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	<title>Berkshire Review, an International Journal for the Arts &#187; Dance</title>
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	<description>Classical Music, Opera, Theatre, Photography, Art</description>
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	<itunes:summary>Classical Music, Opera, Theatre, Photography, Art</itunes:summary>
	<itunes:author>Berkshire Review, an International Journal for the Arts</itunes:author>
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	<copyright>&#xA9; 2010 Michael Miller</copyright>
	<itunes:subtitle>A Podcast from the Berkshire Review for the Arts</itunes:subtitle>
	<itunes:keywords>classical music, opera, theatre, dance, art, photography, literature, travel, food, wine</itunes:keywords>
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		<title>Berkshire Review, an International Journal for the Arts &#187; Dance</title>
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		<title>Roland Petit with the Paris Opera Ballet</title>
		<link>http://berkshirereview.net/2010/10/roland-petit-paris-opera-ballet/</link>
		<comments>http://berkshirereview.net/2010/10/roland-petit-paris-opera-ballet/#comments</comments>
		<pubDate>Fri, 08 Oct 2010 01:19:18 +0000</pubDate>
		<dc:creator>Andrew Miller</dc:creator>
				<category><![CDATA[Dance]]></category>
		<category><![CDATA[Brassai]]></category>
		<category><![CDATA[Georges Neveu]]></category>
		<category><![CDATA[Henri Dutilleux]]></category>
		<category><![CDATA[Jacques Prévert]]></category>
		<category><![CDATA[Jean Anouilh]]></category>
		<category><![CDATA[Jean Cocteau]]></category>
		<category><![CDATA[Johann Sebastian Bach]]></category>
		<category><![CDATA[Le Ballet de l'Opéra national de Paris]]></category>
		<category><![CDATA[Pablo Picasso]]></category>
		<category><![CDATA[Roland Petit]]></category>

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		<description><![CDATA[In the decade after the second world war, Paris and London, in addition to the big national companies, supported a myriad of small and prolific ballet companies. One of these was Boris Kochno's Ballets des Champs-Elysées. Kochno had been Serge Diaghelev's secretary in the Ballets Russes days, so in a way it was he who inherited the Ballets Russes tradition in Europe while Colonel de Basil and Serge Denham's two respective Ballets Russes spin-offs were still touring the US and Australia. Kochno, as artistic director, founded the company with writer Jean Cocteau, and dancer and choreographer Roland Petit, who had trained in the Paris Opera Ballet School and danced in the corps de ballet until the Liberation. In 1948 Petit started his own small company, the Ballets de Paris, which only lasted a few years, but managed to cause great excitement in Paris and travelled well to London. Indeed, he worked with Margot Fontaine several times. We don't often get to see his ballets nowadays (though there are also a great many other modern ballets from those years, even some of Michel Fokine's, that don't get much air either), but the Paris Opera Ballet is currently showing three of Petit's short pieces, Le Rendez-vous (1945), Le Loup (1953) and Le Jeune Homme et La Mort (1946) which have been in the national company's repertoire since 1992, 1975 and 1990 respectively.]]></description>
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		<title>Radio City—A Great Escape?</title>
		<link>http://berkshirereview.net/2009/11/radio-city-music-hall-rockette/</link>
		<comments>http://berkshirereview.net/2009/11/radio-city-music-hall-rockette/#comments</comments>
		<pubDate>Tue, 24 Nov 2009 04:30:13 +0000</pubDate>
		<dc:creator>Renée Dumouchel</dc:creator>
				<category><![CDATA[Dance]]></category>
		<category><![CDATA[Radio City Music Hall]]></category>
		<category><![CDATA[Rockettes]]></category>

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		<description><![CDATA[Why do we go to the theater? To learn? To be inspired? To infuse our eyes and our minds with culture and history? Yes. Yes. And yes. Nevertheless, deep down, beyond the pretension, the academia, and the commentary, what is at the essence of why we attend a performance? To escape. To have, for an hour or two, the divine pleasure of slipping into another world, another life—one where your problems, your hopes, your daily duties are null and void, and for one small moment, it is acceptable, and expected, to abdicate your own life for the sake of immersing yourself in someone else’s. When have we needed an escape—a fantasy—more than now?]]></description>
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		<title>The Kirov Ballet in London</title>
		<link>http://berkshirereview.net/2009/09/kirov-ballet-in-london-petipa-sergeyevbalanchine/</link>
		<comments>http://berkshirereview.net/2009/09/kirov-ballet-in-london-petipa-sergeyevbalanchine/#comments</comments>
		<pubDate>Tue, 08 Sep 2009 19:41:06 +0000</pubDate>
		<dc:creator>Huntley Dent</dc:creator>
				<category><![CDATA[Dance]]></category>
		<category><![CDATA[Summer Retrospective]]></category>
		<category><![CDATA[Balanchine]]></category>
		<category><![CDATA[Kirov Ballet]]></category>
		<category><![CDATA[Tchaikovsky]]></category>

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		<description><![CDATA[To its real purists, classical ballet is like the ancien regime to royalists—the woman next to me, who had flown to London from San Francisco, adored the majestic Kirov Ballet unreservedly, unless they did Balanchine. She wanted the old standbys again and again, a perpetual merry-go-round of dance in the nineteenth century. At nearly $175 a ticket, she was attending all three performances of The Sleeping Beauty, including two in one day, and could detail differences in the styles of second-tier ballerinas in the company, never mind the stars. I felt abashed. But after seeing one Sleeping Beauty and a three-part program entitled Homage to Balanchine, I came away feeling closer to the Kirov, which is like feeling closer to Versailles.]]></description>
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		<title>Dorian Gray  Choreographed by Matthew Bourne, Sadler&#8217;s Wells Theatre</title>
		<link>http://berkshirereview.net/2009/07/dorian-gray-matthew-bourne-sadlers-wells/</link>
		<comments>http://berkshirereview.net/2009/07/dorian-gray-matthew-bourne-sadlers-wells/#comments</comments>
		<pubDate>Tue, 21 Jul 2009 13:53:23 +0000</pubDate>
		<dc:creator>Huntley Dent</dc:creator>
				<category><![CDATA[Dance]]></category>
		<category><![CDATA[Summer Retrospective]]></category>
		<category><![CDATA[gay sex]]></category>
		<category><![CDATA[Sadler's Wells]]></category>

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		<description><![CDATA[Supermodels gone Wilde. At first glance there doesn't seem to be much that would attract a choreographer in The Picture of Dorian Gray, a book that's not long on action of any kind, or plot for that matter. But plot turns out to be essentially meaningless in Matthew Bourne's modern dance adaptation, with the title [...]]]></description>
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