2019-12-13 16:17:57|大刀王马报 来源:楚天运动频道


  Our guide to dance performances happening this weekend and in the week ahead.

  AILEY II at N.Y.U. Skirball Center for the Performing Arts (March 13-14, 7:30 p.m.; through March 17). In 1974, Alvin Ailey formed this company as a bridge to the professional world for dancers at the Ailey School. Its artistic director, Troy Powell, shows off the current group of 12 in two programs: One contains all new works; the other features repertoire. The premieres are choreographed by members of the Ailey family, past and present: Uri Sands; Robert Battle, the main company’s artistic director; Bradley Shelver; and Powell. The program of returning dances, all from the 2017-18 season, includes Darrell Grand Moultrie’s “Road to One,” Juel D. Lane’s “Touch & Agree” and Renee I. McDonald’s “Breaking Point.” 212-998-4941, alvinailey.org/aileyiinyc

  DOUGLAS DUNN & DANCERS at the 92nd Street Y (March 8, 8 p.m.; March 9, 4 and 8 p.m.). As part of “A Feast of Cunningham,” the Harkness Dance Festival welcomes Dunn, who was a member of the Merce Cunningham Dance Company from 1969 to 1973. The focus in “Crag,” a new work, is on couples: Its 10 dancers relate through continually shifting variations in tempo, rhythm and space. As the piece progresses, new pairings are formed, including one with Dunn and Grazia Della-Terza, his wife. The costumes are by Andrew Jordan, and the composer Steven Taylor performs live. 212-415-5500, 92y.org

  SILAS FARLEY at the Metropolitan Museum of Art (March 8, 2 and 7 p.m.; March 9, noon, 2 and 7 p.m.; March 10, 11 a.m. and 1:30 and 3:30 p.m.). MetLiveArts Performances hosts “Songs From the Spirit,” a site-specific ballet created by Farley, a choreographer and director. During this production, audience members will follow dancers into three galleries as Farley explores ideas revolving around history, spirituality, freedom and the inherent need to create art. The dancers — including Farley, a member of New York City Ballet — are accompanied by traditional spirituals and new songs created by inmates at San Quentin State Prison, courtesy of the Radiotopia podcast “Ear Hustle.” 212-570-3949, metmuseum.org/performances

  HANNAH KAHN DANCE COMPANY at the Mark Morris Dance Center (March 8-9, 7 p.m.). With “Seven Dances,” Kahn, a Juilliard graduate who relocated to Denver, returns with her company’s first performances in New York City since 1988. The choreographer Mark Morris performed in her company during his early years, so it’s fitting that her concert will grace his Brooklyn space. The program features several works, including Kahn’s dark, psychological duet “Inside Out” (1992); the athletic septet “Possibilities” (2006), set to excerpts from Tchaikovsky’s “Souvenir de Florence”; and “Orchid” (1979), a trio that originally featured Morris himself. hannahkahndance.org/performances

  [Read about the events that our other critics have chosen for the week ahead.]

  NEW YORK THEATER BALLET at Danspace Project (March 14-16, 8 p.m.). Diana Byer, the group’s founder and artistic director, unveils a repertory program of works by Richard Alston (“The Seasons”), Matthew Nash (“The Elements of Style”) and Merce Cunningham (“Scramble”). “The Seasons,” Alston’s second commissioned work for the company — he is its resident choreographer for the next two seasons — is dedicated to the memory of the writer David Vaughan. Its score, by John Cage, was created in 1947 for Lincoln Kirstein and was also choreographed by Merce Cunningham for Ballet Society. Alston’s piece will likely pair well with Cunningham’s “Scramble,” from 1967, presented in conjunction with the celebration of the choreographer’s centennial birthday. 866-811-4111, nytb.org

  NOCHE FLAMENCA at the Connelly Theater (March 8-9, 8 p.m.; March 10, 3 p.m.; March 12-14, 7:30 p.m.; through March 31). This splendid flamenco company, led by Martín Santangelo, its artistic director, and the dancer Soledad Barrio, presents “Entre Tú y Yo” (“Between You and Me”), an evening of solos, duets and ensemble works that includes “Refugiados” (“Refugees”), which has been recently added to the company’s repertoire. The piece transforms poems written by children in refugee camps into song and dance. The program also features the latest iteration of “La Ronde,” which is inspired by Max Ophüls’s 1950 film and spotlights the talents of a guitarist, a vocalist and a solo dancer.866-811-4111, soledadbarrioandnocheflamenca.com

  OKWUI OKPOKWASILI at Abrons Arts Center (March 14, 4:30 p.m.; through March 24). This choreographer, performer, writer and MacArthur Fellow presents the premiere of “Adaku’s Revolt” at the Tilt Kids Festival, which offers a collection of multidisciplinary works that seek to open up the world of performance for younger audiences. Created with the designer and director Peter Born, Okpokwasili’s work is for those ages 7 and up and, like many in this year’s festival, explores a theme of acceptance: A young black girl challenges conventional beauty standards by opting for natural hair. In the Igbo language spoken in Okpokwasili’s native Nigeria, the name Adaku means “one who brings wealth to the family.” Here, the character Adaku discovers the richness of her hair. tiltkidsfestival.org

  WORK UP 5.2 at Gibney (March 8-9, 8 p.m.). This shared evening features choreography by Aye Eckerson, Emily Winkler-Morey and Javier Padilla, all artists selected for Gibney’s professional development program for early-career artists. In “Fields (Intro),” Eckerson presents a solo, which relies on fiction, dreamscapes, theory and personal history as a way to heal ancestral wounds. The program continues with Winkler-Morey’s “SomeBody Stories,” an autobiographical dance and spoken-word piece, and Padilla’s “Paraíso,” which is described on Gibney’s website as “a love letter to times that were and places that truly exist.” 646-837-6809, gibneydance.org

  NETTA YERUSHALMY at New York Live Arts (March 14-16, 7 p.m.; through March 17). For her ambitious “Paramodernities” project, Yerushalmy mixes performance and theory to explore the work of six choreographers in a four-hour piece. With a cast of 20 dancers and scholars, she presents deconstructed installments of works by Vaslav Nijinsky, Martha Graham, Alvin Ailey, Merce Cunningham and Bob Fosse, as well as a response to George Balanchine’s “Agon.” The event scrutinizes the modern tradition and asks questions such as “How do issues of authority, race and feminism play into classic choreography?” In her extensive quest, Yerushalmy is re-examining the canon. 212-924-0077, newyorklivearts.org



  大刀王马报【回】【到】【鲁】【国】【都】【城】【曲】【阜】,【孔】【子】【没】【有】【回】【家】,【直】【接】【去】【了】【鲁】【宫】。【先】【见】【鲁】【公】(【鲁】【昭】【公】),【再】【见】【季】【平】【子】。 【他】【是】【带】【着】【南】【宫】【敬】【叔】【和】【方】【忠】【两】【人】【去】【的】,【在】【鲁】【公】【那】【边】【吃】【了】【便】【饭】,【就】【匆】【匆】【往】【季】【府】【去】【了】。 【拜】【见】【完】【季】【平】【子】,【把】【方】【忠】、【南】【宫】【敬】【叔】【两】【人】【交】【给】【季】【平】【子】,【他】【算】【是】【交】【差】【了】。【然】【后】!【回】【家】。 【学】【堂】【依】【旧】,【人】【也】【依】【旧】,【可】【孔】【子】【的】【心】【境】【完】【全】【变】【了】。

  【听】【到】【姜】【半】【涯】【开】【口】,【包】【贤】【怔】【在】【了】【原】【地】。 【眼】【前】【的】【这】【位】【夜】【皇】,【还】【真】【是】【好】【大】【的】【口】【气】。 【大】【贤】【者】【的】【恐】【怖】【他】【深】【深】【清】【楚】,【绝】【对】【不】【是】【自】【己】【能】【够】【随】【随】【便】【便】【抗】【衡】【的】【了】,【如】【果】【不】【是】【没】【有】【十】【足】【的】【把】【握】,【直】【接】【前】【去】【对】【付】【大】【贤】【者】,【恐】【怕】【跟】【送】【死】【是】【没】【什】【么】【太】【大】【的】【区】【别】。 【瞧】【见】【对】【方】【的】【眼】【神】,【姜】【半】【涯】【轻】【笑】【起】【来】:“【怎】【么】,【害】【怕】【了】?” “【听】【说】【你】【的】

  【彭】【不】【休】【整】【个】【人】【的】【气】【场】【都】【变】【了】,【刚】【才】【还】【是】【被】【揍】【两】【下】【就】【虚】【脱】【得】【不】【行】【的】【病】【弱】【年】【轻】【人】,【现】【在】【俨】【然】【是】【个】【自】【信】【阴】【狠】【又】【不】【怀】【好】【意】【的】【萧】【家】【人】【了】。 【他】【笑】【开】【来】,【再】【一】【次】【撑】【起】【了】【身】【子】【想】【要】【站】【直】,“【你】【也】【想】【到】【了】【这】【个】【方】【式】【啊】。” “【不】【踩】【在】【那】【个】【房】【间】【的】【地】【砖】【上】,【就】【不】【受】【限】【制】,【我】【看】【出】【来】【了】,【你】【肯】【定】【也】【能】【想】【到】。”【凌】【央】【回】【头】【看】【了】【一】【眼】【洛】【晓】,【朝】【她】


  【秦】【云】【舒】【抿】【唇】,【平】【白】【无】【故】【惹】【来】【这】【么】【一】【遭】,【但】【想】【到】【这】【位】【张】【大】【人】,【是】【个】【好】【官】,【之】【前】【山】【远】【哥】【就】【被】【他】【看】【中】,【一】【路】【提】【拔】。 “【罢】【了】,【这】【忙】,【我】【帮】【了】。” 【说】【着】,【她】【往】【前】【走】【去】,【和】【谢】【运】【之】【擦】【肩】【而】【过】【时】,【低】【声】【道】,“【到】【底】【后】【宫】,【内】【臣】【进】【来】,【被】【发】【现】,【更】【加】【不】【好】。” 【到】【时】【候】,【可】【不】【是】【掉】【脑】【袋】【的】【事】,【一】【两】【句】【说】【不】【清】。 【谢】【运】【之】【不】【动】【声】大刀王马报【余】【知】【鱼】【就】【感】【觉】【这】【种】【事】【情】,【毕】【竟】【谁】【说】【的】【事】【情】,【更】【凭】【本】【事】【如】【果】【他】【抓】【到】【的】【话】【也】【证】【明】【他】【有】【本】【事】【自】【己】【孤】【独】【的】,【该】【语】,【这】【样】【子】【反】【而】【不】【好】【所】【以】【自】【己】【不】【打】【算】, 【孤】【独】【的】【干】【预】,【让】【他】【自】【己】【凭】【本】【事】【去】【抓】【吧】,【被】【刑】,【如】【果】【要】【抓】【一】【只】【神】【兽】【的】【话】【应】【该】【也】【不】【是】【那】【么】【简】【单】【的】【事】【的】【能】【抓】【到】【的】【话】【就】【说】【明】【他】【有】【本】【事】【他】【们】【自】【己】【为】【什】【么】【要】【去】,【干】【预】【呢】, 【而】【且】【这】【样】

  【一】【旁】【的】【李】【沧】【浪】【看】【有】【人】【似】【乎】【并】【不】【出】【全】【力】【来】【对】【付】【楚】【鸣】【乔】,【便】【心】【头】【大】【为】【气】【愤】【起】【来】。【只】【是】【楚】【鸣】【乔】【仍】【不】【愿】【和】【这】【位】【曾】【经】【的】【师】【父】【大】【打】【出】【手】,【便】【只】【得】【御】【出】《【无】【相】【神】【功】》【里】【的】【步】【法】【相】【避】【一】【番】,【如】【此】,【李】【沧】【浪】【却】【也】【是】【毫】【无】【办】【法】。 【场】【上】【这】【头】【打】【的】【费】【力】,【但】【萧】【让】【那】【边】【却】【是】【要】【制】【的】【云】【舒】【岫】【毫】【无】【脾】【气】。 【面】【对】【萧】【让】【这】【些】【各】【自】【突】【兀】【却】【又】【恰】【到】【好】【处】【的】【接】



  【一】【辆】【房】【车】【匀】【速】【的】【行】【驶】【在】【渺】【无】【人】【烟】【的】【高】【速】【公】【路】【上】。 【晃】【花】【眼】【睛】【的】【葱】【葱】【绿】【叶】【跟】【那】【似】【乎】【看】【不】【到】【尽】【头】【的】【护】【栏】【形】【成】【了】【单】【调】【的】【景】【色】,【惹】【人】【昏】【昏】【欲】【睡】。 【车】【内】【循】【环】【着】【轻】【柔】【的】【音】【乐】,【旋】【律】【虽】【然】【优】【美】【动】【听】,【但】【若】【是】【反】【复】【入】【耳】【也】【不】【免】【产】【生】【了】【烦】【腻】【感】。 【带】【泪】【痣】【的】【少】【年】【伏】【在】【车】【窗】【前】,【百】【无】【聊】【赖】【的】【抱】【着】【车】【上】【的】【抱】【枕】,【偶】【尔】【转】【过】【头】【跟】【少】【女】【闲】【聊】【一】