In the Wings

Kyle Froman

Description

"Here is New York City Ballet as it really is- the good, the not so good, and the majestically beautiful. It's a true story, and it's told by someone who can honestly claim that he was there."
Foreword by Peter Martins.

Acknowledgments.

Introduction.

Section : 10:15 a.m.

Section Two: 11:30 a.m.

Section Three: 2:15 p.m.

Section Four: 6:15 p.m.

Section Five: Showtime.

Sujets

• Styles
• Genres
• In the Wings
• Music
• Ballet

Informations

• Publié par: Turner Publishing Company
• Date de parution: 16 décembre 2010
• Nombre de lectures: 0
• EAN13: 9781118039281
• Langue: English

Extrait

Table of Contents
 
Title Page
Dedication
Copyright Page
Foreword
Acknowledgments
Introduction
 
10:15 A.M.
11:30 A.M.
2:15 P. M.
6:15 P. M.
SHOWTIME

For Andrew
This book is printed on acid-free paper.
Text and photographs copyright © 2007 by Kyle Froman. All rights reserved
Lincoln Center and Lincoln Center for the Performing Arts names and logos are registered trademarks of Lincoln Center for the Performing Arts, Inc., in the United States and other countries. Used here by license.
Published by John Wiley & Sons, Inc., Hoboken, New Jersey
Published simultaneously in Canada
Wiley Bicentennial Logo: Richard J. Pacifico
All ballets by George Balanchine are copyrighted by The George Balanchine Trust, with the exception of Symphony in C , which is copyrighted by the School of American Ballet. All ballets by Jerome Robbins are copyrighted by The Jerome Robbins Trust. The copyright in the remainder of the choreography depicted in this book is held by the individual choreographers. Depictions of NewYork City Ballet, its dancers, and its productions are courtesy of New York City Ballet.
Design and composition by Navta Associates, Inc.
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Library of Congress Cataloging-in-Publication Data:
Froman, Kyle, 1976-
In the wings : behind the scenes at the New York City Ballet / Kyle Froman. p. cm.
ISBN 978-0-470-17343-5 (cloth)
1. New York City Ballet—Anecdotes. 2. New York City Ballet—Pictorial works. 3. Froman, Kyle, 1976—Anecdotes. I. Title.
GV1786.N4F76 2007
792.809747’1—dc22
2007024556
Peter Martins rehearses a child for Mozartiana . Choreography by George Balanchine.
Foreword
by Peter Martins Ballet Master in Chief, New York City Ballet
 
COUNTLESS PHOTOGRAPHERS HAVE SPENT THEIR CAREERS SHOOTING dance, often at the New York City Ballet. The one thing virtually all of them have in common is that they’ve aimed their lenses from the audience.
The photographs in this book are different.When Kyle Froman set out to document the NYCB, he was like a wartime photographer embedded with the troops. His pictures give witness to the advances—and the “casualties”—of a season in the life of our company.
Only a dancer could have accomplished this so successfully. Only a dancer in the company would have such unparalleled access. And only a dancer would have such a finely tuned instinct for how to use it.
Kyle is a child of the NYCB. Like many of our dancers, he joined us at a young age and in a real way grew up here. For more than a decade, he has spent twelve hours a day inside the walls of Lincoln Center, studying under the tutelage of some of the great masters of the ballet world. Like his colleagues, he’s eaten and sometimes slept here, celebrated milestones here, laughed and probably cried here. His family consists of one hundred of the world’s most gifted dancers, many of them younger than thirty. Most of them can describe every inch of the New York State Theater and every step of choreography in a hundred different ballets.
That’s the background that Kyle brought to his journey into photography. It all started very quietly: one day he showed up for company class with a camera slung over his sweatshirt. After his own rehearsals ended, he’d sit on the floor cross-legged and shoot his colleagues. Soon, he and his camera became a common sight around the theater. He was photographing his fellow dancers inside the makeup room, in wardrobe, in the physical therapy room. And at each night’s performance, it seemed, he was in the wings, shooting our productions from behind the scenes. Anyone else would have been perceived as a voyeur. But Kyle is a member of the family. And so we just went about our business.
When he brought his work to show me for the first time, I was impressed. It was a stunning marriage of photojournalism and art. The view he presented of our dancers was unusually intimate, and often raw in its honesty. But there was also an unmistakable feeling of love.
His perspective was familiar to me: when I joined the New York City Ballet as a young dancer, I used to stand in the wings every night, watching the world’s greatest repertory. There’s something extraordinary about watching these ballets being performed close-up; no house seat can compare to what you see from there. The photographs offered a glimpse of a world the public almost never gets to see.
It became clear that Kyle’s gift for dance was just part of a larger artistic sensibility (which isn’t so unusual—some of our dancers have become choreographers and even composers).We gave him his own section on our company Web site, and started publishing his photos in our literature. It was just a matter of time before he was offered an opportunity to showcase his work in a book.
Here is New York City Ballet as it really is—the good, the not so good, and the majestically beautiful. It’s a true story, and it’s told by someone who can honestly claim that he was there.