3,473 research outputs found
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No 6 Anacruses, Boda en Nayarit, and Closing Ceremony
No full textParamount Theatre (Austin, TX). Choreography by Yacov Sharir, Kay Braden, Ballet Austin, Deborah Hay, Acia Gray. See full record (link below) for more details.Theatre and Dance93 minutes: 16 minutes/9 minutes/11 minutes/10 minutes/20 minutes/13 minutes/11 minutes/3 minute
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Documents, Group 11: Posters, press clippings; American Deaf Dance Company, Sharir Dance Company, Sharir+Bustamante Danceworks, Hartford Ballet, Austin Civic Ballet, Dance Repertory Theatre: 1970-1997
No full textPosters and press clippings for American Deaf Dance Company, Sharir Dance Company, Sharir+Bustamante Danceworks, Hartford Ballet, Austin Civic Ballet, and Dance Repertory Theatre, compiled by Yacov Sharir between 1970 and 1997.
See the "Finding Aid" in the left-hand column for item-level descriptions.Includes posters and press clippings for American Deaf Dance Company, Sharir Dance Company, Sharir+Bustamante Danceworks, Hartford Ballet, Austin Civic Ballet, and Dance Repertory Theatre between 1970 and 1997.Theatre and Danc
[The Austin Ballet Society at the Municipal Airport]
No full textPhotograph of members of the Austin Ballet Society posing on stairs in front of the Mueller Austin Municipal Airport, with the control tower in the background
Ballet Austin: So you think you can choreograph
No full textFrom 2006 to 2014, the professional US company Ballet Austin hosted an ambitious biennial competition, New American Talent/Dance, as an experimental platform to support “emerging” choreographers. However, after five seasons of this competition and despite self-reported success in meeting project goals to provide new learning experiences for participating choreographers, dancers, and audiences, Ballet Austin suspended the event. The reasons behind this decision, along with the insights gained through the process of producing these shows, reveal dimensions of US contemporary ballet in practice. This chapter illuminates how ballet pedagogy often fails the needs of contemporary ballet artists in the education of both future choreographers and the dancers who work with them, impacting not only the lives and careers of these artists but also, more generally, field aesthetics and development. The research further describes how audiences judged emerging choreographers, an analysis that may inform future lines of inquiry with regard to contemporary ballet and the sustainability of the field in the United States
A history of Austin Ballet Theatre at the Armadillo World Headquarters
No full textThe purpose of this qualitative historical inquiry is to investigate the performances of Austin Ballet Theatre at the Armadillo World Headquarters in Austin, TX from 1972 to 1980. Austin Ballet Theatre was an amateur ballet company performing classical and contemporary works at the Armadillo World Headquarters, a psychedelic music club. In addition to allowing for the composition of a historiography of this unusual pairing, the dissertation research results in multiple insights into an important, although largely unknown, period of cultural history in the Austin community. It also highlights how connections among diverse groups of people and practices not only iterated through the situation of practice then but continue to influence historical narratives about the ballet and how it is remembered.
The research was conducted using an oral history methodology with 19 participants representing a variety of perspectives on these ballet performances. These interviewees included dancers, mothers of the dancers, visual artists for both the ballet and the Armadillo, Armadillo staff, the lighting designer for the ballet, a dance critic for the newspaper, and audience members. Some documents, mostly newspaper reviews and articles along with playbills and broadsides, also emerged from the archives of the Austin History Center and the dancers’ private collections.
The use of open-ended oral history methods resulted in a constellation of analytical themes surrounding what the participants identified as the most important aspects of this history: learning through performing, and making ballet accessible to the community. Further investigation of these themes resulted in the questioning of sociocultural frames of ballet and how Austin Ballet Theatre’s practices functioned for dancers and audiences in this time and place.
The dissertation also investigates the narrative, discursive condition of history composition through the creation of a historiographic metafiction about Austin Ballet Theatre at the Armadillo World Headquarters. The metafiction, included as an appendix, provides an alternative way of experiencing the data towards fulfilling the research purpose of representing the multi-layered processes of qualitative historical inquiry. This research therefore supports a world-making view of dance practices and considers how such a perspective impacts historical narratives
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Carne en doce Escenabolos
No full textPerformance at the McCullough Theatre, UT-Austin. Sharir Dance Company Fifteenth Anniversary Crystal Season. Ashes deal with the idea of the circles of life and death, their inextricable linking, and how each of us is connected through these circles as human beings. Our actions affect everyone. With love to B.E.H. Carne en doce Escenabolos explores the Latin American universe of emotions where anguish, violence and disorder fuse with eroticism, dreams and mysticism. Neodanza is funded by Consejo Nacional de la ultura, Direccion Sectorial de Danza. Special thanks to: American Airlines, Dr. Carmelo Lauria and Ms. Silvia Mijares de Lauria and Alcaldia de Chacao. Choreography: Stephen Mills (Ashes); Alexey Taran (Carne en doce Escenabolos). Dance Company: Ballet Austin (Ashes); Neodanza (Carne en doce Escenabolos). Dancers: Margot Brown, Abel Carrejo, Andrea Comola, Chris Hannon, Shane Hogan, Darragh Lewis, Stephen Mills, Lisa Washburn (Ashes); Aais Battle, Rommel Nieves, Auraelena Pizani, Ines Rojas, Alexey Taran (Carne en doce Escenabolos). Music: Arvo Part (Ashes); BZ12= Miguel Noya + Wyzton Borerro (Carne en doce Escenabolos). Lighting: Tony Tucci (Ashes); Alexey Taran (Carne en doce Escenabolos). Costumes: Stephen Mills (Ashes); Neodanza (Carne en doce Escenabolos) . Set: Neodanza (Carne de doce Escenabolos). Video: Reinaldo Guedez, Eval Gonzalez, Alex Taran (Carne de doce Escenabolos) Montage: Cuts' Production (Carne en doce Escenabolos). Video Equipment: Pro Line Video (Carne en doce Escenabolos).Performance at the McCullough Theatre, UT-Austin.Theatre and Danc
Dr. Ashley Austin - Faculty Author Interview
No full textDr. Ashley Austin, Assistant Professor of Accounting, discusses a recent article in Contemporary Accounting Research, entitled “Improving Auditors’ Consideration of Evidence Contradicting Management’s Estimate Assumptions.” Dr. Austin’s research interests involve using experimental methods to understand and improve auditors’ judgments and decision making, with a focus on how to motivate auditors to exercise professional skepticism and be alert to fraud throughout the audit
Amy Austin 01
No full textAmy Austin wearing a light-colored dress with poofy sleeves and skirt and ballet slippers. The original description of the photo negative strip included Amy Austin , Fred Felma , and Rutherford Rogers .https://scholarworks.uni.edu/uniphotos/3870/thumbnail.jp
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Publicity Articles
No full textArticle about the Ballet Austin Fete Gothic event, the One Country Concert, and La Cage: Vegas in Austin
Professor Austin Jaquith Wins American Prize
No full textDr. Austin Jaquith, associate professor of music theory and composition at Cedarville University, placed third in the American Prize for an original ballet score
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