Gia photocopy full#

In the film, he also says, “Music is the basis, or a floor that we walk on.” But here, the floor is weighed down by too much legacy and too little imagination. Quinn Starner exudes a special luxuriousness, especially the way her crystalline épaulement shows off the angles of her head and shoulders Samuel Melnikov’s juicy jump has a way of lingering in the air, ever expanding through his long arms and fluent hands. Farley, here and elsewhere, creates slices of space in which dancers stand out from the crowd.

Gia photocopy full#

Unfolding in eight variations, “Architects” is book-ended by group sections that feature the full cast - eight men and eight women - as a moving organism scattering across the stage in arrangements of sleek turning jumps and leaps. What is the larger meaning? It seems less inspired by Balanchine ballets than by pictures of Balanchine ballets.

His score for “Architects of Time” is worth additional listens: It mines and manipulates Stravinsky’s music - sometimes in sprightly, shimmering ways - to create a new-old dancing sound.īut the ballet, which does the same with Balanchine’s repertory, ends up as a more or less polite showcase in which positions and postures, the angles of wrists and arms, don’t generate new choreography so much as mix together fragments from the past. For him, it was a gold mine - and even better, one that provided a theme onto which he could compose variations. At the time, he was the musical adviser to the dance critic Arlene Croce.

The work had its genesis with Israel, who found a photocopy of the song in the Harvard Theater Collection nearly 30 years ago.