Catherine Turocy is Artistic Director and co-founder of The New York Baroque Dance Company and is internationally recognized for her contribution to the current revival of 18th century works. She has been commissioned to choreograph over 20 opera productions in France and the United States, including Rameau's Les Boréades and Les Fêtes d'Hébé, Leclair's Scylla et Glaucus, Charpentier's Les Arts Florissants. In 1995 Ms. Turocy was knighted by the French government for her artistic contributions to the dance field. As a stage director, she has mounted Gluck's Orfeo and Purcell's Dido and Aeneas in New York City, Handel's Ariodante for the Spoleto Festival USA in Charleston, South Carolina, Landi's Il Sant'Alessio in Los Angeles, and Handel's Apollo e Dafne for the New World Symphony in Miami Beach. She has worked with such notable conductors as Christopher Hogwood, Nicholas McGegan, James Richman, and John Eliot Gardiner. Her ballets have been filmed for French and American television and featured at international venues including the Châtelet in Paris, the Aix-en-Provence Festival, the Opéra de Lyon and the Mostly Mozart Festival at Lincoln Center and the Mozart Festival at the Kennedy Center.
Catherine Turocy
(corner of Flatbush Ave)
June 6 from 3-5pm. Class fee: $16.00
Do not miss this rare class on early ballet pantomime and expression, open to all levels of experience. Allow Turocy to guide you through the "passions" inspired by descriptions of 18th century ballerina Marie Sallé. Turocy will teach her choreography based on the music of La Gelosia from Handel'sTerpsichore in which Sallé played the title role. If you are not a dancer, but have been curious as to how dancers construct and perform dramatic scenes, and how this action is tied to the music, you will enjoy this class!
From Catherine:
...I have been exploring 18th century expression in pantomime and dramatic gesture as seen in paintings, porcelains and sculpture as well as the decorative arts. After reading Judith Rock's book, Terpsichore at Louis-le-Grand, I began to pay more attention to concepts of "le mouvement" and how the physical sense of adjusting the bendings of the joints were linked to descriptions of "movements of the soul."