Calendar, is finishing her doctorate in dance history and theory at UC Riverside
'Classical ballet has a stable technique more or less familiar to everyone," philosopher Francis Sparshott has written, with enviable certainty. But he also adds, without missing a beat, that even when people don't understand ballet, "they will not feel that they have a right to their ignorance." That is the same sentiment articulated by a less formal philosopher: Carol the receptionist on the old "Bob Newhart Show."
BOOKS
November 16, 2003 | Terry Teachout, Terry Teachout is the author of "The Skeptic: A Life of H.L. Mencken" and a forthcoming book on George Balanchine. He is a drama critic for the Wall Street Journal and music critic for Commentary. He also writes about the arts at www.terryteachout.com.
Is dance a major art form? By all rights, the question ought to be absurd. Terpsichore, after all, was one of the muses of Greek mythology, and for much of the 20th century she seemed to have taken up residence at ground zero of the modern movement in the arts.
ENTERTAINMENT
June 27, 1996 | ZAN DUBIN, TIMES STAFF WRITER
Marianna Tcherkassky, giving her last performance with American Ballet Theatre tonight after 26 years with the troupe, isn't expecting emotional meltdown as she takes those final few steps. She's got a dancer's workhorse attitude about it. "My concentration and focus are still on putting together the performance," she said, speaking by phone from New York last week. "I'm not sure when it will hit."
NEWS
December 26, 2000 | JESSICA GARRISON, TIMES STAFF WRITER
In the girls' dressing room, the gossip, nervous chatter, and makeup bottles fly at a furious pace. The dancer appears not to notice. Effortlessly, her legs extend into the splits, her back arches, her blister-covered feet roll and stretch. Her calm expression does not change. It is not until the 16-year-old from Costa Mesa bursts onto the stage that her somber mask cracks into a gorgeous, heaven-sent smile.
ENTERTAINMENT
February 18, 1996 | Lewis Segal, Lewis Segal is The Times' dance writer
Two years ago, for its annual gala at the Metropolitan Opera House in New York City, American Ballet Theatre mounted an all-Tchaikovsky program--a compendium of classic, neoclassic and contemporary choreography crowned by guest stars Nina Ananiashvili and Julio Bocca in what New York Times dance critic Anna Kisselgoff called "their pull-out-the-stops rendering of the Black Swan pas de deux." In 1995, the Met gala celebrated Twyla Tharp's return to Ballet Theatre after a five-year absence.
NEWS
October 11, 1995 | SONNI EFRON, TIMES STAFF WRITER
When the curtain rose last week at the Kirov Ballet, the tawny glint of the stage lights on the gilded, ornate theater sent a shiver through an audience that had come hoping the legendary, 212-year-old company, now mired in scandal, could still dazzle. But before the first act of "Don Quixote" was over, the thrill had faded into fidgets.
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