Search results
Results from the WOW.Com Content Network
Deuce Coupe is considered the first "crossover ballet", a mix of ballet and modern dance. Later she choreographed Push Comes to Shove (1976), which featured Mikhail Baryshnikov and is now thought to be the best example of crossover ballet. On May 24, 2018, Tharp was awarded an honorary Doctor of Arts degree by Harvard University. [3]
Makarova then brought her to American Ballet Theatre, where she became a member of the corps de ballet. Raffa danced many roles, including dancing in Tharp's Push Comes to Shove with Baryshnikov. She later joined as principal dancer with Ballet de Santiago, Ballet National Francaise, then Miami City Ballet. [1]
Push Comes to Shove may refer to: Push Comes to Shove, a 1994 album by Jackyl; Push Comes to Shove, a rock song by Van Halen for their 1981 album Fair Warning; Push Comes to Shove, an animated short film by Bill Plympton; Push Comes to Shove, the title of both a book and a ballet by Twyla Tharp "Push Comes To Shove", a song by Aerosmith from ...
Baryshnikov, an ex-member of the New York City Ballet who in 2005 launched Baryshnikov Arts Centre in the city, was widely regarded as the leading male dancer in the 1970s and ’80s and was also ...
Schermerhorn conducted the 1977 television production of The Nutcracker, starring Mikhail Baryshnikov, Gelsey Kirkland and the American Ballet Theatre. He also conducted other ballets in which Baryshnikov appeared during the 1970s, such as Twyla Tharp's Push Comes To Shove.
Mikhail Baryshnikov was born in Riga, in the Latvian SSR, Soviet Union, now known as Latvia. [5] [6] His parents were ethnic Russians: his mother was Alexandra (a dressmaker; née Kiselyova) and his father was Nikolay Baryshnikov (an engineer).
And when push come to shove, last night, we knew that one of us could pull a fast one and evict each other last minute. But we decided we want to see two women at the end. We ran this season after ...
Tharp choreographed Push Comes To Shove for ABT and Baryshnikov in 1976; in 1986 she created In The Upper Room for her own company. Both these pieces were considered innovative for their use of distinctly modern movements melded with the use of pointe shoes and classically trained dancers—for their use of contemporary ballet.