|
Women's Wear Daily: Aspen's top places and happeningsAspen Art Museum celebrates the big 4-0 with solo exhibits by Swiss artist John Armleder and Rashid Johnson, whose collaboration with choreographer Claudia Schreier for a specially commissioned video and sold-out performance is a first for the New York-based artist.
|
|
A vital voice of his generation: Rashid Johnson on "The Hikers""Both museum shows — at the Aspen Art Museum and the Museo Tamayo in Mexico City — will feature a seven-minute film Johnson recently made, 'The Hikers.' 'It is about two younger black men who are hiking, one ascending the mountain on a hike at Aspen and the other descending,' Johnson says.
'I collaborated with choreographer [Claudia Schreier]. We worked together to figure out a set of movements that borrow from ballet and from what I describe as ‘anxious movements.’ I was asking, ‘What are the movements like when a black man is walking past a police officer? Or when a black man is suffering from agoraphobia?’ 'The Hikers' represents a new stage in Johnson’s increasingly supple take on race — race as a function of emotion and inner life as much as politics and injustice." |
|
At the Palace of Versailles, a young and dynamic production of
|
|
Broadway World Review II: Schreier's "Stunningly Beautiful" Passage"Claudia Schreier's Passage, which premiered in early May, marks both the 50th anniversary of DTH and the 400th of the arrival in America of the first slave ship. Except for the stunningly beautiful representation by two teams of three dancers each of a couple of dolphins that might have passed the ship during the journey, Schreier doesn't depict or literally dramatize the passage from Africa to North America. Rather, she finds movement for the dancers of DTH which reveals the spirited lives of the people. Often, during a sustained lift, a pair of dancers form a shape that then moves as a unit--a novel way of creating vocabulary for a historic dance form. Schreier's use of Jessie Montgomery's lively score resembled the way Balanchine used to "solve" Stravinsky with the choreography."
|
|
Broadway World Review I: Dance Theatre Of Harlem Sets Tone
|
|
In Kennedy Center’s Ballet Across America, a women’s movement"There’s a provocative entwining of art and social consciousness here, particularly in the pieces by McIntyre and Schreier . . . Schreier’s sweeping 'Passage' deals less directly with its subject, the slave trade, with a focus on the resilience of the human spirit. This piece for a dozen dancers has a lot of moving parts, yet Schreier controls the flow firmly and sustains it . . . [at the end is] the sudden arrival of two powerful images: a man falling backward in a deliberately off-balance and impressively slow, melting arc, then being raised by the ensemble, appearing to fly toward a distant light in a breathtaking finish."
|
|
Dance Theatre of Harlem at the Kennedy Center's Ballet Across America"It's a stunning ballet infused with vivid imagery . . . Passage feels fresh, and it comes across, impressively, as both classical and yet abstract. Schreier is very cognizant of lines and shapes and space and possibilities. She skillfully utilizes stillness and swingingly fast footwork and tucks in surprises. The audience audibly gasped with wonder and spontaneously clapped when female dancers held aloft by males took huge arching dives as if swimming and coming up for air."
|
|
Dance Theatre of Harlem Kicks Off Ballet Across America
|
|
Passage was commissioned by the Virginia Arts Festival and 2019 Commemoration, American Evolution. It is a signature event for Virginia’s reflection of historic events that transpired 400 years ago, including the arrival of the first Africans to British North America, the recruitment of large numbers of English women to the colony, and the establishment of the first democratic body in the colonies. The ballet is evocative of the struggle and determination necessary to work through those various firsts of 1619. It will be performed at The Kennedy Center in Washington in late May. “It is a way to acknowledge the resolve of the human spirit,” Schreier said.
|
|
Dance Theatre of Harlem Celebrates 50th Anniversary in Norfolk“It’s a real honor to be able to take this moment and look back to see how we move forward,” Claudia recalls. The process of creating the work has been a special one for her, in part as a woman of color, and as someone who values the impact of Dance Theatre of Harlem on culture, and the dance world at large.
|
|
Another View Producer and Guest Host Lisa Godley talks with award-winning choreographer Claudia Schreier about Passage, the Dance Theatre of Harlem's new ballet for the 2019 commemoration American Evolution. (starts at 49:40)
|
|
5 Dance Performances to See in N.Y.C. This WeekendAmerican Ballet Theatre at the Joyce Theater: This group, directed by the former American Ballet Theatre soloist Sascha Radetsky, acts as a bridge between ballet training and a professional career. Proof of its success is evident in the main company: Three-quarters of its dancers started out at ABT Studio. For its Joyce season, the group presents existing and new choreography, including five New York premieres. Doing the choreographic honors are Stefanie Batten Bland, Gemma Bond, Ma Cong, Claudia Schreier and Ethan Stiefel.
|
|
Podcast: Claudia Schreier on Ballet, Diversity and MentorshipIn this episode, choreographer Claudia Schreier discusses her path to ballet, how she thinks we can begin to address the lack of diversity in the art form, and her new work for American Ballet Theatre Studio Company, which can be seen at The Joyce April 25 & 27.
|
|
What Dance Theatre of Harlem Means TodayAs the historic Dance Theatre of Harlem embarks upon a year-long celebration in recognition of its 50th anniversary, Dance Magazine reflects upon the perseverance of the company, the legacy of its founder, Arthur Mitchell, and the lasting significance of this cultural institution. Featuring photos of rehearsal with Claudia Schreier in preparation for the upcoming world premiere of her new ballet in May 2019.
|
|
Review — Juilliard's Dido and Aeneas: Purcell’s Masterpiece is Brought to Vibrant Life"Juilliard took the opportunity to mold this opera into what was a remarkably intimate production of English Chamber music [that] emphasized intense moments of passion and fierce pride." [...] The choreography by Claudia Schreier also shone at different junctures [and] illuminated a vocally rich cast and sensitive period-ensemble . . . “The Triumphing Dance” was another moment that showcased an impactful cast of singers . . . "Come away, fellow sailors” and “The Sailors’ Dance" were beautifully choreographed."
|
|
A New Opera Season: The Week in Classical MusicIn [director Mary Birnbaum's] intriguingly updated production of Purcell’s “Dido and Aeneas” at the Juilliard School, [the] cast, dressed in modish, stylized costumes, embraced it and brought lots of youthful, ardent singing to the music, backed by the sensitive period-instrument Juilliard415 ensemble, with Avi Stein conducting.
|
|
For Better Jumps and Higher Legs, Turn to Newton’s Third Law: Merritt Moore and Claudia Schreier Explain The Relationship Between Ballet and PhysicsThe National Museum of Mathematics hosted its fourth Quadrivium, a salon focusing on the intersections of music and math last Saturday in New York City . . . Moore and Schreier offered a deep dive into the similarities they find between math, music and dance. And they note how their analytic and creative brains, rather than acting as opposing forces, work in harmony to make them better artists.
|
|
The Best Things To Do In NYC This Week: Quadrivium @ National Museum of MathAt MoMATH's Quadrivium, Harvard-trained mathematician and jazz saxophonist Marcus Miller hostsa discussion with dancers Merrit Moore, aka the Quantum Ballerina, and Claudia Schreier, who has choreographed more than 20 high-profile ballets. The trio will analyze the physics behind a dancer’s motions, examine how the corporeal arrangement of bodies creates unique geometric shapes, and explore the interconnected relationship between math, music, dance, and motion.
|
|
Our 8 Favorite Ballet TED TalksIn this TEDx video, ballet choreographer Claudia Schreier pulls back the veil on her creative process, and discusses the way that choreographic principals can apply to the infinite variations of human relationships.
|
|
Female Choreographers Take Center Stage at American Ballet Theatre"To kick-start [ABT's Women’s Movement], five accomplished innovators—Michelle Dorrance, Stefanie Batten Bland, Lauren Lovette, Claudia Schreier, and Jessica Lang—have been commissioned to choreograph new work. [...] Schreier, whose parents brought her to her first ABT performance as a toddler, notes 'that it is important for the young people coming up behind us to see that the pool of talent isn’t as homogenous as it has been in the past.'"
Watch a short film about about ABT's Women's Movement |
|
Is There Such A Thing As Ballet That Doesn’t Hurt Women?"Schreier works hard to create a safe environment for her dancers during rehearsals and attentively determines when discomfort crosses 'the line from a welcome challenge to a damaging experience.' She also considers it part of her work to expand audiences’ ideas of what ballet can and should look like. 'I had a very twisted view of what beauty was because I didn’t see anyone who looked like me in my world,' Schreier — one of few women of color in a notably white field — told me earlier this year. But she believes 'the way we think about the use of the body professionally is changing because of the conversations we’re having culturally, socially, politically.'"
|
|
Juilliard Opera Presents Henry Purcell's Dido and AeneasA highlight of the upcoming Juilliard Opera season is Henry Purcell’s Dido and Aeneas, featuring Juilliard singers and period-instrument ensemble Juilliard415, conducted by Avi Stein, directed by Mary Birnbaum and choreographed by Claudia Schreier. The premiere takes place in February 2019 in Juilliard’s Willson Theater, with a European tour in June to London, Athens and Versailles.
|
|
Live Vail Festival Forum: Damian Woetzel and Claudia SchreierLive from the Vail Dance Festival, podcast Conversations on Dance talks about Damian’s beginnings at the festival and how he developed its mission, and about Claudia's roots in the Vail Dance Festival as a young intern that grew into a burgeoning career as a choreographer noticed by major companies and critics alike.
(Episode recorded August 5, 2018.) |
|
Claudia Schreier Named Recipient of 2018 Princess Grace AwardThe Princess Grace Foundation-USA (PGF-USA) has announced that Claudia Schreier is a winner of the 2018 Princess Grace Award for Choreography. The Award will be presented at the annual Princess Grace Awards Gala and continue the legacy of Princess Grace (Kelly) of Monaco, who helped emerging artists pursue their artistic goals during Her lifetime.
|
|
NEFA's National Dance Project Announces Annual AwardsDance Theatre of Harlem has been awarded a 2018 National Dance Project grant in support of a New Work by Claudia Schreier for the Company's 2019/2020 Season.
|
|
Ballet Hispánico Comes to Vail Dance Festival in August 2018Ballet Hispánico, the nation's premier Latino dance organization, brings its bold and eclectic brand of contemporary dance to the Vail Dance Festival for the first time . . . Their debut includes a new work by ballet choreographer Claudia Schreier for the NOW: Premieres program.
|
|
Press Release: ABT Women’s MovementThe ABT Women’s Movement is a multi-year initiative to support the creation, exploration and staging of new works by female choreographers for American Ballet Theatre and the ABT Studio Company . . . The ABT Studio Company will premiere a new work by choreographer Claudia Schreier for its 2018-2019 season performances.
|
|
American Ballet Theatre Announces Female Choreographer Initiative
|
|
ABT Is Getting Serious About Female Choreographers
|
|
TEDxColumbiaUniversity: "Thinking On Your Feet"
|
|
Claudia Schreier: Ballet Beyond the Mold
|
|
Sixth Position (Documentary Short Film)
|
|
Watch This New Documentary Following Emerging Choreographer Claudia Schreier's Path to the Big Stage (Hint: It Involves Wendy Whelan)
|
|
Vail Dance Fest to Celebrate Its 30th Anniversary
|
|
Claudia Schreier is Charting New Paths in her Career and Choreography
|
|
Joffrey Ballet Announces Winners of 2018 'Winning Works'
|
|
Claudia Schreier Choreography, Inc. Named Inaugural Recipient of
|
|
Claudia Schreier, Choreographer on the Rise
|
|
Vail Dance Festival Focuses on Women Choreographers
|
|
Vail Dance Festival Showcases Female Choreographers
|
|
Claudia Schreier & Company at The Joyce Theater
|
|
Joyce Theater Ballet Festival Showcases Contemporary ChoreographersThe Joyce Theater’s Ballet Festival has a noble and worthy aim: to give a new generation of choreographers a chance. Performances include Claudia Schreier & Company — with Wendy Whelan, Jared Angle, Unity Phelan and Cameron Dieck. Pictured: Elinor Hitt and Da’Von Doane in Claudia Schreier’s “Vigil.” The choreographer’s company will perform at the Joyce Theater’s Ballet Festival.Credit. Credit: Nir Arieli
|
|
A Slew of Debuts at The Joyce Ballet FestivalIndependent choreographer Claudia Schreier wrapped up her fellowship at New York University's Center for Ballet and the Arts in May 2016—perfect timing for the next steps in her career. Schreier will present six pieces performed by members of New York City Ballet and Dance Theatre of Harlem, plus other dancers.
|
|
Ballet's Geometry, Torqued: A choreographer's career taking shape
|
|
MM.LaFleur Taps the New York City Ballet for Its Dreamy Summer Campaign Video
|
|
Through the Eyes of a Choreographer with Claudia Schreier
|
|
Review: A First Look at Elegance, Romance and Intrigue at the Vail Dance Festival
|
|
10 Minutes With Claudia Schreier
|
|
Spotlight: Ballet choreographer Claudia Schreier is riding the momentum
|
|
Meet Two Young Choreographers Breaking Ballet’s Glass Ceiling
|
|
Claudia Schreier Named Center for Ballet and the Arts' Second Annual Virginia B. Toulmin Fellow
|
|
Schreier: Music as Muse / NOW: Premieres at the Vail International Dance Festival
|
"The world of contemporary ballet has an exciting young choreographer and her name is Claudia Schreier. The partnering is masterful...The choreography is so fresh and original...Schreier’s sensitivity to the details of the music, and the way that she echoes them in her choreography is just sublime." – Karen Shapiro, BodyWrappers Dance Reviews
Read the full review
"The world of contemporary ballet has an exciting young choreographer and her name is Claudia Schreier. The partnering is masterful...The choreography is so fresh and original...Schreier’s sensitivity to the details of the music, and the way that she echoes them in her choreography is just sublime." – Karen Shapiro, BodyWrappers Dance Reviews
Read the full review
"Claudia Schreier is truly an artist to watch and an artist to support, in any way possible, as each work performed tonight was elegant, ebullient, gripping, and gorgeous." – Roberta Zlokower, Roberta on the Arts
Read the full review
|
"Boldly and thrillingly choreographed for 22 of the school’s most technically advanced dancers, Claudia Schreier’s premiere, Charge calls upon her youthful cast for both strong traditional ballet technique and an unusually supple fluency of the upper body, with correspondingly fluid port de bras...Ms. Schreier showed a clear mastery of structure in deploying her large cast with consummate skill from start to finish in this exciting ballet...In sum, Charge writes another vivid page in Ms. Schreier's dance diary." – Philip Gardner, Oberon's Grove
Read the full review "Claudia Schreier's Harmonic opened the evening: yet another success for this choreographer who has an instinctive gift for movement and musicality."
– Philip Gardner, Oberon’s Grove “This piece [Anomie] is in the great tradition of piano ballets, and this choreographer follows in the footsteps of Balanchine and Robbins but takes the concept in an innovative direction. This piece was graphic and bold, full of shapes. There was great power in the movement to arouse emotion. Well done.”
– Seán Curran, dancer/choreographer “Anomie choreographed by guest artist Claudia Schreier...was a strikingly visceral work. Schreier’s appropriation of neoclassical form and color coordination (the individual jewel tones of the female dancers and the shadow-black costumes of the male dancers) set the parameters for a beautifully sound composition that achieved sublimity through the dancers’ exquisite precision. Their bodies, moving through space with a passionate expediency, negotiated those moments of absence/presence and convergence/divergence within the intimacy of physical relationships.”
– The Harvard Art Review Dance Board “In both movement and partnering style this piece [Excursions] put me in mind of the Balanchine leotard ballets.”
– Philip Gardner, Oberon’s Grove “Anomie was the hidden gem of the entire performance....The interplay between the bodies of the two male dancers and three female dancers throughout the performance created an overall elegance and grace comparable to that of any professional company.”
– Matt Sachs, The Harvard Crimson “Elysium, choreographed by Claudia F. Schreier ’08, was, by far, the best piece of the night. Schreier’s choreography struck the ideal balance between the abstraction typical of modern dance and the visual appeal of classical ballet. The best moments of her exquisite choreography featured not only the usual leaps and turns but also interesting new movements, like dragged splits.”
– Giselle Barcia, The Harvard Crimson |
“Claudia Schreier’s Excursions, leading off the Columbia Ballet Collaborative’s spring program [...] at the Miller Theatre, was pure refreshment. Beauty and clarity suffused Barber’s music for solo piano and Schreier’s movements. [...] This is the house—or the world—that Balanchine built, sometimes in doubtful repair since his death in 1983, but here shored up by a young woman born after he had already gone. In short, this was neoclassical ballet, happening right before our eyes, still possible and well worth the trouble.”
– Bourrée Girl “Chaconne is the second work by Claudia Schreier that I've seen and both times she has impressed me with her sense of structure, her excellent musical choices, her individualized use of the classical vocabulary and her ability to challenge her dancers while still making them look good.”
– Philip Gardner, Oberon’s Grove "Harmonic is a Forsythe-esque, upbeat pas de quatre that uses arabesques, grand pliés, and idiosyncratic port de bras to invert ballet norms."
– Columbia Spectator “The evening commenced with a fluid contemporary piece.... Titled “Excursions,” the piece involved intense and abundant partner work. [Don] Friedewald’s stamina and grace left the audience in awe. “Excursions” truly set an impressive tone for the rest of the performance.”
– Meagan McGregor, The Bwog “Claudia Schreier’s contemporary ballet Anomie was truly a work of beauty....When the piece was over, I felt as if I had just left the museum after watching a painter’s canvas come alive, studying its beauty, line, and poise.”
– Allyson Ross, Arts at Harvard “Set to a live cello [Bach] piece, Schreier’s modern choreography [Contra Finem] was complex, compelling, and absolutely stunning. The dancers lived up to the difficult choreography with a beautiful blend of angularity and fluidity.”
– Giselle Barcia, The Harvard Crimson “The complex harmonies of Franck’s score complement Schreier’s inventive style [for Anomie], which propels classical ballet technique forward with exciting new shapes and intricate partnering sequences.”
– Office for the Arts at Harvard Press Release “Claudia Schreier ’08, recipient of the Suzanne Farrell Dance Prize. Named for the acclaimed dancer and former prima ballerina of the New York City Ballet, the prize recognizes a Harvard undergraduate who has demonstrated outstanding artistry in the field of dance. A resident of Adams House, Claudia Schreier has been awarded this prize for her outstanding work as a dancer and choreographer.”
– Office for the Arts at Harvard Press Release |