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Though the Miami New Drama-commissioned “Queen of Basel” will have its official world premiere at Studio Theatre in Washington D.C. next season, you don’t have to wait or travel to discover how playwright Hilary Bettis has reimagined August Strindberg’s controversial 1888 classic “Miss Julie.” With three powerful actors and a small audience sharing the stage space at Miami Beach’s Co..

Branden Jacobs-Jenkins, now 33, was named a MacArthur “genius” grant winner in 2016, the same year his play “Gloria” was chosen as a finalist for the Pulitzer Prize for drama. Earlier, his provocative, stylistically diverse, subversive plays “Appropriate” and “An Octoroon” (the latter was produced by Coral Gables’ Area Stage last fall) each won best new American play Obie Awards. ..

"The Other Mozart" is a suitcase play – one of those shows where a single actress can pack the entire contents that creates the setting – costume, wig, and props, and go anywhere in the world. It is the way Samantha Hoefer will arrive in Miami to present Sylvia Milo's one-woman play about Maria Anna Mozart, the not nearly as famous older sibling of that 18th century rock star Wolfgang Ama..

Early on in the Argentinean film “El Último Traje” (The Last Suit), which makes its U.S. theatrical debut this week, a deceptively quaint and humorous scene takes place between the film’s protagonist, 88-year-old Abraham Bursztein and his young granddaughter. The little girl refuses to join in a family photo with Abraham surrounded by his many grandchildren. When he cajoles and insists, ..

Gone are the days when filmmakers needed huge budgets, and major movie studios backing them with big bucks to get their films seen, according to two producers who spent decades in Los Angeles, and have now moved their base to Miami Beach. "From a creative standpoint, there are amazing opportunities for filmmakers today," says producer Kevin Chinoy, who, along with producing partner Frances..

Mark St. Germain has achieved ongoing success with small-cast plays involving historical figures in fictional scenarios, and South Florida has been as welcoming to his work as the rest of the country. St. Germain’s “Camping With Henry and Tom,” about a 1920s camping trip involving Henry Ford, Thomas Edison and President Warren G. Harding, was produced in 1996 by New Theatre in Coral Gables..

Mexico City-based theater collective Teatro Ojo's works are constantly evolving. Nothing is ever really finished. That's because they take from every performance. Whatever the audience experiences, observes, feels, and offers feedback, which they highly encourage, all is used, considered, and included in the evolution of the same piece, or introduced into another new work. Two of the ..

“America’s Greatest and Least Known Playwright.”This is how the Cuban-American playwright Maria Irene Fornes is referred to several times throughout Michelle Memran’s documentary “The Rest I Make Up,” which makes its Florida debut this Saturday as part of Miami-Dade College’s Miami Film Festival. Fornes has been called the “Mother of Avant-Garde Theater.” Theater giants like Edward A..

“Once” has always been touched with magic. And as anyone who has seen the sublime new production of the show by Actors’ Playhouse in Coral Gables would tell you, the musical’s spellbinding pull is as powerful as ever. When Irish director-screenwriter John Carney first told the tale of a heartbroken Irish street musician and the spunky Czech pianist who reignites his passion, a 200..

Consider the idea of land in Palestine, and conflict may be the first thing to come to mind. But for Jumana Emil Abboud, the Palestinian landscape evokes other, older, associations – with mythological creatures like water spirits and ghouls. “These stories were told way before 1948,” says the Galilee-born artist, speaking by phone from her home in Jerusalem. She suggests looking back ..

MCB’S Rebecca King Interview Part I: Ballet and Social Media


Photo: Photo credit: Gene Schiavone
Written by: Sean Erwin
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We all feel it -- that compulsive inner imperative to respond to multiple streams of instant messages, 5+ email accounts, Twitter feeds, Facebook updates, LinkedIn prompts -- social media demands form a part-time job that, for many of us, has become an essential part of living and working.

And the world of ballet is no exception. As recently as May 2015, Paloma Herrera, principal ballerina with American Ballet Theater, gave as her main reason for retirement the inability to keep up with the demands social media placed on her.

Clearly the effects of social media have begun to show even in ballet. Wanting to understand more clearly what these were, we recently turned to Miami City Ballet’s Rebecca King for help.

King hails from Northern California but graduated in 2006 from Philadelphia’s Rock School for Dance. King then trained at the Miami City Ballet School, spent a year there as an apprentice before being promoted to Corps De Ballet in 2008.

However, King is also known as a social media entrepreneur. Her blog, tendusunderapalmtree.com, has been connecting with audiences on issues relating to the world of ballet since 2010. She also has a very active Twitter account with over 3,000 followers. For this reason she was just the person to talk to about the effects the new social media technologies may be having on the tight-knit world of ballet.

Artburst: Was there was a specific moment or event that inspired the blog?

RK: It was 2010 and I was on summer layoff. I started doing the online blog because I realized that at the time there was nothing really like it out there. I knew that for the audience the dancers on stage seem like mystical creatures, difficult to connect with. Also, remember, the interest in ballet is not what it used to be and so I saw a potential to build a bridge to audiences and to make things more interesting.

You actually have two Websites -- one is your blog, Tendus Under a Palm Tree, and the other is Rebecca King Social Media Management (rebeccaking.net). Do you see the social management firm to be an outgrowth of what you do in your blog?

Miami City Ballet had me working as a liaison at one time between the dancers and the social media department. Just having the name of MCB is a big platform. Let’s face it, for companies like MCB, and even individuals like you and me, the way the world sees us is through our Website and our social media status. People throughout the world access our company this way even if they have never seen us dance live and never will.

You said you began to develop your social networking skill set by first acting as a liaison for Miami City Ballet and social media?

Yes, it was trial and error. I grew my personal blog from nothing to where it is now getting hundreds of hits daily. Over the last five years my Twitter account has grown to over 3,000 followers. I’ve even sold hundreds of units of merchandise and it has all been through social media. It was natural the point would come when others would see what I was doing and think it useful to their businesses as well. I started Rebecca King Social Media Management to respond to the requests I was getting from individual businesses. Also, since my ballet career won’t last forever, I see it as something to fall back on.

Miami City Ballet kicks off its 30th anniversary season on Oct. 23 with Program One, featuring Balanchine’s Swan Lake and Liam Scarlett’s Viscera; www.miamicityballet.org.

 


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About The writer

Sean Erwin is a writer and assistant professor of Philosophy at Barry University, with a focus on aesthetics and contemporary french philosophy.
Sean Erwin is an Assistant Professor of Philosophy at Barry University and received his Masters and Doctorate in Philosophy from Vanderbilt. He has presented and published on topics in political philosophy, Italian and French philosophy, and technology and performance studies. He currently serves as the senior editor of the Humanities and Technology Review.

Erwin is also a performance critic for Artburst, with performance previews and reviews appearing regularly there and in other South Florida publications. Artburst gives him the platform to critique the aesthetic principles he writes on as a professional philosopher through analysis of the concrete movements embodied by performers.

He is also an accomplished dancer and teacher in the Argentine Tango community. In 2000 he founded and served as editor of the Chicago webzine, Tango Noticias, a specialty dance periodical dedicated to examining Argentine Tango as a set of social practices rooted to the Southern cone’s history, politics, and culture.

Since his move to South Florida, he has both taught philosophy and served as a principal tango instructor for the Miami-based, Shimmy Club, a non-profit program that teaches Argentine Tango to vision-impaired teens. Through his involvement with the program, Erwin has been featured in articles and several news outlets including Univision, Telemundo, NBC News, KPFK Los Angeles, and the Miami Herald. For more information, see erwinsean.com.

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