An early morning practice session assembles in the School of American Ballet. Original color inkjet print on fine art paper 11" x 17" by Tony Zaza , one of the first photographers given permission to record the Balanchine classes. One of a series of original stills were taken in conjunction with the first documentary film made about the school. (1971) Signed, Limited Edition. Semi-GLoss Photo Paper or Matte Rice Paper. Shipped rolled. less
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Meet the dancers, choreographers, directors, and companies on our 2024 "25 to Watch" list. We're betting we'll be seeing more of them.
Highlights "Expertly choreographed and long overdue, this is the nuanced reckoning ballet needs, ballerinas deserve, and all feminists should note. Author(s): Alice Robb 304 Pages Performing Arts, Dance Description About the Book This "is Robb's excavation of her adolescent years as a dancer, and an exploration of how those days informed her life for years to come. As she grapples with the pressure she faced as a student at the storied School of American Ballet, she explores the fates of her former classmates as well. ... Along the way, Robb weaves in the myths of famous ballerinas past and present, from the groundbreaking Misty Copeland, to the controversial George Balanchine. Ballet does not exist in a vacuum: it is a laboratory of womanhood, a test-tube world in which traditional femininity is exaggerated. By exploring the psyche of a dancer, [this book] grapples with the contradictions and challenges of being a woman today"-- Book Synopsis "Expertly choreographed and long overdue, this is the nuanced reckoning ballet needs, ballerinas deserve, and all feminists should note." -Oprah Daily An incisive exploration of ballet's role in the modern world, told through the experience of the author and her classmates at the most elite ballet school in the country: the School of American Ballet. Growing up, Alice Robb dreamed of becoming a ballet dancer. But by age fifteen, she had to face the reality that she would never meet the impossibly high standards of the hyper-competitive ballet world. After she quit, she tried to avoid ballet--only to realize, years later, that she was still haunted by the lessons she had absorbed in the mirror-lined studios of Lincoln Center, and that they had served her well in the wider world. The traits ballet takes to an extreme--stoicism, silence, submission--are valued in girls and women everywhere. Profound, nuanced, and passionately researched, Don't Think, Dear is Robb's excavation of her adolescent years as a dancer and an exploration of how those days informed her life for years to come. As she grapples with the pressure she faced as a student at the School of American Ballet, she investigates the fates of her former classmates as well. From sweet and innocent Emily, whose body was deemed thin enough only when she was too ill to eat, to precocious and talented Meiying, who was thrilled to be cast as the young star of the Nutcracker but dismayed to see Asians stereotyped onstage, and Lily, who won the carrot they had all been chasing--an apprenticeship with the New York City Ballet--only to spend her first season dancing eight shows a week on a broken foot. Theirs are stories of heartbreak and resilience, of reinvention and regret. Along the way, Robb weaves in the myths of famous ballet personalities past and present, from the groundbreaking Misty Copeland, who rose from poverty to become an icon of American ballet, to the blind diva Alicia Alonso, who used the heat of the spotlights and the vibrations of the music to navigate space onstage. By examining the psyche of a dancer, Don't Think, Dear grapples with the contradictions and challenges of being a woman today. Review Quotes "I don't think I've ever felt so seen by an author: Alice Robb says aloud the conundrums I've been wrestling with since adolescence but wasn't able to put into words. Her storytelling prowess and sharp analysis help contextualize my own experience in the ballet in a way I didn't realize I needed. I wouldn't trust anyone but Alice Robb in handling a subject so close to my heart." -- Sophie Flack, author of Bunheads and former dancer with the New York City Ballet "Don't Think, Dear is an enlightening, perceptive and, ultimately, sad book. Ms. Robb evokes the romance of ballet while revealing its dark side and asks tough questions that have no clear answers." -- Wall Street Journal "Don't Think, Dear is a feminist interrogation of ballet. It's also, in its way, hopeful." -- Washington Post "A rigorous yet loving examination of a childhood passion told through a feminist lens. Don't Think, Dear is full of clarity, even about questions that will never get completely clear answers." -- Rebecca Traister, New York Times bestselling author of Good and Mad "At once a tribute to the art form that shaped her and an exploration of a 'beautiful pain cult, ' this engaging book will appeal to dance lovers and anyone interested in the entangled nature of patriarchy, race, and ballet. An elegantly incisive, meditative work." -- Kirkus Reviews "A beautiful, difficult, and compelling memoir." -- Vanity Fair "Don't Think, Dear is powered by a fundamental love of the art form while exposing the toxic culture that runs through it." -- The Guardian "[Robb's] timely book is a critical yet personal examination of classical ballet - a performing art highly dependent on the talent of women - filtered through the lens of 21st-century feminism... she brings a welcome academic rigour to a subject clearly born of deeply held emotions." -- The Times (UK) "Insightful... Robb provides searing glimpses of life behind the curtain, and captures her appreciation for ballet's "hyperfeminine trappings." This will deepen readers' understanding of the insular world of ballet." -- Publishers Weekly "Don't Think Dear - the title is a saying of Balanchine's - is part memoir, part investigation, and enthralling whether or not you have any knowledge of ballet." -- New Statesman "Robb brings analysis, intelligence and a feminist lens to this insightful book." -- Pointe Magazine "[Robb] captures ballet's romance as well as its dark and traumatic side." -- Library Journal "Expertly choreographed and long overdue, this is the nuanced reckoning ballet needs, ballerinas deserve, and all feminists should note." -- Oprah Daily "Nuanced, intimate." -- The Guardian "A study of an obsession remarkable for its nuance and insight...succeeds in conveying, in a refreshingly unromantic way, what is still valuable about the art form." -- Times Literary Supplement (London) "If you ever dreamed of dancing, Robb's book will allow you to unpack your own past, undoing the self-censorship learned in a culture that rarely takes the aspirations and ambitions of girlhood seriously." -- New Republic "This riveting memoir-meets-critical-appraisal examines classical ballet, revealing it to be less career, more cult -- and as psychologically and physically brutal as it is beautiful" -- Daily Mail (UK) "Neither romanticizing or decrying the dance world, Robb beautifully explores the push-pull of masochism and perfectionism--preoccupations not just relevant to aspiring dancers, but to anyone who's ever pursued an almost-impossible dream." -- Ada Calhoun, New York Times bestselling author of Why We Can't Sleep and Also a Poet "Alice Robb has written an enlightening and deeply readable book about the world of professional ballet -- and through it the way young women in general shape their bodies and psyches to meet the expectations of an unforgiving world. Robb, who carries her reporting lightly, is a born storyteller, one of those writers who grab your interest and keep it." -- Daphne Merkin, author of 22 Minutes of Unconditional Love "Don't Think, Dear is an extraordinary book full of poignant storytelling and profound insights. Robb masterfully weaves memoir, reportage, and criticism into a superbly crafted meditation on ballet and its broader cultural impact." -- Marisa Meltzer, author of Glossy and This is Big "Here is a memoir, a love letter, a cultural history, and a long-awaited reckoning of the most iconic feminine ideal. Robb's intimate and frank examination of ballet's legacy--both in and outside of studios and performance halls--shows us all the many ways it continues to shape our lives and bodies. Chapter to chapter, this book is both brutal and beautiful, like its subject." -- Sarah Gerard, author of Sunshine State and True Love
Woodbury resident Lindsey Oppel is a second-year student at the School of American Ballet in New York City.
Model Jessica Stam attends American Ballet Theatre 2013 Opening Night Fall Gala at David Koch Theatre at Lincoln Center on October 30, 2013 in New York City.
Before spending a summer at Los Angeles Ballet School, Lillian Glasscock had never learned a Balanchine variation. "The stylistic differences, like preparing for a pirouette with a straight back leg, were at first very challenging," says Glasscock, 17. "But it soon got easier."
Married couple and former American Ballet Theatre principals Irina Dvorovenko and Maxim Beloserkovsky share their advice for an essential partnering element: fish dives.
Lauren Swickard muda lebih suka menari terutama balet. Bahkan ia menghadiri School of American Ballet dan menari secara profesional di sana. Namun seiring bertambahnya usia, ia beralih di bidang akting. Di tahun 2011, ia mulai mendapatkan peran kecil dalam sebuah film pendek yang berjudul Lilly’s Curse (2011). Setelah itu ia tergabung dalam serial TV Sid Roth's...
A new book from NYC Dance Projects captures the stunning athleticism of ballet.
Ever wonder what it's like to be part of American Ballet Theatre's studio company? The pre-professional arm of ABT trains hard and performs harder, putting on multiple shows over the course of each season. We followed ensemble member Léa Fleytoux, a gifted 18-year-old from Paris, France, on a performance day to get an inside look at life in the Studio Company.
Meet the dancers, choreographers, directors, and companies on our 2024 "25 to Watch" list. We're betting we'll be seeing more of them.
Photographer Bruce Weber has produced two new books—including nude portraits of ballet dancer Roberto Bolle, and never-before-seen images of Michael Jackson. VIEW OUR GALLERY
Misty Copeland is more than one of the greatest ballet dancers in the world, now she’s quite literally a work of art.
From Misty Copeland to Alicia Alonso and Michaela DePrince, these ballet dancer achieved much more than just their dream career. More on Redonline.co.uk
Analog beauty is on display in David Teran's stunning photography project, "Hasselblad Ballet."
Meet the dancers, choreographers, directors, and companies on our 2024 "25 to Watch" list. We're betting we'll be seeing more of them.
Christopher Rudd’s pas de deux Touché, choreographed for American Ballet Theatre during the onset of the pandemic, follows dancers João Menegussi and Calvin Royal III through a charged, vulnerable ...
Misty Copeland was just named the first black principal dancer at the prestigious American Ballet Theatre. Here, she talks about her journey.
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Are you looking to gain flexibility and strength in your arabesque? Many dancers are unsatisfied with the height of their back leg, and believe intense stretching is the best way to increase extension in the arabesque position. "However," says American Ballet Theatre physical therapist Julie Daugherty, "dancers are often surprised how much their arabesque can be improved by spending time doing strengthening exercises to control the motion, rather than spending a lot of time just stretching into the position."
Burn calories off with these awesome exercises! Whether you want to get rid of belly fat, or slim your waste or arms, these will work for you!
Explore ADiamondFellFromTheSky's 1157 photos on Flickr!
Carlos Acosta, whose adaptation of Carmen is currently packing them in at Covent Garden, will bid farewell to the Royal Opera House in 2016. A new book, Carlos Acosta at The Royal Ballet, presents highlights from his electric performances with the company
