June 13, 2013 At Work Corps de Ballet: An Interview with Irina Kolpakova By Yona Zeldis McDonough Photo: Renata Pavam. Irina Kolpakova is a hummingbird of a woman, perfectly erect and poised as she walks into the cozy interview room tucked deep in the recesses of the Metropolitan Opera House. Her brown hair is kept off her face with a thin headband; she wears dark pants and a soft red sweater over which she wraps a leopard-print shawl. Voilà! Instant glamour. We shake hands and she sits, never wavering from that ballerina-perfect posture. Kolpakova is turning eighty the next day, but does not want a fuss to be made over her birthday. Still, the occasion demands some form of ceremony. As we speak, her expression is alert, her tone animated; her passion for her art emanates from her like a heady cloud of perfume. Her hands, as she talks, do a graceful little ballet of their own, and the geranium-pink nail polish only adds to their elegance. Tell me about the city of your youth. I was born in Leningrad. I was only there for three years. Then my mom and I moved to Molotov, which is now Perm. And when did you start taking ballet lessons? Nine years old. Where did you study when you were young? Molotov, because the Kirov Theatre—now the Mariinsky—was evacuated there. When my mom brought me to the first class, Vaganova was still alive. It was the time of Vaganova. I wanted to ask you about Vaganova because not too many people in this country know about her contribution to classical ballet. What can you say about her teaching method? What was distinctive or different or important? Vaganova told us to use all parts of our body together at the same time. Not only this movement for the leg, this movement for the arms, this movement you’re supposed to learn how to use for your head, neck. No, all together, all the time. And she was huge—in Paris they called her the Queen of the Variations. She was … amazing. And she was really smart. She combined French method with Danish. I think that’s unique. Her method was unique. Read More
June 13, 2013 On the Shelf Books on the Floor, and Other News By Sadie Stein Pamela Paulsrud, Bibliophilism, 2006. Flooring. Made of books. “New Canadian research finds reading a literary short story increases one’s comfort with ambiguity.” ’Nuff said, really. Finland’s passport doubles as an excellent moose-themed flipbook, as it should. Notes on “politeness formulae.” Or, why we inexplicably sign e-mails with unwarranted thanks. Speaking of linguistics: the derivation of the term paperback.
June 12, 2013 Arts & Culture Aesthetically Speaking By Ivan Brunetti I learned not only how to read from comic books, but also how to see. I learned about line, shape, color, value, space, texture, color, balance, harmony, unity, contrast, variety, rhythm, repetition, emphasis, continuity, spatial systems, structures and grids, proportion and scale, and composition by studying and copying the drawings from the comic books of my Italian childhood. The word disegno literally meant drawing, but also design. Thus, the two were forever fused in my mind, each inseparable from the other: drawing is design, and design is, essentially, drawing. Il Gatto con gli Stivali (Puss ’n’ Boots). This drawing is but one example of childhood drawings (many, alas, have been lost or destroyed). They were done between the ages of four and six, circa 1971–73. I consider this by far my best period as an artist. The drawings are careful, sincere, and free of pretension. If my house were to catch fire, the small box of my remaining childhood drawings is the only artwork of mine I would try to save. Read More
June 12, 2013 Look Picture Books By Sadie Stein Artist Ekaterina Panikanova paints on old books. As you can see, the results are extraordinary.
June 12, 2013 Bull City Summer Herald the Crack of Bats By Adam Sobsey Photo: Frank Hunter I am a pitching chauvinist. The mechanics of it are so complex, so cerebral, so deliberate—so difficult—that in the past, I’ve compared pitchers to authors and hitters to readers. Hitting a baseball is essentially reactive and instinctive; it seems like the sort of thing almost any big lug could do with enough practice, as long as he has wrists strong and quick enough to swing a bat, and decent hand-eye coordination. This year, the Durham Bulls have a prized young slugger, twenty-two-year-old Wil Myers. Myers hit thirty-seven home runs in the minor leagues in 2012. He was so good that the Bulls’ parent club, the Tampa Bay Rays, traded one of their best major-league pitchers for him. Myers was assigned to Triple-A Durham for a final polish, but for the first third of the season he appeared to need much more than that: on May 23, he was batting just .244, had hit only four home runs, and had struck out in 28 percent of his at-bats—among the league’s highest rates. Then Myers went on a tear, hitting five home runs in just six days, including one of the longest Durham Bulls Athletic Park has ever seen: a moonshot off the highest balcony of an office building that towers over left field. Read More
June 12, 2013 On the Shelf The Knight’s Tale, and Other News By Sadie Stein A London street artist, with an apparent interest in Middle English, paints, among other motifs, scenes from The Canterbury Tales. In one day—well, a day filled with further NSA surveillance revelations—1984’s Amazon sales jumped 6,021%. Seattle librarians take to the streets on a series of customized, book-carrying bicycles. In Scotland, June 22 will be National Flash Fiction Day. We won’t pretend to prefer all of these reader-designed covers of classics, but the idea (and creativity!) is fantastic.