The Metropolitan Museum of Art Costume Institute’s exhibit, “Camp: Notes on Fashion” (through Sept. 9) was inspired by Susan Sontag’s seminal 1964 essay “Notes on ‘Camp’,” which she defined broadly as style over substance characterized by theatricality, irony, playfulness, masquerade and unselfconsciousness. It’s a definition and a show that cuts a wide swath, but in the end it turns out to be less about camp and more about identity — its mutability and its ownership.Read More
One of the more endearing but also infuriating things about Americans is their belief that anyone can do anything if he just works hard enough, fast enough. This is the “Dancing With the Stars” philosophy of life that says you, too, can be a ballroom dancer if you have three weeks of intense training and, possibly, Maksim Chmerkovsky as a partner.
This would be amusing if it weren’t sometimes so deadly. Now we have a president who lacks the talent, temperament, training and technique for the job and it shows in the country pulling unilaterally out of the Iran nuclear deal, moving its embassy to Jerusalem with violent consequences and now facing a North Korean pullout from the planned summit due to American-South Korean military maneuvers. …
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The ballet “Giselle” – the quintessence of 19th century Romanticism – tells the story of a simple, open-hearted peasant girl driven mad for love of Albrecht, a man who’s hidden his aristocratic identity and engagement to another. Dying, Giselle becomes a Wili, one of the female spirits compelled to avenge themselves on the men who wronged them in life by dancing them to death.
In the excellent, though far from perfect, Bolshoi Ballet production given an encore simulcast last Sunday in theaters around the world, there was a great moment in Act 2 when the Wilis dispensed with Hans, Giselle’s unrequited suitor, whose jealousy of the beloved Albrecht sets the tragedy in motion. Under Yuri Grigorovich’s choreography, two of the lead Wilis basically tossed Hans away. They were like elegant bouncers. The ladies sitting behind us ...