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| 008 | 181003s2002 enk||||fr 00| u|eng u | ||
| 040 | _aES-MaCDM | ||
| 100 | 1 |
_aBissell, Bill _9133835 |
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_aKeeping Dance _cBill Bissell _b Patricia Ruanne in conversation |
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_c2002: _bDance Books Ltd., _aAlton,Hampshire (UK) |
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| 300 | _a14 p. | ||
| 520 | _aPatricia Ruanne in conversation. Rudolf opened the door to something that I didn't know I possessed. The ideal is to understand how to get to that point of knowing what the search is about. Challenge was Rudolf's signature, he felt that each performance required a dancer to cross a personal barrier of skill and endurance. A revival can become an approximation of what was wanted - it may look like a diamond but it ain't. Ashton and MacMillan "spied"on the people they were working with. For me the choreographic element that marks both Cranko and MacMillan is that the movement they created feels completely natural to dance. Tatiana is the most perfect gift to a dancer. How many other ballets allow you to be a woman of your own age in the last act? PALABRAS CLAVE: Patricia Ruanne, life and career, Rudolf Nureyev, London Festival Ballet, Onegin, La Scala, Romeo and Juliet. | ||
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_tDance Now _074546 _wmyd_17706 _gVol. 11, núm. 1, Spring 2002, p. 50 - 64 |
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