Letters

Letters 08-31-2015

Inalienable Rights This is a response to the “No More State Theatre” in your August 24th edition. I think I will not be the only response to this pathetic and narrow-minded letter that seems rather out of place in the northern Michigan that I know. To think we will not be getting your 25 cents for the movie you refused to see, but more importantly we will be without your “two cents” on your thoughts of a marriage at the State Theatre...

Enthusiastically Democratic Since I was one of the approximately 160 people present at when Senator Debbie Stabenow spoke on August 14 in Charlevoix, I was surprised to read in a letter to Northern Express that there was a “rather muted” response to Debbie’s announcement that she has endorsed Hillary Clinton for president...

Not Hurting I surely think the State Theatre will survive not having the homophobic presence of Colleen Smith and her family attend any matinees. I think “Ms.” Smith might also want to make sure that any medical personnel, bank staff, grocery store staff, waiters and/or waitress, etc. are not homosexual before accepting any service or product from them...

Stay Home I did not know whether to laugh or cry when I read the letter of the extremely homophobic, “disgusted” writer. She now refuses to patronize the State Theatre because she evidently feels that its confines have been poisoned by the gay wedding ceremony held there...

Keep Away In response to Colleen Smith of Cadillac who refused to bring her family to the State Theatre because there was a gay wedding there: Keep your 25 cents and your family out of Traverse City...

Celebrating Moore And A Theatre I was 10 years old when I had the privilege to see my first film at the State Theatre. I will never forget that experience. The screen was almost the size of my bedroom I shared with my older sister. The bursting sounds made me believe I was part of the film...

Outdated Thinking This letter is in response to Colleen Smith. She made public her choice to no longer go to the State Theater due to the fact that “some homosexuals” got married there. I’m not outraged by her choice; we don’t need any more hateful, self-righteous bigots in our town. She can keep her 25 cents...

Mackinac Pipeline Must Be Shut Down Crude oil flowing through Enbridge’s 60-yearold pipeline beneath the Mackinac Straits and the largest collection of fresh water on the planet should be a serious concern for every resident of the USA and Canada. Enbridge has a very “accident” prone track record...

Your Rights To Colleen, who wrote about the State Theatre: Let me thank you for sharing your views; I think most of us are well in support of the first amendment, because as you know- it gives everyone the opportunity to express their opinions. I also wanted to thank Northern Express for not shutting down these types of letters right at the source but rather giving the community a platform for education...

No Role Model [Fascinating Person from last week’s issue] Jada quoted: “I want to be a role model for girls who are interested in being in the outdoors.” I enjoy being in the outdoors, but I don’t want to kill animals for trophy...

Home · Articles · News · Features · Dancers celebrate 20 years
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Dancers celebrate 20 years

For Pascal Rioult, the founder and choreographer of RIOULT Dance NY, the troupe’s 20th anniversary is no time to rest on its laurels.

Ross Boissoneau - June 16th, 2014  

“We’re preparing for our New York season right now,” Rioult said during a break in rehearsals.

Rioult founded the group in 1994; today it is recognized as one of the leading dance troupes in the nation, touring worldwide and presenting an annual New York season.

Interlochen hosts RIOULT Dance NY for a performance at Corson Auditorium June 26. The program will include “Views of the Fleeting World” (2008) and portions of Rioult’s Ravel Project. “Wien” dates from 1995, and “Bolero” from 2002.

“It’s music I love,” said Rioult of his fellow Frenchman Maurice Ravel.

Ravel’s most famous piece, “Bolero,” was originally composed for ballet. It consists of a repetitive riff or melodic line that gradually incorporates the entire orchestra. In the dance, Rioult sought to mirror the slowly building theme in the same way for the dancers.

Ravel began composing “Wien” (Vienna) in 1906 as a tribute to the music of Johann Strauss Jr. and the concept of the fantastic whirl of destiny. It morphed over time into “La Valse” and wasn’t finished until 1920. By that time, Vienna was in the midst of famine and epidemic in the wake of World War I, so the concept of destiny had taken on a bitter tone.

Rioult kept the waltz, but interrupts the smooth progress of the traditional circling movements with incongruous, at times violent movements. Thus the Viennese waltz, the very image of social refinement, becomes the symbol of a disintegrating society taken into a whirlpool of violence and humiliation.

“It’s like dancing on a volcano,” said Rioult. “It’s twisted until it tumbles apart. It’s a maelstrom of violence and release.”

A former star athlete in France, Rioult turned to dance and came to the United States on a fellowship from the French Ministry of Culture to study modern dance in 1981. After performing with the companies of May O’Donnell and Paul Sanasardo he was invited to join the Martha Graham Dance Company.

As a principal dancer with Graham, he interpreted many of the most prestigious roles in the repertory. In 1990, Graham created the central role of Death Figure in her ballet Eye of the Goddess for him.

Rioult formed his own company four years later to create his own dances, among them “Martha, May and Me,” in which he pays homage to his mentors O’Donnell and Graham.

Asked whether the dances or the music come first, Rioult said, “It depends. They come from the (existing) music, or I have the dance moves in my head, and from the dance images comes the music.”

Rioult said he likes to challenge himself by imposing arbitrary rules. “I try to give myself a challenge choreographically. The music of ‘Wien’ sounds like a whirlpool, so the dance is a circle.”

Rioult has found inspiration in nature, in Japanese wood blocks, in the music of Bach – sometimes all of this and more.

For “Views of the Fleeting World,” Rioult chose Bach’s “The Art of the Fugue,” melding Bach’s Germanic music with Asian motifs.

“Somehow, his extraordinary German mind went with Asian philosophy, Bach and the Japanese print,” Rioult added. “I don’t know exactly why.”

“As an artist, you work first on instinct. Eventually you find out why (you made certain choices). That’s the most exciting part of my job – the ‘Ah hah!’ moment.

RIOULT Dance NY includes ten dancers plus two apprentices (and unlike most touring dance troupes, RIOULT members are fulltime employees with benefits).

“My dancers are all there for me. They are hired and work all year together. It’s 36 to 39 weeks, six hours a day, five days a week,” he said.

Rioult is especially excited about a visit to Interlochen, where troupe member dancer Holt Walborn studied.

“We’ve wanted to be at Interlochen. It will be a great program.”

For tickets and more information, go to Interlochen.tickets.org.

 
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