Alonzo King's LINES Ballet at Yerba Buena Center for the Arts
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The last date listed for Alonzo King's LINES Ballet was Sunday April 16, 2006 / 7:00pm.
Currently at Yerba Buena Center for the Arts Theater:
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The thoroughly modern and brilliantly daring Post:Ballet presents its fifth season program -- Five High -- at Yerba Buena Center for the Arts Lam Research Theater. This innovative evening of dance features the premiere of the new work ourevolution along with two critically acclaimed collaborations: 2013's field the present shifts and 2012's Mine is Yours. Set to a mesmerizing score by composer Nils Frahm, ourevolution brings together choreographer/director Robert Dekkers and San Francisco-based painter Enrique Quintero in a work that explores technology's ability to facilitate meaningful conversation between individuals and communities. Back by popular demand is field the present shifts, a collaborative project that features architects Robby Gilson and Catherine Caldwell, and 'Mine is Yours,' with composer Daniel Berkman, vocalist Artemis and costume designer Susan Roemer. Learn More
Alonzo King’s choreography interlinks the dancers in dynamic, ever-changing patterns that stretch into graceful attenuation before they fluidly transform. Gathering energy from the extension of pure lines into concentric circles, the dancers emerge from interludes of rhythmic intensity into serene, lyrical grace.
_Following the Subtle Current Upstream
_Music: Zakir Hussain, Miriam Makeba, Miguel Frasconi
This spring marks the Company Premiere of Alonzo King’s Following the Subtle Current Upstream, a work hailed by the New York Times as “spectacular in its visual and kinetic impact.” Tremendously popular since its creation in 2000, it has toured the world as part of the repertoire of the Alvin Ailey American Dance Theater.
Without Wax pas de deux
Music: Bohuslav Martinu
Behind this title is a story about the origins of the word sincere: that it derives from the Latin sine (without) + cera (wax), because master sculptors and stone-crafters could work flawlessly, without the need to disguise any cracks in their pieces with wax. In 1992, this ballet became part of the repertoire of the Ballet Frankfurt
Soothing the Enemy
Music: Leslie Stuck
This piece, which premiered in 2000, is the first collaboration between Alonzo King’s cutting-edge choreography and Leslie Stuck’s experimental electronic music. Playing with the elastic potential of percussion and a daring, deft sense of transformation, Leslie Stuck’s music gives the dancers a limitless space in which to move. “The great challenge of this first collaboration,” Leslie Stuck says, “was that Alonzo values authenticity, and that is so difficult to achieve with a computer. What finally worked for me was imagining a lone musician playing on a mountaintop, with the wind replying.”