Word: juilliard
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Born on July 27, 1940 in Solingen, Germany, Bausch started her dance studies at the Folkwang School in Essen and trained at the Juilliard School of Music in New York...
...compelling, the movie is weighed down by its insistence on subordinating both music and personal narrative to a broader social message. The story of Nathaniel Ayers (Jamie Foxx) has ample potential to be poignant and transformative. A man whose early talent for the cello propelled him to The Juilliard School and boundless opportunity, somewhere along that journey he lost himself. The movie never gives sufficient evidence as to why or how, but when we first see him, he’s living homeless and schizophrenic in the tunnels and streets of Los Angeles. Enter Steve Lopez (Robert Downey...
...Angeles Times columnist Steve Lopez's (Downey) relationship with a homeless schizophrenic named Nathaniel Anthony Ayers (Foxx), whom he met in a downtown LA park in 2005. Ayers was playing a violin during that first encounter, apparently quite well, despite it having only two strings. He had been a Juilliard student in the 1970s, until mental illness cost him just about everything but his love for music. That year, Lopez wrote nearly a dozen columns detailing his attempts to understand and assist Ayers and, in 2008, published a book about their friendship. (See pictures of a band of hobos...
...develop its human capital, and that means promoting people's talents everywhere, not just the élite." It's gratifying, he adds, to watch his students' families, who are often as attuned to the value of the Sistema orchestras as any U.S. parent sending a child to Juilliard would be, buck the reputation of Venezuela's poor as uncultured niches, or uncouth people. "They're enchanted to see their children practicing this music at home, to see the self-esteem it gives them," he says. "They share it with their neighbors...
...open up the Alice Tully-Juilliard building, Diller and her partners more or less exploded it. At one triangular corner they greatly extended the lobby, wrapped it in glass and stacked a glass-walled dance-rehearsal space just above. That transparent box cantilevers over the street to offer free performances for whoever walks by - like a JumboTron but with real people dancing inside it. "We were trying to strike a balance," says Diller, "between the monumental and the dematerialized." Then they sliced the new space with a multistory diagonal plane. It creates a giant triangular canopy that launches itself toward...