1 00:00:00,033 --> 00:00:03,300 >>> COMING UP ON "NYC ARTS" -- A 2 00:00:03,300 --> 00:00:07,500 CONVERSATION WITH JONATHAN 3 00:00:07,500 --> 00:00:09,833 STAFFORD AND WENDY WALEN, THE 4 00:00:09,833 --> 00:00:11,133 NEW ARTISTIC LEADERSHIP OF THE 5 00:00:11,133 --> 00:00:12,300 NEW YORK CITY BALLET. 6 00:00:12,300 --> 00:00:13,800 >> IS THERE ANY WAY YOU CAN DO 7 00:00:13,800 --> 00:00:15,500 LITTLE MORE WITH YOUR HANDS? 8 00:00:15,500 --> 00:00:16,933 SINCE WENDY AND I BOTH DANCE 9 00:00:16,933 --> 00:00:18,433 THAT ROLE QUITE A BIT, WE FEEL 10 00:00:18,433 --> 00:00:19,766 LIKE WE CAN STEP IN THERE AND 11 00:00:19,766 --> 00:00:21,366 GIVE LITTLE FINE TUNING DETAILS 12 00:00:21,366 --> 00:00:23,333 TO ELEVATE THE PERFORMANCE THAT 13 00:00:23,333 --> 00:00:23,800 LITTLE BIT. 14 00:00:23,800 --> 00:00:26,266 >> I WANTED TO HELP THEM BUILD A 15 00:00:26,266 --> 00:00:27,933 LANDSCAPE IN THEIR MIND OF WHERE 16 00:00:27,933 --> 00:00:30,500 TO PUSH FARTHER, WHERE TO SOFTEN 17 00:00:30,500 --> 00:00:30,766 UP. 18 00:00:30,766 --> 00:00:32,700 WHERE TO THINK DIFFERENTLY 19 00:00:32,700 --> 00:00:34,166 THROUGHOUT THE WAY THE MUSIC 20 00:00:34,166 --> 00:00:35,300 ALSO HAS A LANDSCAPE. 21 00:00:35,300 --> 00:00:36,900 >> AND A VISIT TO THE 22 00:00:36,900 --> 00:00:38,333 METROPOLITAN MUSEUM OF ART. 23 00:00:38,333 --> 00:00:40,733 FOR A LOOK AT THE MUSEUM'S 24 00:00:40,733 --> 00:00:42,700 COLLECTION OF POST-WAR AND 25 00:00:42,700 --> 00:00:43,633 CONTEMORARY ART. 26 00:00:43,633 --> 00:00:46,766 >> WE'RE LOOKING AT JACKSON 27 00:00:46,766 --> 00:00:48,833 POLLACK'S AUTUMN RHYTHM FROM 28 00:00:48,833 --> 00:00:49,133 1950. 29 00:00:49,133 --> 00:00:50,533 THE PAINTING CAME INTO THE 30 00:00:50,533 --> 00:00:51,666 COLLECTION IN 1957 AND IT'S ONE 31 00:00:51,666 --> 00:00:55,400 OF THE TREASURES OF THE METS 32 00:00:55,400 --> 00:00:56,100 MODERN COLLECTION. 33 00:00:56,100 --> 00:00:57,300 >> FUNDING FOR "NYC ARTS" IS 34 00:00:57,300 --> 00:01:03,000 MADE POSSIBLE BY -- ROSALIND P. 35 00:01:03,000 --> 00:01:05,933 WALTER. 36 00:01:05,933 --> 00:01:07,900 THE LEWIS SONNY TURNER FUND FOR 37 00:01:07,900 --> 00:01:08,500 DANCE. 38 00:01:08,500 --> 00:01:11,700 JODY AND JOHN ARNHOLD. 39 00:01:11,700 --> 00:01:14,800 KATE W. CASSIDY FOUNDATION. 40 00:01:14,800 --> 00:01:17,266 ELISE JAFFREY AND JEFFREY BROWN. 41 00:01:17,266 --> 00:01:20,800 CHARLES AND VALERIE DYKER. 42 00:01:20,800 --> 00:01:25,833 ELROY AND TERRY CRUMHOLT 43 00:01:25,833 --> 00:01:26,233 FOUNDATION. 44 00:01:26,233 --> 00:01:30,700 GENE DABINSKI APPLETON ESTATE. 45 00:01:30,700 --> 00:01:34,466 AND ELLEN AND JAMES S. MARCUS. 46 00:01:34,466 --> 00:01:37,233 ADDITIONAL FUNDING PROVIDED BY 47 00:01:37,233 --> 00:01:38,500 MEMBERS OF THIRTEEN. 48 00:01:38,500 --> 00:01:40,766 "NYC ARTS" IS MADE POSSIBLE IN 49 00:01:40,766 --> 00:01:41,800 PART BY FIRST REPUBLIC BANK. 50 00:01:41,800 --> 00:01:43,766 >> FIRST REPUBLIC BANK PRESENTS 51 00:01:43,766 --> 00:01:45,166 FIRST THINGS FIRST. 52 00:01:45,166 --> 00:01:47,166 AT FIRST REPUBLIC BANK, FIRST 53 00:01:47,166 --> 00:01:48,833 REFERS TO OUR FIRST PRIORITY. 54 00:01:48,833 --> 00:01:51,100 THE CLIENTS WHO WALK THROUGH OUR 55 00:01:51,100 --> 00:01:51,633 DOORS. 56 00:01:51,633 --> 00:01:53,933 THE FIRST STEP, RECOGNIZE THAT 57 00:01:53,933 --> 00:01:55,600 EVERY CLIENT IS AN INDIVIDUAL 58 00:01:55,600 --> 00:01:58,100 WITH UNIQUE NEEDS. 59 00:01:58,100 --> 00:01:59,066 FIRST DECREE. 60 00:01:59,066 --> 00:02:00,833 BE A BANK WHOSE CURRENCY IS 61 00:02:00,833 --> 00:02:01,166 SERVICE. 62 00:02:01,166 --> 00:02:05,033 IN THE FORM OF PERSONAL BANKING. 63 00:02:05,033 --> 00:02:09,266 THIS IS FIRST REPUBLIC'S MISSION 64 00:02:09,266 --> 00:02:10,966 FROM OUR VERY FIRST DAY. 65 00:02:10,966 --> 00:02:11,933 IT'S STILL THE FIRST THINGS ON 66 00:02:11,933 --> 00:02:13,366 OUR MINDS. 67 00:02:13,366 --> 00:02:20,800 ♪♪ 68 00:02:20,800 --> 00:02:32,600 ♪♪ 69 00:02:32,600 --> 00:02:34,600 >> GOOD EVENING, AND WELCOME TO 70 00:02:34,600 --> 00:02:35,000 "NYC ARTS." 71 00:02:35,000 --> 00:02:39,800 I'M PAULA ZAUN AT THE TISH WNET 72 00:02:39,800 --> 00:02:41,000 STUDIOS AT LINCOLN CENTER. 73 00:02:41,000 --> 00:02:42,366 TONIGHT ON OUR PROGRAM WE'LL 74 00:02:42,366 --> 00:02:44,166 MEET THE NEXT GENERATION OF 75 00:02:44,166 --> 00:02:46,333 ARTISTIC LEADERSHIP AT TWO OF 76 00:02:46,333 --> 00:02:47,566 THE WORLD'S LEADING INSTITUTIONS 77 00:02:47,566 --> 00:02:48,033 FOR DANCE. 78 00:02:48,033 --> 00:02:49,400 NEW YORK CITY BALLET, WHICH 79 00:02:49,400 --> 00:02:50,966 MAKES ITS HOME RIGHT HERE AT 80 00:02:50,966 --> 00:02:52,266 LINCOLN CENTER, IS ONE OF THE 81 00:02:52,266 --> 00:02:53,633 FOREMOST DANCE COMPANIES IN THE 82 00:02:53,633 --> 00:02:55,433 WORLD. 83 00:02:55,433 --> 00:02:58,000 IT HAS A ROSTER OF MORE THAN 90 84 00:02:58,000 --> 00:02:58,333 DANCERS. 85 00:02:58,333 --> 00:03:01,400 AND AN UNPARALLELED REPERTORY OF 86 00:03:01,400 --> 00:03:06,800 MODERN MASTERPIECES. 87 00:03:06,800 --> 00:03:12,766 FOUNDED IN 1948 BY THE LEGENDARY 88 00:03:12,766 --> 00:03:13,900 CHOREOGRAPHER, ART PATRON, THE 89 00:03:13,900 --> 00:03:15,333 COMPANY QUICKLY BECAME RENOWNED 90 00:03:15,333 --> 00:03:16,766 FOR ITS DISTINCTIVE STYLE AND 91 00:03:16,766 --> 00:03:18,166 THE ORIGINAL BALLETS THAT 92 00:03:18,166 --> 00:03:18,833 FOREVER CHANGED THE FACE OF 93 00:03:18,833 --> 00:03:21,733 CLASSICAL DANCE. 94 00:03:21,733 --> 00:03:26,266 BUT EARLY ON, BALANCHIN MADE IT 95 00:03:26,266 --> 00:03:27,400 CLEAR THAT ESTABLISHING A BALLET 96 00:03:27,400 --> 00:03:28,300 SCHOOL WAS A PRIORITY. 97 00:03:28,300 --> 00:03:29,966 A PLACE TO LEARN. 98 00:03:29,966 --> 00:03:31,600 INSPIRED BY THE TRAINING HE 99 00:03:31,600 --> 00:03:33,500 RECEIVED AT THE IMPERIAL BALLET 100 00:03:33,500 --> 00:03:35,400 SCHOOL IN RUSSIA. 101 00:03:35,400 --> 00:03:38,033 SO AROSE THE SCHOOL OF AMERICAN 102 00:03:38,033 --> 00:03:39,966 BALLET. 103 00:03:39,966 --> 00:03:41,166 WIDELY REGARDED AS THIS 104 00:03:41,166 --> 00:03:42,433 COUNTRY'S LEADING BALLET 105 00:03:42,433 --> 00:03:44,833 TRAINING GROUND. 106 00:03:44,833 --> 00:03:46,533 AS THE OFFICIAL ACADEMY OF THE 107 00:03:46,533 --> 00:03:48,300 NEW YORK CITY BALLET, THE SCHOOL 108 00:03:48,300 --> 00:03:51,433 PREPARES ALMOST ALL OF THE 109 00:03:51,433 --> 00:03:52,900 COMPANY'S DANCERS TO JOIN ITS 110 00:03:52,900 --> 00:03:53,566 RANKS AS WELL AS DANCERS FOR 111 00:03:53,566 --> 00:04:00,200 COMPANIES AROUND THE GLOBE. 112 00:04:00,200 --> 00:04:01,900 LAST FEBRUARY AFTER AN EXTENSIVE 113 00:04:01,900 --> 00:04:03,266 SEARCH, JONATHAN STAFFORD WAS 114 00:04:03,266 --> 00:04:05,033 NAMED ARTISTIC DIRECTOR OF NEW 115 00:04:05,033 --> 00:04:06,500 YORK CITY BALLET AND THE SCHOOL 116 00:04:06,500 --> 00:04:09,500 OF AMERICAN BALLET. 117 00:04:09,500 --> 00:04:11,600 AND WENDY WALEN WAS NAMED 118 00:04:11,600 --> 00:04:12,800 ASSOCIATE ARTISTIC DIRECTOR OF 119 00:04:12,800 --> 00:04:14,833 THE BALLET COMPANY. 120 00:04:14,833 --> 00:04:16,366 BOTH ARE ESTEEMED FORMER NEW 121 00:04:16,366 --> 00:04:20,000 YORK CITY BALLET DANCERS AND 122 00:04:20,000 --> 00:04:21,700 S.A.B. ALUMS AND ARE UNIVERSALLY 123 00:04:21,700 --> 00:04:23,900 CONSIDERED TO BE AMONG THE 124 00:04:23,900 --> 00:04:24,633 BRIGHTEST LUMINARIES IN THE ARTS 125 00:04:24,633 --> 00:04:31,133 WORLD TODAY. 126 00:04:31,133 --> 00:04:32,633 NEXT WEEK, THE COMPANY WILL OPEN 127 00:04:32,633 --> 00:04:33,766 ITS FALL SEASON WITH THE 128 00:04:33,766 --> 00:04:38,000 PERFORMANCE OF BALANCHIN'S FULL 129 00:04:38,000 --> 00:04:39,266 LENGTH "JEWELS." 130 00:04:39,266 --> 00:04:42,166 HIGHLIGHTS FROM THE REPERTORY 131 00:04:42,166 --> 00:04:46,400 WILL ALSO INCLUDE "SERANADE," 132 00:04:46,400 --> 00:04:49,000 "SYMPHONY AND SEA" AND CONCERTO 133 00:04:49,000 --> 00:04:50,766 NUMBER 2." 134 00:04:50,766 --> 00:04:53,100 WILLIAMS DANCES AT A GATHERING, 135 00:04:53,100 --> 00:04:55,433 OPUS 19 THE DREAMER. 136 00:04:55,433 --> 00:04:56,800 AS WELL AS RESIDENT 137 00:04:56,800 --> 00:04:58,733 CHOREOGRAPHER JUSTIN PECK'S 138 00:04:58,733 --> 00:05:00,833 "EVERYWHERE WE GO." 139 00:05:00,833 --> 00:05:04,600 ♪♪ 140 00:05:04,600 --> 00:05:05,300 I RECENTLY HAD THE HONOR OF 141 00:05:05,300 --> 00:05:06,966 SPEAKING WITH JONATHAN AND WENDY 142 00:05:06,966 --> 00:05:08,333 ABOUT THEIR VISION FOR THE 143 00:05:08,333 --> 00:05:10,433 FUTURE. 144 00:05:10,433 --> 00:05:11,500 WENDY AND JONATHAN, IT'S GREAT 145 00:05:11,500 --> 00:05:13,633 TO HAVE YOU WITH US. 146 00:05:13,633 --> 00:05:14,666 CONGRATULATIONS ON YOUR NEW 147 00:05:14,666 --> 00:05:15,233 APPOINTMENTS. 148 00:05:15,233 --> 00:05:16,666 >> THANK YOU. 149 00:05:16,666 --> 00:05:19,133 >> THANK YOU SO MUCH. 150 00:05:19,133 --> 00:05:21,500 >> SO, JONATHAN, YOU CAME INTO 151 00:05:21,500 --> 00:05:22,900 THE COMPANY IN THE THIRD 152 00:05:22,900 --> 00:05:24,866 ITERATION OF YOUR CAREER AS ONE 153 00:05:24,866 --> 00:05:26,433 OF THE INTERIM DIRECTORS OF THE 154 00:05:26,433 --> 00:05:27,333 BALLET PROBABLY DURING ONE OF 155 00:05:27,333 --> 00:05:28,100 THE MOST TUMULTUOUS TIMES OF THE 156 00:05:28,100 --> 00:05:30,666 COMPANY'S HISTORY. 157 00:05:30,666 --> 00:05:33,066 AND NOW, OF COURSE, YOU'VE 158 00:05:33,066 --> 00:05:33,733 LANDED THE TITLE OF ARTISTIC 159 00:05:33,733 --> 00:05:34,766 DIRECTOR. 160 00:05:34,766 --> 00:05:42,200 OF THE NEW YORK CITY BALLET. 161 00:05:42,200 --> 00:05:43,233 HOW WOULD YOU DESCRIBE THE 162 00:05:43,233 --> 00:05:44,133 CLIMATE OF THE COMPANY TODAY? 163 00:05:44,133 --> 00:05:45,900 >> ONE OF THE THINGS I ALWAYS 164 00:05:45,900 --> 00:05:47,300 CARED ABOUT, THE COMPANY, WAS 165 00:05:47,300 --> 00:05:48,500 DIRECT AND OPEN COMMUNICATION. 166 00:05:48,500 --> 00:05:51,466 THAT'S SOMETHING THAT WHEN WENDY 167 00:05:51,466 --> 00:05:52,700 AND I FIRST STARTED TALKING EACH 168 00:05:52,700 --> 00:05:54,166 OTHER ABOUT TAKING THE ROLES 169 00:05:54,166 --> 00:05:55,266 THAT WAS FIRST AND FOREMOST ON 170 00:05:55,266 --> 00:05:56,500 BOTH OF OUR LISTS AND WHAT WAS 171 00:05:56,500 --> 00:05:57,633 GREAT ABOUT THAT IS WE'RE REALLY 172 00:05:57,633 --> 00:06:01,066 ON THE SAME PAGE AND NOT JUST 173 00:06:01,066 --> 00:06:02,100 DIRECT AND OPEN COMMUNICATION 174 00:06:02,100 --> 00:06:03,533 BETWEEN US WHICH IS REALLY, 175 00:06:03,533 --> 00:06:04,666 REALLY IMPORTANT BUT DIRECT AND 176 00:06:04,666 --> 00:06:05,433 OPEN COMMUNICATION BETWEEN THE 177 00:06:05,433 --> 00:06:07,033 DANCERS AND THE ARTISTIC STAFF. 178 00:06:07,033 --> 00:06:11,833 AND THE ARTISTIC LEADERSHIP. 179 00:06:11,833 --> 00:06:12,800 ESPECIALLY NEW YORK CITY BALLET, 180 00:06:12,800 --> 00:06:14,666 WE HAVE INCREDIBLE INTELLECTS IN 181 00:06:14,666 --> 00:06:16,000 OUR DANCER RANKS AND WHAT WE'VE 182 00:06:16,000 --> 00:06:17,800 STARTED TO DO IS HAVE THIS 183 00:06:17,800 --> 00:06:19,200 DIALOGUE ABOUT WHAT THEIR NEEDS 184 00:06:19,200 --> 00:06:19,466 ARE. 185 00:06:19,466 --> 00:06:20,766 THAT WAY WE CAN HOLD THEM 186 00:06:20,766 --> 00:06:23,033 ACCOUNTABLE AND GET WHAT WE NEED 187 00:06:23,033 --> 00:06:24,733 FROM THEM BUT THEY CAN ALSO HOLD 188 00:06:24,733 --> 00:06:26,233 US ACCOUNTABLE AND BECOME THE 189 00:06:26,233 --> 00:06:28,366 MOST FULLY-FORMED ARTISTS THEY 190 00:06:28,366 --> 00:06:29,566 POSSIBLY COULD. 191 00:06:29,566 --> 00:06:31,833 >> YEAH, IT'S WONDERFUL THAT YOU 192 00:06:31,833 --> 00:06:36,333 LOOK AT TEAMWORK THE WAY YOU DO. 193 00:06:36,333 --> 00:06:37,500 HOW WOULD YOU DESCRIBE WHAT YOUR 194 00:06:37,500 --> 00:06:37,933 DUTIES ARE? 195 00:06:37,933 --> 00:06:41,400 >> WELL, JOHN AND I HAVE VERY, 196 00:06:41,400 --> 00:06:42,100 VERY DIFFERENT HISTORIES WITH 197 00:06:42,100 --> 00:06:42,666 NEW YORK CITY BALLET. 198 00:06:42,666 --> 00:06:43,466 WE COME FROM DIFFERENT SIDES OF 199 00:06:43,466 --> 00:06:44,400 THE ART FORM. 200 00:06:44,400 --> 00:06:50,066 IN A LOT OF WAYS. 201 00:06:50,066 --> 00:06:51,400 HE WAS GIVEN THAT SORT OF 202 00:06:51,400 --> 00:06:52,666 OPPORTUNITY TO EXPLORE TEACHING 203 00:06:52,666 --> 00:06:54,400 AND BALLET MASTERING. 204 00:06:54,400 --> 00:06:55,500 I WASN'T DOING ANY OF THAT. 205 00:06:55,500 --> 00:06:59,533 IN FACT, I WAS LIKE, THIS IS NOT 206 00:06:59,533 --> 00:07:00,833 MY THING. 207 00:07:00,833 --> 00:07:02,933 I WAS FINDING OPPORTUNITIES TO 208 00:07:02,933 --> 00:07:04,866 COLLABORATE WITH CHOREOGRAPHERS 209 00:07:04,866 --> 00:07:05,933 MAKING NEW WORK AND MAKING 210 00:07:05,933 --> 00:07:09,200 ARTISTIC COLLABORATIONS HAPPEN. 211 00:07:09,200 --> 00:07:11,033 >> I ALWAYS LOVED DANCING AND I 212 00:07:11,033 --> 00:07:11,966 LOVED PERFORMING. 213 00:07:11,966 --> 00:07:13,366 I LOVED THE HIGH I GOT FROM IT 214 00:07:13,366 --> 00:07:17,166 BUT I DISCOVERED EARLY ON THAT 215 00:07:17,166 --> 00:07:18,966 THE ADRENALINE RUSH AND 216 00:07:18,966 --> 00:07:20,666 EVERYTHING WAS HAPPENING MORE SO 217 00:07:20,666 --> 00:07:21,666 BEHIND THE SCENES THAN WHEN IT 218 00:07:21,666 --> 00:07:27,600 WAS HAPPENING OUT ON THE STAGE. 219 00:07:27,600 --> 00:07:28,700 THAT WAS A REALLY KIND OF 220 00:07:28,700 --> 00:07:29,766 INTERESTING MOMENT FOR ME, I 221 00:07:29,766 --> 00:07:30,900 SAID, HUH, I REALLY, REALLY LIKE 222 00:07:30,900 --> 00:07:31,333 TEACHING. 223 00:07:31,333 --> 00:07:32,933 >> THIS IS JUST AS GOOD. 224 00:07:32,933 --> 00:07:33,666 >> I LOVE TEACHING. 225 00:07:33,666 --> 00:07:35,700 >> SO YOU'VE HAD THIS LONG AND 226 00:07:35,700 --> 00:07:37,200 STORIED CAREER WITH THE NEW YORK 227 00:07:37,200 --> 00:07:38,800 CITY BALLET DANCING FOR, WHAT, 228 00:07:38,800 --> 00:07:40,633 MORE THAN 30 YEARS. 229 00:07:40,633 --> 00:07:42,666 >> I WAS THERE FOR 30 YEARS. 230 00:07:42,666 --> 00:07:45,566 >> WHICH IS PHENOMENAL. 231 00:07:45,566 --> 00:07:48,033 >> VERY IMPRESSIVE. 232 00:07:48,033 --> 00:07:50,933 >> IT REALLY IS. 233 00:07:50,933 --> 00:08:03,866 ♪♪ 234 00:08:03,866 --> 00:08:05,766 SO WHAT DID YOU DO TO CONVINCE 235 00:08:05,766 --> 00:08:06,966 WENDY TO COME BACK? 236 00:08:06,966 --> 00:08:08,566 BECAUSE YOU WERE ENJOYING -- 237 00:08:08,566 --> 00:08:10,033 >> JOHN DIDN'T NEED DO ANYTHING 238 00:08:10,033 --> 00:08:11,433 TO CONVINCE ME TO COME BACK. 239 00:08:11,433 --> 00:08:13,300 >> YOU WERE ENJOYING YOUR WORK, 240 00:08:13,300 --> 00:08:13,600 RIGHT? 241 00:08:13,600 --> 00:08:15,266 YOU WERE SPENDING A LOT OF TIME 242 00:08:15,266 --> 00:08:18,300 WITH NEW CHOREOGRAPHERS. 243 00:08:18,300 --> 00:08:19,500 PERHAPS, WHOSE WORK HADN'T BEEN 244 00:08:19,500 --> 00:08:20,500 DISCOVERED AND THAT WAS AN 245 00:08:20,500 --> 00:08:20,933 EXCITING TIME. 246 00:08:20,933 --> 00:08:21,466 WAS IT NOT? 247 00:08:21,466 --> 00:08:23,800 >> YEAH, WE WERE LEARNING HOW TO 248 00:08:23,800 --> 00:08:26,033 TEACH, I WAS STARTING TO STAGE 249 00:08:26,033 --> 00:08:29,133 THINGS. 250 00:08:29,133 --> 00:08:30,600 NOW I CAN TAKE ALL I LEARNED AND 251 00:08:30,600 --> 00:08:32,533 CONTINUE TO LEARN AND BRING IT 252 00:08:32,533 --> 00:08:33,400 BACK INTO WHAT I KNOW. 253 00:08:33,400 --> 00:08:34,966 >> HOW DO YOU MAINTAIN THE 254 00:08:34,966 --> 00:08:37,400 EXCELLENCE THAT IS IN PLACE AT 255 00:08:37,400 --> 00:08:38,133 THE SCHOOL OF AMERICAN BALLET IN 256 00:08:38,133 --> 00:08:41,966 TERMS OF TEACHING AND IN TERMS 257 00:08:41,966 --> 00:08:44,433 OF NURTUING THIS YOUNG TALENT, 258 00:08:44,433 --> 00:08:46,433 MAKING THESE GREAT KIDS 259 00:08:46,433 --> 00:08:50,033 EXCELLENT. 260 00:08:50,033 --> 00:08:51,566 SO AT S.A.B., YOU HAVE TO HAVE, 261 00:08:51,566 --> 00:08:53,266 AT ANY SCHOOL, YOU HAVE TO HAVE 262 00:08:53,266 --> 00:08:55,900 A REALLY, REALLY CLEAR VISION OF 263 00:08:55,900 --> 00:08:56,733 HOW YOU'RE GOING TO TEACH, 264 00:08:56,733 --> 00:08:57,766 WHAT'S IMPORTANT IS YOU'RE 265 00:08:57,766 --> 00:08:58,800 TEACHING THE STYLE. 266 00:08:58,800 --> 00:08:59,533 WE'RE FORTUNATE WE WERE LEFT 267 00:08:59,533 --> 00:09:01,000 WITH A VERY CLEAR VISION OF HOW 268 00:09:01,000 --> 00:09:03,700 TO TEACH STUDENTS. 269 00:09:03,700 --> 00:09:07,033 >> HOW WOULD YOU DISTILL THAT 270 00:09:07,033 --> 00:09:09,400 DOWN TO A SENTENCE OR TWO? 271 00:09:09,400 --> 00:09:10,133 >> FAST, DYNAMIC, PRECISE. 272 00:09:10,133 --> 00:09:10,900 >> MUSICAL. 273 00:09:10,900 --> 00:09:14,033 >> MUSICAL. 274 00:09:14,033 --> 00:09:15,300 >> EXPRESSIVE. 275 00:09:15,300 --> 00:09:15,766 NOT SO? 276 00:09:15,766 --> 00:09:18,133 >> ECONOMICAL MOVEMENT. 277 00:09:18,133 --> 00:09:19,933 CLEAR CLARITY OF POSITION. 278 00:09:19,933 --> 00:09:20,866 IT'S NOT ABOUT ACTING. 279 00:09:20,866 --> 00:09:21,733 IT'S NOT ABOUT BECOMING 280 00:09:21,733 --> 00:09:22,866 SOMETHING OTHER THAN WHAT YOU 281 00:09:22,866 --> 00:09:23,566 ARE, BUT BECOMING THE BEST OF 282 00:09:23,566 --> 00:09:28,200 YOU. 283 00:09:28,200 --> 00:09:29,300 >> HOW DOES THAT HELP CONNECT 284 00:09:29,300 --> 00:09:30,500 YOU TO THE OVERALL MISSION OF 285 00:09:30,500 --> 00:09:31,066 THE BALLET? 286 00:09:31,066 --> 00:09:33,433 YOU'RE REALLY APPROACHING IT AS 287 00:09:33,433 --> 00:09:35,900 A TEACH E FORMER PRINCIPAL 288 00:09:35,900 --> 00:09:36,833 DANCER. 289 00:09:36,833 --> 00:09:39,366 AND NOW THE GUY RUNNING THE 290 00:09:39,366 --> 00:09:42,700 PLACE. 291 00:09:42,700 --> 00:09:45,066 >> IT'S UNIQUE AT NEW YORK 292 00:09:45,066 --> 00:09:47,533 SCHOOL OF BALLET, 95% ARE FROM 293 00:09:47,533 --> 00:09:48,633 THE SCHOOL OF BALLET. 294 00:09:48,633 --> 00:09:49,300 THAT'S UNIQUE. 295 00:09:49,300 --> 00:09:50,433 >> THAT MEANS YOU'RE GETTING THE 296 00:09:50,433 --> 00:09:51,866 BEST OF THE BEST OF THE BEST, IS 297 00:09:51,866 --> 00:09:52,566 THAT WHY THAT NUMBER -- 298 00:09:52,566 --> 00:09:53,266 >> WE TRY TO CULTIVATE AN IDEA 299 00:09:53,266 --> 00:09:59,700 ABOUT HOW WE DANCE THIS WORK. 300 00:09:59,700 --> 00:10:01,133 HOW WE APPROACH OUR WORK, 301 00:10:01,133 --> 00:10:03,733 THERE'S JUST A WHOLE SORT OF 302 00:10:03,733 --> 00:10:05,966 ECOSYSTEM OF THOUGHT AND FOCUS 303 00:10:05,966 --> 00:10:09,100 AND STYLE AND TECHNIQUE AND 304 00:10:09,100 --> 00:10:16,900 UNDERSTANDING. 305 00:10:16,900 --> 00:10:18,966 >> SO WE HAD THE PRIVILEGE OF 306 00:10:18,966 --> 00:10:22,866 BEING EMBEDDED IN ONE OF YOUR 307 00:10:22,866 --> 00:10:23,400 RECITALS. 308 00:10:23,400 --> 00:10:25,433 "CONCERTO 2." 309 00:10:25,433 --> 00:10:25,766 >> YES. 310 00:10:25,766 --> 00:10:26,900 >> DESCRIBE THE PROCESS YOU WERE 311 00:10:26,900 --> 00:10:28,200 TAKING THE DANCERS THROUGH. 312 00:10:28,200 --> 00:10:29,566 >> IT WILL TAKE A LITTLE MORE 313 00:10:29,566 --> 00:10:29,866 TIME. 314 00:10:29,866 --> 00:10:31,766 AT THAT POINT, THE CORE HAVE 315 00:10:31,766 --> 00:10:34,166 BEEN REHEARSING ON THEIR OWN, 316 00:10:34,166 --> 00:10:35,566 THE PRINCIPALS HAVE BEEN 317 00:10:35,566 --> 00:10:36,800 REHEARSING ON THEIR OWN IN 318 00:10:36,800 --> 00:10:37,766 SEPARATE STUDIOS. 319 00:10:37,766 --> 00:10:40,433 WE BRING IT ALL TOGETHER TO DO A 320 00:10:40,433 --> 00:10:40,833 RUN-THROUGH. 321 00:10:40,833 --> 00:10:41,733 THE PRINCIPAL DANCERS IN THAT 322 00:10:41,733 --> 00:10:43,700 ROLE HAVE DANCED THIS BALLET 323 00:10:43,700 --> 00:10:44,033 BEFORE. 324 00:10:44,033 --> 00:10:45,366 SO THEY'RE ALREADY AT A REALLY 325 00:10:45,366 --> 00:10:46,466 HIGH LEVEL. 326 00:10:46,466 --> 00:10:47,600 >> I WONDER IS THERE ANY WAY TO 327 00:10:47,600 --> 00:10:48,566 DO A LITTLE MORE WITH YOUR 328 00:10:48,566 --> 00:10:50,000 HANDS? 329 00:10:50,000 --> 00:10:54,000 >> AND SINCE WENDY AND I BOTH 330 00:10:54,000 --> 00:10:54,733 DANCE THAT ROLE QUITE A BIT, WE 331 00:10:54,733 --> 00:10:55,466 FEEL LIKE WE CAN STEP IN THERE 332 00:10:55,466 --> 00:10:56,866 AND GIVE, YOU KNOW, JUST A 333 00:10:56,866 --> 00:10:58,233 LITTLE FINE TUNING DETAILS TO 334 00:10:58,233 --> 00:10:59,166 JUST ELEVATE THE PERFORMANCE 335 00:10:59,166 --> 00:11:01,233 THAT LITTLE BIT. 336 00:11:01,233 --> 00:11:02,433 AND WE ALSO WANT TO PUT THE 337 00:11:02,433 --> 00:11:03,600 DANCERS IN A POSITION WHERE THEY 338 00:11:03,600 --> 00:11:05,366 GO ONSTAGE AND THEY'RE NOT 339 00:11:05,366 --> 00:11:07,433 THINKING ABOUT HOW THEY'RE 340 00:11:07,433 --> 00:11:08,433 EXECUTING. 341 00:11:08,433 --> 00:11:12,400 THEY'RE JUST LETTING GO. 342 00:11:12,400 --> 00:11:13,200 THEY'RE JUST GOING OUT AND 343 00:11:13,200 --> 00:11:13,533 DANCING. 344 00:11:13,533 --> 00:11:15,366 >> WORKING WITH THE PRINCIPALS 345 00:11:15,366 --> 00:11:16,633 FOR MYSELF WAS SO FUN, ACTUALLY 346 00:11:16,633 --> 00:11:18,066 FOR THE FIRST TIME I WORKED ON 347 00:11:18,066 --> 00:11:21,733 THAT PIECE WITH TERESA RIKLAN 348 00:11:21,733 --> 00:11:23,200 AND RUSSELL JANSEN. 349 00:11:23,200 --> 00:11:24,933 THEY'RE PERFECT DANCERS. 350 00:11:24,933 --> 00:11:27,000 THEY'RE LONG AND THEY'RE VERY 351 00:11:27,000 --> 00:11:30,533 CLEAN AND CLEAR. 352 00:11:30,533 --> 00:11:32,366 I WANTED TO TRY TO BRING OUT THE 353 00:11:32,366 --> 00:11:33,333 DYNAMICS OF THE MUSIC WITH THEM. 354 00:11:33,333 --> 00:11:36,533 >> I ALSO LIKE HOW YOU WERE 355 00:11:36,533 --> 00:11:37,766 HITTING -- LIGHTLY -- 356 00:11:37,766 --> 00:11:39,033 >> HELP THEM BUILD A LANDSCAPE 357 00:11:39,033 --> 00:11:43,066 IN THEIR MIND OF WHERE TO PUSH 358 00:11:43,066 --> 00:11:45,233 FARTHER, WHERE TO SOFTEN UP, 359 00:11:45,233 --> 00:11:46,566 WHERE TO THINK DIFFERENTLY 360 00:11:46,566 --> 00:11:47,266 THROUGHOUT. 361 00:11:47,266 --> 00:11:49,333 THE WAY THE MUSIC ALSO HAS A 362 00:11:49,333 --> 00:11:49,700 LANDSCAPE. 363 00:11:49,700 --> 00:11:50,566 FOR ME, IT WAS A TOTAL THRILL TO 364 00:11:50,566 --> 00:11:51,566 GET TO WORK WITH THEM FOR THE 365 00:11:51,566 --> 00:11:52,966 FIRST TIME. 366 00:11:52,966 --> 00:11:55,533 SO THE OTHER BALLET THAT WAS 367 00:11:55,533 --> 00:11:56,666 BEING REHEARSED, WHAT DO WE SEE 368 00:11:56,666 --> 00:12:00,000 UNFOLD ON THE SCREEN THERE? 369 00:12:00,000 --> 00:12:01,133 >> THAT IS A MUCH SMALLER, MORE 370 00:12:01,133 --> 00:12:03,466 INTIMATE PIECE. 371 00:12:03,466 --> 00:12:05,033 WHERE THE PRINCIPAL DANCERS 372 00:12:05,033 --> 00:12:06,466 SPEND MOST OF THE BALLET ONSTAGE 373 00:12:06,466 --> 00:12:12,533 BY THEMSELVES. 374 00:12:12,533 --> 00:12:13,166 SO INTIMATE. 375 00:12:13,166 --> 00:12:13,900 >> IT'S ALSO EPIC BECAUSE THERE 376 00:12:13,900 --> 00:12:15,833 ARE SO MANY DETAILS. 377 00:12:15,833 --> 00:12:19,700 >> AND THEN MAYBE LATE 378 00:12:19,700 --> 00:12:21,066 SOMETHING, JUST HANG BACK A TINY 379 00:12:21,066 --> 00:12:22,200 BIT AS YOU SKIP FORWARD OR 380 00:12:22,200 --> 00:12:23,000 SOMETHING. 381 00:12:23,000 --> 00:12:28,900 ♪♪ 382 00:12:28,900 --> 00:12:31,900 >> IT'S HIS HIGHEST INTELLECT OF 383 00:12:31,900 --> 00:12:33,500 MAKING BALLETS. 384 00:12:33,500 --> 00:12:38,200 IT'S A CONVERSATION BETWEEN THE 385 00:12:38,200 --> 00:12:39,166 PARTNERS AS WELL. 386 00:12:39,166 --> 00:12:42,333 BETWEEN THE MAN AND THE WOMAN. 387 00:12:42,333 --> 00:12:49,233 AND IT ALSO HAS A QUALITY OF 388 00:12:49,233 --> 00:12:51,900 LOOKING IMPROVISE LOOKING, IT 389 00:12:51,900 --> 00:12:53,100 LOOKS LIKE THEY'RE HAVING A 390 00:12:53,100 --> 00:12:53,933 CONVERSATION, THEY'RE COMING UP 391 00:12:53,933 --> 00:12:54,666 WITH THE STEPS EVEN THOUGH 392 00:12:54,666 --> 00:12:55,933 THEY'RE DEFINED. 393 00:12:55,933 --> 00:12:57,033 TO ME, THAT'S AN INTERESTING 394 00:12:57,033 --> 00:13:02,100 QUALITY OF MAKING DANCE, 395 00:13:02,100 --> 00:13:02,500 ESPECIALLY. 396 00:13:02,500 --> 00:13:03,533 PEOPLE DIDN'T MAKE BALLETS LIKE 397 00:13:03,533 --> 00:13:03,833 THAT. 398 00:13:03,833 --> 00:13:05,233 AT THE TIME, IT WAS VERY CLEAN, 399 00:13:05,233 --> 00:13:07,800 CLEAR, DIRECT, ALIGNED AND HE 400 00:13:07,800 --> 00:13:08,666 TURNED IT ALL ON ITS SIDE AND 401 00:13:08,666 --> 00:13:10,500 PUT THESE RHYTHMS IN SO IT'S 402 00:13:10,500 --> 00:13:10,866 TUMBLING. 403 00:13:10,866 --> 00:13:12,800 THE STEPS SORT OF TUMBLE OUT. 404 00:13:12,800 --> 00:13:15,000 AND IT'S EXTREMELY EXCITING TO 405 00:13:15,000 --> 00:13:17,733 DO. 406 00:13:17,733 --> 00:13:20,200 >> WHAT ARE YOUR GOALS WHEN IT 407 00:13:20,200 --> 00:13:21,700 COMES TO THE REPERTOIRE OF THE 408 00:13:21,700 --> 00:13:22,033 BALLET? 409 00:13:22,033 --> 00:13:27,633 >> LOTS. 410 00:13:27,633 --> 00:13:29,966 OBVIOUSLY FIRST AND FOREMOST, 411 00:13:29,966 --> 00:13:31,400 WHAT THE CORE OF NEW YORK CITY 412 00:13:31,400 --> 00:13:32,100 BALLET IS AND ALWAYS WILL BE. 413 00:13:32,100 --> 00:13:38,366 ♪♪ 414 00:13:38,366 --> 00:13:46,066 ♪♪ 415 00:13:46,066 --> 00:13:47,666 SO WE HAVE TO MAINTAIN THE 416 00:13:47,666 --> 00:13:48,700 INTEGRITY OF THAT REP. 417 00:13:48,700 --> 00:13:50,000 WE HAVE TO MAINTAIN THE 418 00:13:50,000 --> 00:13:50,766 EXCITEMENT OF THAT REP. 419 00:13:50,766 --> 00:13:52,500 AND WE HAVE TO MAKE SURE THAT IT 420 00:13:52,500 --> 00:13:53,933 STAYS FRESH AND ALIVE AND 421 00:13:53,933 --> 00:13:54,933 VIBRANT IN ALL THE YEARS GOING 422 00:13:54,933 --> 00:13:55,300 FORWARD. 423 00:13:55,300 --> 00:13:56,966 >> IS THAT DIFFICULT? 424 00:13:56,966 --> 00:13:58,500 >> WELL, WE'RE PASSING IT ON 425 00:13:58,500 --> 00:14:00,300 FROM GENERATION TO GENERATION, 426 00:14:00,300 --> 00:14:01,333 SO THERE'S NEW PEOPLE LEARNING 427 00:14:01,333 --> 00:14:04,366 IT AND THERE'S NEW PEOPLE 428 00:14:04,366 --> 00:14:05,033 APPROACHING IT AT DIFFERENT 429 00:14:05,033 --> 00:14:05,600 TIMES IN THEIR LIVES. 430 00:14:05,600 --> 00:14:06,666 IT HAS THAT ABILITY TO REMAIN 431 00:14:06,666 --> 00:14:07,266 FRESH. 432 00:14:07,266 --> 00:14:08,666 >> YOU DEVELOPED THIS 433 00:14:08,666 --> 00:14:12,300 INTERESTING IDEA OF TRYING TO 434 00:14:12,300 --> 00:14:16,100 BRING BACK SOME OF THE MUSES 435 00:14:16,100 --> 00:14:19,166 THAT INSPIRED BALANCHIN. 436 00:14:19,166 --> 00:14:20,300 HOW IS THAT WORKING OUT? 437 00:14:20,300 --> 00:14:21,966 >> WE'RE BRINGING HIM BACK, 438 00:14:21,966 --> 00:14:22,966 SELFISHLY FOR US, TO LEARN FROM. 439 00:14:22,966 --> 00:14:23,333 >> YEAH. 440 00:14:23,333 --> 00:14:24,633 >> TO BE OUR GUIDES. 441 00:14:24,633 --> 00:14:26,266 TO INFORM QUESTIONS THAT WE HAVE 442 00:14:26,266 --> 00:14:27,000 ALWAYS HAD THAT WE DIDN'T FULLY 443 00:14:27,000 --> 00:14:28,566 HAVE THE ANSWERS TO. 444 00:14:28,566 --> 00:14:30,333 IT'S REALLY LIKE OPENING THE 445 00:14:30,333 --> 00:14:34,533 TREASURE CHEST, LETTING THE GEMS 446 00:14:34,533 --> 00:14:36,100 GLISTEN FOR US AND SEEING -- 447 00:14:36,100 --> 00:14:38,066 >> IT'S SO IMPORTANT, BALLET'S 448 00:14:38,066 --> 00:14:39,233 AN ART FORM THAT'S PASSED DOWN 449 00:14:39,233 --> 00:14:39,900 REALLY VOCALLY. 450 00:14:39,900 --> 00:14:41,666 AND PHYSICALLY. 451 00:14:41,666 --> 00:14:44,033 BY, YOU KNOW, DEMONSTRATING. 452 00:14:44,033 --> 00:14:45,433 AND WE DIDN'T GET TO WORK 453 00:14:45,433 --> 00:14:47,600 DIRECTLY UNDER BALANCHIN. 454 00:14:47,600 --> 00:14:48,833 YOU KNOW, WE'RE KIND OF THE NEXT 455 00:14:48,833 --> 00:14:49,400 GENERATION NOW. 456 00:14:49,400 --> 00:14:50,333 THAT DIDN'T HAVE THAT DIRECT 457 00:14:50,333 --> 00:14:51,966 CONTACT WITH HIM. 458 00:14:51,966 --> 00:14:52,833 BUT THERE ARE ALL THESE PEOPLE 459 00:14:52,833 --> 00:14:53,566 OUT THERE WHO DID. 460 00:14:53,566 --> 00:14:55,966 AND THAT HE CREATED HIS 461 00:14:55,966 --> 00:14:56,666 MASTERPIECES ON. 462 00:14:56,666 --> 00:14:58,200 AND SO WE THOUGHT IT JUST MADE 463 00:14:58,200 --> 00:15:00,266 PERFECT SENSE TO BRING THEM ON. 464 00:15:00,266 --> 00:15:02,266 SELFISHLY FOR US TO LEARN FROM. 465 00:15:02,266 --> 00:15:03,566 BUT THEY'RE ALSO TEACHING THE 466 00:15:03,566 --> 00:15:05,166 DANCERS WHO ARE THEN SOMEDAY 467 00:15:05,166 --> 00:15:06,666 GOING TO BE IN OUR POSITIONS AND 468 00:15:06,666 --> 00:15:08,033 PASSING IT ON TO THE NEXT 469 00:15:08,033 --> 00:15:09,366 GENERATION AND SO IT'S -- 470 00:15:09,366 --> 00:15:11,533 >> IT'S YOUR VERSION OF AN ORAL 471 00:15:11,533 --> 00:15:12,233 HISTORY IN A WAY. 472 00:15:12,233 --> 00:15:14,033 >> IT REALLY IS, AND TO SEE 473 00:15:14,033 --> 00:15:18,100 EDDIE VALELLA WHO BALANCIN 474 00:15:18,100 --> 00:15:20,400 REVIVED PRODIGAL SON IS THE MOST 475 00:15:20,400 --> 00:15:25,433 ICONIC WORLD IN THE REP, WORKING 476 00:15:25,433 --> 00:15:29,200 WITH WAUKEEN DELUSE, HE'S GONE 477 00:15:29,200 --> 00:15:30,400 ON, HE'S NOW A DIRECTOR, SEE THE 478 00:15:30,400 --> 00:15:32,633 TWO OF THEM ONSTAGE AND HAVE AN 479 00:15:32,633 --> 00:15:33,700 INTIMATE MOMENT WORKING ON IT, 480 00:15:33,700 --> 00:15:35,300 WE'RE STANDING IN THE WINGS WITH 481 00:15:35,300 --> 00:15:36,900 OUR MOUTHS WIDE OPEN, WATCHING 482 00:15:36,900 --> 00:15:38,200 THIS INCREDIBLE MOMENT BETWEEN 483 00:15:38,200 --> 00:15:39,500 TWO WORLD-CLASS, WORLD-FAMOUS 484 00:15:39,500 --> 00:15:40,000 ARTISTS. 485 00:15:40,000 --> 00:15:41,733 >> HOW ARE YOU APPROACHING NEW 486 00:15:41,733 --> 00:15:42,033 WORK? 487 00:15:42,033 --> 00:15:43,166 THAT'S WHAT YOU'RE TASKED WITH, 488 00:15:43,166 --> 00:15:43,466 RIGHT? 489 00:15:43,466 --> 00:15:45,033 >> THAT'S ONE OF MY TASKS. 490 00:15:45,033 --> 00:15:46,400 >> BEING ON THE HUNT FOR THOSE 491 00:15:46,400 --> 00:15:47,233 NEW GREAT WORKS. 492 00:15:47,233 --> 00:15:47,666 >> YEAH. 493 00:15:47,666 --> 00:15:48,900 THAT'S SOMETHING THAT'S WENDY'S 494 00:15:48,900 --> 00:15:51,266 REALLY KIND OF INSPIRED IN ME, 495 00:15:51,266 --> 00:15:52,866 YOU KNOW, TO REALLY UNDERSTAND 496 00:15:52,866 --> 00:15:53,233 THAT. 497 00:15:53,233 --> 00:15:55,000 THAT THE NEW WORK IS NOT JUST 498 00:15:55,000 --> 00:15:56,766 FOR -- TO BUILD A NEW AUDIENCE, 499 00:15:56,766 --> 00:15:57,866 A YOUNGER AUDIENCE, TO EXCITE 500 00:15:57,866 --> 00:15:59,033 THE AUDIENCE, WHAT WE'RE DOING, 501 00:15:59,033 --> 00:16:00,200 BUT IT'S ACTUALLY TO REALLY 502 00:16:00,200 --> 00:16:01,666 DEVELOP THE ARTIST AND FEED THE 503 00:16:01,666 --> 00:16:02,000 ARTIST. 504 00:16:02,000 --> 00:16:04,200 >> SO IN TRYING TO BALANCE THE 505 00:16:04,200 --> 00:16:07,800 NEED TO CONTINUE TO FEED YOUR 506 00:16:07,800 --> 00:16:11,166 ARTISTS AND TO EXPAND YOUR 507 00:16:11,166 --> 00:16:12,300 REPERTORY, HOW CONCERNED DO YOU 508 00:16:12,300 --> 00:16:14,066 HAVE TO BE ABOUT ALIENATING YOUR 509 00:16:14,066 --> 00:16:15,000 CORE AUDIENCE? 510 00:16:15,000 --> 00:16:17,766 IF THESE PIECES ARE ULTIMATELY 511 00:16:17,766 --> 00:16:18,833 PERFORMED ONSTAGE. 512 00:16:18,833 --> 00:16:20,400 >> YOU KNOW, I THINK OUR 513 00:16:20,400 --> 00:16:22,000 AUDIENCE IS ACTUALLY REALLY 514 00:16:22,000 --> 00:16:22,833 OPEN-MINDED. 515 00:16:22,833 --> 00:16:26,066 OUR AUDIENCE IS VERY INTELLIGENT 516 00:16:26,066 --> 00:16:27,433 AND VERY SOPHISTICATED. 517 00:16:27,433 --> 00:16:28,933 THEY KNOW WHAT THEY'RE SEEING 518 00:16:28,933 --> 00:16:31,033 AND THEY KNOW AT NEW YORK CITY 519 00:16:31,033 --> 00:16:31,733 BALLET THAT WE'RE ALWAYS GOING 520 00:16:31,733 --> 00:16:32,700 TO CREATE NEW WORK AND THEY'RE 521 00:16:32,700 --> 00:16:33,633 EXCITED BY THAT. 522 00:16:33,633 --> 00:16:36,133 >> THAT'S WHY THEY COME. 523 00:16:36,133 --> 00:16:36,800 THAT'S WHAT WE'RE ABOUT. 524 00:16:36,800 --> 00:16:38,266 >> THAT'S WHAT'S SO FUN ABOUT 525 00:16:38,266 --> 00:16:39,533 NEW YORK CITY BALLET, THEY LOVE 526 00:16:39,533 --> 00:16:42,633 THE BALANCHINS AND THE ROBINS. 527 00:16:42,633 --> 00:16:43,633 THEY ALSO LOVE THE NEW WORK. 528 00:16:43,633 --> 00:16:44,800 WE HAVE STEPPED OUTSIDE THE BOX 529 00:16:44,800 --> 00:16:45,966 IN THE LAST YEAR WITH SOME OF 530 00:16:45,966 --> 00:16:47,333 OUR NEW WORKS AND BEEN RECEIVED 531 00:16:47,333 --> 00:16:49,400 FOR THE MOST PART REALLY, REALLY 532 00:16:49,400 --> 00:16:50,266 ENTHUSIASTICALLY BY OUR 533 00:16:50,266 --> 00:16:50,633 AUDIENCE. 534 00:16:50,633 --> 00:16:51,533 THAT GIVES US EVEN MORE 535 00:16:51,533 --> 00:16:53,533 CONFIDENCE TO KEEP GOING. 536 00:16:53,533 --> 00:16:55,000 AND SOMETHING JUSTIN PECK, WHO'S 537 00:16:55,000 --> 00:16:56,366 OUR RESIDENT CHOREOGRAPHER AND 538 00:16:56,366 --> 00:16:59,133 ALSO NOW OUR ARTISTIC ADVISER, 539 00:16:59,133 --> 00:17:00,933 HE'S IN HIS EARLY 30s, HE'S SO 540 00:17:00,933 --> 00:17:03,033 CONNECTED AND TUNED IN TO THE 541 00:17:03,033 --> 00:17:04,066 LOCAL ART SCENE HERE IN NEW YORK 542 00:17:04,066 --> 00:17:05,866 THAT HE HAS ALL THESE IDEAS OF 543 00:17:05,866 --> 00:17:07,866 ARTISTS THAT HE CAN COLLABORATE 544 00:17:07,866 --> 00:17:09,099 WITH, THAT HE CAN SEND THE 545 00:17:09,099 --> 00:17:10,733 COMPANY FOR OTHER CHOREOGRAPHERS 546 00:17:10,733 --> 00:17:12,966 TO COLLABORATE WITH. 547 00:17:12,966 --> 00:17:14,233 >> CURRENTLY, HE'S A CREATIVE 548 00:17:14,233 --> 00:17:15,200 CONSULTANT AND RESIDENT 549 00:17:15,200 --> 00:17:16,500 CHOREOGRAPHER FOR NEW YORK CITY 550 00:17:16,500 --> 00:17:17,700 BALLET, SO WE ARE SORT OF A 551 00:17:17,700 --> 00:17:20,599 LITTLE TRIANGLE OF CONVERSATION. 552 00:17:20,599 --> 00:17:22,066 WE TALK AMONG OURSELVES ABOUT 553 00:17:22,066 --> 00:17:27,800 WHERE WE WANT TO GO, WHO WE 554 00:17:27,800 --> 00:17:28,600 THINK IS INTERESTING. 555 00:17:28,600 --> 00:17:30,266 WE GET APPROVAL FROM EACH OTHER 556 00:17:30,266 --> 00:17:31,100 ABOUT COMMISSIONS. 557 00:17:31,100 --> 00:17:32,200 SO IT'S ALWAYS A CONVERSATION. 558 00:17:32,200 --> 00:17:33,466 >> WHAT DO YOU HOPE WILL BE ON 559 00:17:33,466 --> 00:17:35,433 THE HORIZON FOR THE COMPANY THE 560 00:17:35,433 --> 00:17:36,100 SCHOOL? 561 00:17:36,100 --> 00:17:39,800 >> I HOPE THAT, YOU KNOW, WE CAN 562 00:17:39,800 --> 00:17:41,300 OPEN UP FROM OUR HISTORY. 563 00:17:41,300 --> 00:17:44,366 WE HAD A CERTAIN IDENTITY, A LOT 564 00:17:44,366 --> 00:17:47,033 OF GOOD WAYS, BUT WE CAN DEVELOP 565 00:17:47,033 --> 00:17:50,500 IT IN MORE BROADER WAYS. 566 00:17:50,500 --> 00:17:52,000 DIVERSIFYING OUR SCHOOL. 567 00:17:52,000 --> 00:17:53,833 DIVERSIFYING OUR COMPANY. 568 00:17:53,833 --> 00:17:55,533 DIVERSIFYING THE ARTISTS WE 569 00:17:55,533 --> 00:17:56,533 BRING IN. 570 00:17:56,533 --> 00:17:58,133 OUR ADMINISTRATION. 571 00:17:58,133 --> 00:18:00,766 SO REALLY THINKING ABOUT 572 00:18:00,766 --> 00:18:03,033 OURSELVES AS CULTURAL LEADERS AS 573 00:18:03,033 --> 00:18:05,900 WELL AS ARTISTIC LEADERS. 574 00:18:05,900 --> 00:18:09,633 THAT'S WHAT WE TALK A LOT ABOUT. 575 00:18:09,633 --> 00:18:11,766 SO, WE WANT TO SORT OF LEAD IN 576 00:18:11,766 --> 00:18:12,466 THAT WAY. 577 00:18:12,466 --> 00:18:14,166 >> AND SHARING THAT PASSION, YOU 578 00:18:14,166 --> 00:18:15,466 KNOW, BECAUSE IT REALLY IS A 579 00:18:15,466 --> 00:18:15,800 PASSION. 580 00:18:15,800 --> 00:18:17,766 YOU HAVE TO BE PASSIONATE ABOUT 581 00:18:17,766 --> 00:18:18,066 IT. 582 00:18:18,066 --> 00:18:20,466 ONE OF THE MOST INSPIRING THIN 583 00:18:20,466 --> 00:18:22,600 S IS SEEING THAT PASSION IN 584 00:18:22,600 --> 00:18:24,000 SOMEONE ELSE, TOO, WHICH KEEPS 585 00:18:24,000 --> 00:18:25,566 THAT PASSION ALIVE DEEP DOWN 586 00:18:25,566 --> 00:18:27,466 WITHIN YOU WHEN YOU SEE IT ON 587 00:18:27,466 --> 00:18:29,400 THE STUDENTS' FACES AND SEE IT 588 00:18:29,400 --> 00:18:33,366 IN THE -- OUR DANCERS, WORKING 589 00:18:33,366 --> 00:18:34,866 DAY AFTER DAY, HOUR AFTER HOUR, 590 00:18:34,866 --> 00:18:36,000 TO GET, TO HONE THEIR CRAFT 591 00:18:36,000 --> 00:18:37,300 BECAUSE THEY'RE PASSIONATE ABOUT 592 00:18:37,300 --> 00:18:37,566 IT. 593 00:18:37,566 --> 00:18:39,766 >> AND THERE'S NOTHING BETTER 594 00:18:39,766 --> 00:18:40,866 THAN BEING INSPIRED AND 595 00:18:40,866 --> 00:18:42,066 INSPIRING OTHER PEOPLE. 596 00:18:42,066 --> 00:18:43,966 NOTHING BETTER THAN THAT. 597 00:18:43,966 --> 00:18:46,200 AND THAT'S, I THINK, WHAT KEEPS 598 00:18:46,200 --> 00:18:47,433 US EXCITED. 599 00:18:47,433 --> 00:18:47,966 >> YEAH. 600 00:18:47,966 --> 00:18:52,700 >> WELL, I HOPE THIS COMPANY 601 00:18:52,700 --> 00:18:53,400 BECOMES EVERYTHING YOU WANT IT 602 00:18:53,400 --> 00:18:53,966 TO BECOME. 603 00:18:53,966 --> 00:18:54,766 A CONTINUED SUCCESS. 604 00:18:54,766 --> 00:18:55,533 >> THANK YOU SO PUMP. 605 00:18:55,533 --> 00:18:56,366 >> THANK YOU SO MUCH. 606 00:18:56,366 --> 00:18:57,100 >> TO BOTH OF YOU. 607 00:18:57,100 --> 00:18:58,933 IT WILL BE FUN TO ROOT YOU ON 608 00:18:58,933 --> 00:19:06,233 FROM THE SIDELINES. 609 00:19:06,233 --> 00:19:16,466 ♪♪ 610 00:19:16,466 --> 00:19:17,466 >> FOR MORE INFORMATION ON 611 00:19:17,466 --> 00:19:19,233 CULTURAL EVENTS IN OUR AREA, 612 00:19:19,233 --> 00:19:22,266 PLEASE SIGN UP FOR OUR FREE 613 00:19:22,266 --> 00:19:26,133 WEEKLY EMAIL AT 614 00:19:26,133 --> 00:19:26,633 NYCARTS.ORG/EMAIL. 615 00:19:26,633 --> 00:19:27,766 TOP FIVE PICKS WILL KEEP YOU UP 616 00:19:27,766 --> 00:19:30,766 TO DATE ALL YEAR ROUND. 617 00:19:30,766 --> 00:19:32,433 AND BE SURE TO CONNECT WITH "NYC 618 00:19:32,433 --> 00:19:33,133 ARTS" ON FACEBOOK, INSTAGRAM, 619 00:19:33,133 --> 00:19:42,866 AND TWITTER. 620 00:19:42,866 --> 00:19:44,566 >>> NEXT, WE VISIT THE 621 00:19:44,566 --> 00:19:45,766 METROPOLITAN MUSEUM OF ART FOR A 622 00:19:45,766 --> 00:19:47,433 FRESH LOOK AT THE MUSEUM'S 623 00:19:47,433 --> 00:19:50,133 COLLECTION OF POST-WAR AND 624 00:19:50,133 --> 00:19:54,966 CONTEMPORARY ART. 625 00:19:54,966 --> 00:20:00,033 EPIC ABSTRACTION POLLACK TO 626 00:20:00,033 --> 00:20:01,166 HERERRA, PAINTING, SCULPTURE, 627 00:20:01,166 --> 00:20:02,500 AND OTHER WORKS OF ART. 628 00:20:02,500 --> 00:20:05,633 THE EXHIBIT SEEKS TO BROADEN THE 629 00:20:05,633 --> 00:20:06,800 NARRATIVE OF ABSTRACTION 630 00:20:06,800 --> 00:20:08,900 BRINGING TOGETHER SOME 50 WORKS 631 00:20:08,900 --> 00:20:09,566 FROM THE MET COLLECTION. 632 00:20:09,566 --> 00:20:12,066 REPRESENTED HERE ARE SUCH ICONIC 633 00:20:12,066 --> 00:20:16,933 ARTISTS AS JACKSON POLLACK. 634 00:20:16,933 --> 00:20:18,500 MARK ROSCO. 635 00:20:18,500 --> 00:20:20,733 CARMEN HERRERA AND MARK 636 00:20:20,733 --> 00:20:21,766 BRADFORD. 637 00:20:21,766 --> 00:20:24,866 RANDALL, CURAOR OF MODERN AND 638 00:20:24,866 --> 00:20:28,233 CONTEMPORARY ART AT THE MET 639 00:20:28,233 --> 00:20:30,033 LOOKS AT A SINGLE WORK FROM THE 640 00:20:30,033 --> 00:20:30,500 EXHIBITION. 641 00:20:30,500 --> 00:20:35,166 ♪♪ 642 00:20:35,166 --> 00:20:37,566 >> WE'RE LOOKING AT JACKSON 643 00:20:37,566 --> 00:20:39,700 POLLACK'S AUTUMN RHYTHM FROM 644 00:20:39,700 --> 00:20:40,366 1950. 645 00:20:40,366 --> 00:20:44,600 THE PAINTING CAME INTO THE 646 00:20:44,600 --> 00:20:47,333 COLLECTION IN 1957 AND ONE OF 647 00:20:47,333 --> 00:20:48,033 THE TREASURES OF THE MET'S 648 00:20:48,033 --> 00:20:49,066 MODERN COLLECTION. 649 00:20:49,066 --> 00:20:50,366 POLLACK IS MOST REMEMBERED AS A 650 00:20:50,366 --> 00:20:51,633 KEY FIGURE IN AMERICAN ART OF 651 00:20:51,633 --> 00:20:52,266 THE 20th CENTURY FOR THESE 652 00:20:52,266 --> 00:20:56,633 LARGE-SCALE SO-CALLED DRIP 653 00:20:56,633 --> 00:20:57,900 PAINTINGS WHICH HE STARTED TO DO 654 00:20:57,900 --> 00:21:00,233 IN THE LATE 1940s AND INTO THE 655 00:21:00,233 --> 00:21:02,166 EARLY 1950s. 656 00:21:02,166 --> 00:21:04,600 THESE WORKS HAVE A GREAT SENSE 657 00:21:04,600 --> 00:21:06,966 OF IMMEDIACY FOR A RANGE OF 658 00:21:06,966 --> 00:21:07,633 REASONS. 659 00:21:07,633 --> 00:21:09,200 ONE IS THAT THEY'RE LARGE WHICH 660 00:21:09,200 --> 00:21:10,400 RELATIVE TO YOUR OWN SCALE MAKES 661 00:21:10,400 --> 00:21:11,100 YOU FEEL A LITTLE BIT SMALL BY 662 00:21:11,100 --> 00:21:13,233 COMPARISON. 663 00:21:13,233 --> 00:21:15,200 ONE OF THE WAYS IN WHICH POLLACK 664 00:21:15,200 --> 00:21:16,833 PLAYED A KEY ROLE IN CHANGING 665 00:21:16,833 --> 00:21:18,800 THE VERY CONCEPT OF PAINTING IS 666 00:21:18,800 --> 00:21:21,066 THAT HE MOVED THE CANVAS FROM 667 00:21:21,066 --> 00:21:22,566 THE EASEL TO THE FLOOR. 668 00:21:22,566 --> 00:21:26,100 AND HE ALSO BEGAN WORKING WITH 669 00:21:26,100 --> 00:21:28,500 COMMON HOUSEHOLD ENAMEL PAINT. 670 00:21:28,500 --> 00:21:31,933 HE LIKED THIS PAINT BECAUSE IT 671 00:21:31,933 --> 00:21:33,966 WAS VERY VISCOUS SO IT'S THE 672 00:21:33,966 --> 00:21:35,800 KIND OF PAINT THAT YOU CAN THROW 673 00:21:35,800 --> 00:21:36,733 AND CREATES THESE DYNAMIC DRIPS 674 00:21:36,733 --> 00:21:42,933 AND DRIBBLES AND THESE WHIPS OF 675 00:21:42,933 --> 00:21:44,966 PAINT THAT SEEM TO BE CAPTURED 676 00:21:44,966 --> 00:21:46,100 IN SPACE ON THE PICTURE. 677 00:21:46,100 --> 00:21:48,533 IN THE CASE OF "AUTUMN RHYTHM" 678 00:21:48,533 --> 00:21:51,666 SOME OF THE PAINT IS THIN AND 679 00:21:51,666 --> 00:21:52,633 ELEGANT AND QUITE GRACEFUL 680 00:21:52,633 --> 00:21:54,066 WHEREAS OTHER PASSAGES ARE DENSE 681 00:21:54,066 --> 00:21:57,200 AND MORE AGGRESSIVE AND THICKER. 682 00:21:57,200 --> 00:22:01,166 THERE ARE PASSAGES ALSO OF 683 00:22:01,166 --> 00:22:02,233 IMPASTO WHERE HE'S USED PART OF 684 00:22:02,233 --> 00:22:04,366 THE ENAMEL PAINT THAT HAVE DRIED 685 00:22:04,366 --> 00:22:06,200 AND CREATED A KIND OF SKIN. 686 00:22:06,200 --> 00:22:09,866 A THREE-DIMENSIONALITY ON THE 687 00:22:09,866 --> 00:22:11,400 PICTURE EVEN AS THE PAINT 688 00:22:11,400 --> 00:22:13,500 REGISTERS AS FLAT. 689 00:22:13,500 --> 00:22:16,066 WHEN PEOPLE FIRST ENCOUNTER 690 00:22:16,066 --> 00:22:17,266 POLLACK'S WORK, THEY SEE IT AS 691 00:22:17,266 --> 00:22:19,366 FULLY INTUITIVE, 692 00:22:19,366 --> 00:22:20,033 IMPROVISATIONAL, WITHOUT ANY 693 00:22:20,033 --> 00:22:22,000 KIND OF PLAN OR GUIDING 694 00:22:22,000 --> 00:22:24,800 PRINCIPLE. 695 00:22:24,800 --> 00:22:27,500 IN FACT, AS YOU LOOK AT MULTIPLE 696 00:22:27,500 --> 00:22:29,266 WORKS BY POLLACK, YOU CAN SEE 697 00:22:29,266 --> 00:22:34,733 EACH CANVAS IS DISTINCT AND 698 00:22:34,733 --> 00:22:36,133 DIFFERENT FROM ANOTHER. 699 00:22:36,133 --> 00:22:37,800 IF YOU LOOK CLOSELY "AT AUTUMN 700 00:22:37,800 --> 00:22:38,700 RHYTHM," TO THE RIGHT OF 701 00:22:38,700 --> 00:22:39,966 SEPTEMBER AND TOWARD THE BOTTOM 702 00:22:39,966 --> 00:22:41,000 AS WE SEE IT ON THE WALL, 703 00:22:41,000 --> 00:22:41,700 THERE'S A LITTLE FLICK OF RED 704 00:22:41,700 --> 00:22:42,000 PAINT. 705 00:22:42,000 --> 00:22:48,966 A LITTLE DEVELOP OF RED PAINT. 706 00:22:48,966 --> 00:22:50,533 ONCE YOU SEE IT, YOU CAN'T UNSEE 707 00:22:50,533 --> 00:22:53,166 IT BECAUSE IT SEEMS SO 708 00:22:53,166 --> 00:22:53,533 ANOMALOUS. 709 00:22:53,533 --> 00:22:55,133 ONE WONDERFUL THING ABOUT 710 00:22:55,133 --> 00:22:56,266 POLLACK'S TECHNIQUE IS THIS 711 00:22:56,266 --> 00:22:57,233 EMBRACE OF ACCIDENT AND EMBRACE 712 00:22:57,233 --> 00:23:01,066 OF THE EFFECTS OF CHANCE. 713 00:23:01,066 --> 00:23:06,066 THE TITLE, AUTUMN RHYTHM, THE 714 00:23:06,066 --> 00:23:08,600 WORD, RHYTHM, TIES TO THE RHYTHM 715 00:23:08,600 --> 00:23:12,633 AND CADENCE THAT'S PART AND 716 00:23:12,633 --> 00:23:14,966 PARCEL OF HIS GESTURAL PAINTING 717 00:23:14,966 --> 00:23:15,266 STYLE. 718 00:23:15,266 --> 00:23:16,533 THIS GREAT SENSE OF GROWTH AND 719 00:23:16,533 --> 00:23:17,600 EVOLUTION IN A WAY TIES TO THE 720 00:23:17,600 --> 00:23:18,966 CHANGE OF SEASONS AND THE EBBS 721 00:23:18,966 --> 00:23:20,866 AND FLOWS OF NATURE IN THE 722 00:23:20,866 --> 00:23:24,533 COURSE OF A YEAR. 723 00:23:24,533 --> 00:23:34,100 ♪♪ 724 00:23:34,100 --> 00:23:40,866 ♪♪ 725 00:23:40,866 --> 00:23:42,866 >>> HELLO, I'M RAFAEL. 726 00:23:42,866 --> 00:23:44,100 WELCOME TO LINCOLN CENTER. 727 00:23:44,100 --> 00:23:46,533 ON SEPTEMBER 17th, NEW YORK CITY 728 00:23:46,533 --> 00:23:49,066 BALLET WILL OPEN ITS FALL SEASON 729 00:23:49,066 --> 00:23:51,633 WITH GEORGE BALANCHIN'S 730 00:23:51,633 --> 00:23:53,766 FULL-LENGTH PRESENTATION OF 731 00:23:53,766 --> 00:23:54,133 "JEWELS." 732 00:23:54,133 --> 00:23:55,066 THE PROGRAM OF PERFORMANCES WILL 733 00:23:55,066 --> 00:23:58,700 TAKE PLACE OVER FOUR WEEKS AT 734 00:23:58,700 --> 00:24:00,733 THE DAVID H. COKE THEATER. 735 00:24:00,733 --> 00:24:03,066 OTHER HIGHLIGHT INCLUDE THE 736 00:24:03,066 --> 00:24:05,433 COMPANY'S FALL FASHION GALA 737 00:24:05,433 --> 00:24:09,200 WHICH WILL FEATURE PREMIERES. 738 00:24:09,200 --> 00:24:11,333 BALANCHIN'S SERENADE. 739 00:24:11,333 --> 00:24:13,000 JEROME ROBINS DANCES A THE A 740 00:24:13,000 --> 00:24:13,866 GATHERING. 741 00:24:13,866 --> 00:24:15,533 JUSTIN PECK'S "EVERYWHERE WE 742 00:24:15,533 --> 00:24:16,000 GO." 743 00:24:16,000 --> 00:24:17,666 FOR COMPLETE DETAILS, PLEASE 744 00:24:17,666 --> 00:24:21,233 VISIT NYCBALLET.COM AND FOR EVEN 745 00:24:21,233 --> 00:24:22,300 MORE INFORMATION ABOUT MUSIC, 746 00:24:22,300 --> 00:24:24,900 DANCE, THEATER, OPERA, AND FILM 747 00:24:24,900 --> 00:24:27,200 HERE AT LINCOLN CENTER, VISIT 748 00:24:27,200 --> 00:24:30,233 THEIR WEBSITE AT 749 00:24:30,233 --> 00:24:35,233 LINCOLNCENTER.ORG. 750 00:24:35,233 --> 00:24:37,433 >> THANKS FOR JOINING US THIS 751 00:24:37,433 --> 00:24:38,100 EVENING. 752 00:24:38,100 --> 00:24:42,233 I'M PAULA ZAHN AT THE TISH WNET 753 00:24:42,233 --> 00:24:43,633 STUDIOS AT LINCOLN CENTER. 754 00:24:43,633 --> 00:24:45,666 GOOD NIGHT. 755 00:24:45,666 --> 00:24:46,366 >>> NEXT WEEK ON "NYC ARTS," A 756 00:24:46,366 --> 00:24:49,533 CONVERSATION WITH MAESTRO 757 00:24:49,533 --> 00:24:51,466 SWAYDEN OF THE NEW YORK 758 00:24:51,466 --> 00:24:52,466 PHILHARMONIC ABOUT THE DEEP 759 00:24:52,466 --> 00:24:54,366 ROOTS OF HIS LOVE FOR MUSIC AND 760 00:24:54,366 --> 00:24:55,833 THE NEW SEASON WITH THE 761 00:24:55,833 --> 00:24:58,333 ORCHESTRA. 762 00:24:58,333 --> 00:25:00,600 >> WE GOT AN INVITATION FROM 763 00:25:00,600 --> 00:25:01,133 AMSTERDAM, ACTUALLY. 764 00:25:01,133 --> 00:25:04,400 EVERY 25 YEARS THEY HAVE A BIG 765 00:25:04,400 --> 00:25:05,033 FESTIVAL CELEBRATING. 766 00:25:05,033 --> 00:25:07,966 FOR THE FIRST TIME, IN MAY 2020, 767 00:25:07,966 --> 00:25:11,833 WE ARE GOING TO AMSTERDAM AND TO 768 00:25:11,833 --> 00:25:15,166 BE ALSO PART OF THAT REALLY 769 00:25:15,166 --> 00:25:16,033 GREAT ORCHESTRA. 770 00:25:16,033 --> 00:25:19,700 ♪♪ 771 00:25:19,700 --> 00:25:23,466 >>> AND A LOOK AT ARTIST, 772 00:25:23,466 --> 00:25:25,100 ARMENGANI'S "BRIDGE OVER TREE." 773 00:25:25,100 --> 00:25:25,900 A PUBLIC ART INSTALLATION IN 774 00:25:25,900 --> 00:25:28,000 BROOKLYN BRIDGE PARK. 775 00:25:28,000 --> 00:25:31,466 >> WHAT CAN A BRIDGE MEAN WHEN 776 00:25:31,466 --> 00:25:34,133 IT IS SPLIT FROM ITS FUNCTIONAL 777 00:25:34,133 --> 00:25:34,466 PURPOSE? 778 00:25:34,466 --> 00:25:37,066 ONE ANALOGY CAN BE DRAWN TO THE 779 00:25:37,066 --> 00:25:40,066 IDEA OF RESPECT FOR NATURE. 780 00:25:40,066 --> 00:25:42,533 THAT THIS BRIDGE DOESN'T RUN 781 00:25:42,533 --> 00:25:43,266 OVER THE TREE. 782 00:25:43,266 --> 00:25:43,966 YOU KNOW, IT BRIDGES OVER THE 783 00:25:43,966 --> 00:25:45,633 TREE. 784 00:25:45,633 --> 00:25:53,366 AND KIND OF RESPECTS IT AS A 785 00:25:53,366 --> 00:25:57,366 FORM. 786 00:25:57,366 --> 00:26:28,500 ♪♪ 787 00:26:28,500 --> 00:26:30,366 >> FUNDING FOR "NYC ARTS" IS 788 00:26:30,366 --> 00:26:32,166 MADE POSSIBLE BY -- ROSALIND P. 789 00:26:32,166 --> 00:26:34,800 WALTER. 790 00:26:34,800 --> 00:26:35,466 THE THEA PETSCHEK IERVOLINO 791 00:26:35,466 --> 00:26:36,366 FOUNDATION. 792 00:26:36,366 --> 00:26:37,400 THE LEWIS SONNY TURNER FUND FOR 793 00:26:37,400 --> 00:26:42,466 DANCE. 794 00:26:42,466 --> 00:26:44,233 JODY AND JOHN ARNHOLD. 795 00:26:44,233 --> 00:26:46,166 KATE CASSIDY FOUNDATION. 796 00:26:46,166 --> 00:26:50,566 ELISE JAFFRAY AND JEFFREY BROWN. 797 00:26:50,566 --> 00:26:51,200 ELROY AND TERRY KRUMHOLTZ 798 00:26:51,200 --> 00:26:54,800 FOUNDATION. 799 00:26:54,800 --> 00:26:58,400 GENE DUBINSKY APPLETON ES SKATE. 800 00:26:58,400 --> 00:27:01,333 THE MILTON AND SALARY AVERY ARTS 801 00:27:01,333 --> 00:27:01,733 FOUNDATION. 802 00:27:01,733 --> 00:27:03,400 AND ELLEN AND JAMES S. MARCUS. 803 00:27:03,400 --> 00:27:04,900 ADDITIONAL FUNDING PROVIDED BY 804 00:27:04,900 --> 00:27:07,566 MEMBERS OF THIRTEEN. 805 00:27:07,566 --> 00:27:08,366 "NYC ARTS" IS MADE POSSIBLE IN 806 00:27:08,366 --> 00:27:11,500 PART BY FIRST REPUBLIC BANK. 807 00:27:11,500 --> 00:27:13,566 >> FIRST REPUBLIC BANK PRESENTS 808 00:27:13,566 --> 00:27:15,366 FIRST THINGS FIRST. 809 00:27:15,366 --> 00:27:17,366 AT FIRST REPUBLIC BANK, FIRST 810 00:27:17,366 --> 00:27:19,000 REFERS TO OUR FIRST PRIORITY. 811 00:27:19,000 --> 00:27:19,733 THE CLIENTS WHO WALK THROUGH OUR 812 00:27:19,733 --> 00:27:21,266 DOORS. 813 00:27:21,266 --> 00:27:24,233 THE FIRST STEP, RECOGNIZE THAT 814 00:27:24,233 --> 00:27:25,766 EVERY CLIENT IS AN INDIVIDUAL 815 00:27:25,766 --> 00:27:28,100 WITH UNIQUE NEEDS. 816 00:27:28,100 --> 00:27:29,400 FIRST DECREE. 817 00:27:29,400 --> 00:27:31,033 BE A BANK WHOSE CURRENCY IS 818 00:27:31,033 --> 00:27:31,366 SERVICE. 819 00:27:31,366 --> 00:27:34,033 IN THE FORM OF PERSONAL BANKING. 820 00:27:34,033 --> 00:27:35,400 THIS WAS FIRST REPUBLIC'S 821 00:27:35,400 --> 00:27:37,566 MISSION FROM OUR VERY FIRST DAY. 822 00:27:37,566 --> 00:27:38,633 IT'S STILL THE FIRST THING ON 823 00:27:38,266 --> 00:27:38,633 OUR MINDS.