“Patricia Ruanne: A Conversation With a Ballet Répétiteur” is from the Document(s) series, a library of commentary on people and issues in the dance field. This repository of essays includes interviews by writers and thinkers on dance, as well as “dance discursions,” which offer opportunities for reflection on the field of dance commissioned by The Pew Center for Arts & Heritage.
For the dancer, learning a role is more than simply memorizing a series of steps, particularly in the realm of ballet where dances are frequently restaged long after the choreographer has died. Individual coaching and mentoring is essential to the interpretation of a role. Ballet répétiteurs work one-on-one with dance artists to articulate and find the essence of a character or particular portrayal that becomes distinctive to their physicality. This article, along with “Georgina Parkinson: A Dancer in Her Time / Making the Blueprint” and “Julie Lincoln, Répétiteur: Inhabiting the Bodies of Others,” offers a glimpse into the life of an influential woman who inhabited this role.
This interview took place on March 2, 2001, at the Palais Garnier in Paris, where Ruanne was engaged with the restaging of Kenneth MacMillan’s Manon for the Paris Opera Ballet.
From the interview:
“Patricia Ruanne is concerned with the abiding aesthetic and ethical values that constitute ballet as an art form. In this world, artistic values are informed by aesthetics as well as ethics. Her impressive record as a dance artist—as performer, coach, ballet mistress, répétiteur—has yielded a remarkable career. Ruanne’s articulate assessment of the European ballet scene is framed by her early years spent in the Royal Ballet schools and companies, the 1960s through the early 1980s—a period marked by prolific creativity and strong performing personalities—as well as by her long and formative working association with Rudolf Nureyev.”
In 1993 the Center awarded Pew Fellowships to 16 Philadelphia-based artists, and grants to 13 dance organizations in the greater Philadelphia region.
In June 2013, Pennsylvania Ballet presented the Center-funded company premiere of William Forsythe’s Artifact Suite, which was previewed by ABC 6 Action News.
Steve Cosson is the founding artistic director of The Civilians, a New York City-based company that supports the development and production of new theater from creative inquiries.
Dancing Diplomats follows choreographer Taras Lewyckyj’s work with Ukrainian artist Anatoly Kryvochyzha, whose choreography was blacklisted by the USSR in 1977.
Karina Muñiz is currently the political director of Mujeres Unidas y Activas, a grassroots organization of Latina immigrant women based in California.
A workshop and small grant opportunity, No Idea Is Too Ridiculous allows Center constituents to explore creativity and risk-taking.
Drexel’s Legacy Center worked with a diverse planning team to develop dynamic digital programming for teens that will explore issues of gender disparity and women’s history.
We asked Oliver, a choreographer and dance professor, “Should we dance in museums?”
WXPN general manager Roger LaMay talks with us about how digital platforms have shifted the role of curation in radio, the importance of collaboration in reaching new audiences, and what distinguishes WXPN from other media outlets.
The Philadelphia Folklore Project will undergo a major organizational restructuring and launch the Folklore Congress, an annual event that serves over 300 members of the folk arts community.
Pattie McCarthy, a 2011 Pew Fellow, has established herself as a serious and ambitious young poet with a strong sense of language and tradition.
EgoPo Classic Theater transforms classic theater and literature into provocative performances, placing equal emphasis on text, vocals, and movement. Its