text:
|Publication number
|Publication type
|Application number
|Publication date
|May 16, 2000
|Filing date
|Sep 18, 1998
|Priority date
|Sep 19, 1997
|Fee status
|Publication number
|Hiroaki Agata, Yoshihisa Ishihara
|Original Assignee
|International Business Machines Corp.
|Export Citation
|BiBTeX, EndNote, RefMan
|Patent Citations (4), Referenced by (56), Classifications (15), Legal Events (6)
|External Links: USPTO, USPTO Assignment, Espacenet
This invention relates to an information processing apparatus and, more particularly, to a peripheral device that can be used as an internal (integrated) device and/or an external device for the information processing apparatus.
With the technological revolution in these days, different types of personal computers (PCs), such as desktop type, tower type, notebook type or the like, have been developed and commercially available in the marketplace. Of these PCs, a notebook PC has been designed and manufactured to have a smaller size and a lighter weight, thereby to improve its mobility and portability.
Accordingly, in order to implement the aforesaid mobility/portability of a notebook PC as its features, it is mandatory to reduce the whole size and weight thereof. Also, since a notebook PC is a battery-operated device, it is required to reduce the overall power consumption, thereby to lengthen the continuously operable time after charging a battery. Hitherto, these features have been conventionally implemented by removing unnecessary functions from a desktop PC or a tower PC for selecting those functions to be installed on a notebook PC.
By way of example, some notebook PCs have had a limitation in that either a hard disk drive (HDD) or a floppy disk drive (FDD) can be selectively contained in its system unit as an internal drive for use therein. Namely, such a notebook PC is provided with a bay that is designed to contain either one of the HDD and FDD alone in its system unit. In another example, two different products, each having an internal HDD and an internal FDD respectively, are manufactured so that a user may select/purchase either one of these products.
Obviously, when a user carries a notebook PC for using it outside, there is no substantial problem of the prior approaches if either an HDD or an FDD is available to the user. However, when such a notebook PC is used in an office, its user may occasionally wish to use both of the HDD and FDD simultaneously. Also, the substantial increase of different products not only leads to the increase of costs but also an undesirable situation that prevents a user from upgrading his/her notebook PC during its use.
In FIG. 5, there is shown a prior solution to these problems. Shown in FIG. 5 is a method of connecting an internal FDD unit 520 that has been generally used in a conventional notebook PC. An internal bay 530 of the notebook PC is capable of selectively containing an internal storage device such as an HDD or an FDD. When the internal bay 530 is presently in use by another internal device such as an HDD, said FDD unit 520 that can be contained in the internal bay 530 may be externally attached (connected) to the notebook PC for use as its external device.
However, in such a case, it has been unable to directly attach FDD unit 520 to the notebook PC, since a connector 522 of FDD unit 520 and a connector 412 of a cable 410 for external attachment have different interfaces each other. Thus, it has been customarily required to provide an attachment means 510 for connecting the interface of the connector 522 to the cable 410 for external attachment. In other words, it is possible to externally attach FDD unit 520 to the notebook PC only when the attachment means 510 is so mounted as to embrace FDD unit 520. A connector 414 at another end of the cable 410 for external attachment is connected to a connector 420 of the notebook PC.
Another alternative approach for external attachment would be to newly design and manufacture a cable 530, as shown at a lower left portion of FIG. 5, which fits an connector 522 for internal attachment. However, such an approach is deemed disadvantageous in that there would be involved as much cost and time as the case of using said attachment means 510.
On the other hand, with respect to another type of a conventional notebook PC that has not any internal FDD, a dedicated FDD unit for external attachment (not shown) and its associated cable 410 have been widely available in the marketplace. In other words, because such a cable 410 for external attachment is readily obtainable at a lower price, there will be no substantial need to use said attachment means 510.
In Japanese Patent Publications H4-55918 and H4-55919, there is disclosed a technique for selectively containing either one of HDD and FDD in a portable type personal computer as its internal drive. However, in this technique, a dedicated housing for an HDD has to be used whenever an HDD is contained in the personal computer, whereas a dedicated housing for an FDD has to be used whenever an FDD is contained in the personal computer. While this technique enables to selectively change either one of HDD and FDD to the other at a factory level, it has a drawback that it does not allow a user to select an appropriate drive to be contained at one time or another. Besides, this technique has another drawback that a removable tray is additionally required for containing an HDD in the personal computer.
In another Japanese Patent Publication H3-142771, there is disclosed a similar technique for selectively containing either one of HDD and FDD in a portable type personal computer as its internal drive. However, this technique has a drawback that, in case of externally attaching an FDD to the personal computer, another HDD must be contained therein.
It is, therefore, an object of this invention to provide a peripheral device and a computer system, which are arranged to allow both of external and internal attachments of the peripheral device to the computer system. In case of the external attachment, this peripheral device is ideally attached to the computer system in a manner compatible with the conventional attachment method and does not require any dedicated attachment means.
It is another object of this invention to provide a computer system adapted for containing a plurality of different peripheral devices, which has a high degree of freedom for configuring these peripheral devices.
It is another object of this invention to provide a peripheral device and a computer system, which are arranged to allow both of external and internal attachments of the peripheral device to the computer system. In case of the external attachment, this peripheral device can be attached to the computer system in a manner compatible with the conventional attachment method by making use of an inexpensive and readily obtainable cable.
This invention has been made in view of said problems and its first aspect resides in a peripheral device for a computer system, said peripheral device being containable in a container means provided in a system unit of said computer system for containing said peripheral device, comprising: a first peripheral-side's connector for electrically connecting said peripheral device to said system unit in one state where said peripheral device is contained in said container means; and a second peripheral-side's connector for electrically connecting said peripheral device to said system unit in another state where said peripheral device is placed externally to said container means.
The second aspect of this invention resides in a computer system, comprising: a system unit; a peripheral device being removably connected to said system unit; a container means provided in said system unit for containing said peripheral device; a first system-side's connector provided in said container means; a first peripheral-side's connector provided on said peripheral device, the said connector being removably connected to said first system-side's connector; a second system-side's connector provided on said system unit at a place other than said container means; and a second peripheral-side's connector provided on said peripheral device, the said connector being removably connected to said second system-side's connector via a connection means.
The invention will now be described in detail with reference to the appended drawings wherein:
FIG. 1 is a schematic representation showing an overall configuration of a preferred notebook computer for use in this invention;
FIG. 2 a block diagram showing a hardware configuration of a preferred notebook computer for use in this invention;
FIG. 3 is a schematic representation showing an internal structure of a floppy disk drive (FDD) unit in a preferred embodiment of this invention;
FIG. 4 is a diagram showing a method of connecting a floppy disk drive (FDD) unit and a notebook computer in a preferred embodiment of this invention;
FIG. 5 a diagram showing a conventional method of connecting a floppy disk drive (FDD) unit and a notebook computer; and
FIG. 6 is a perspective view showing a connector structure of a floppy disk drive (FDD) unit in a preferred embodiment of this invention.
Now, with reference to the drawings, an embodiment of this invention will be described. In FIG. 1, there is shown an overall configuration of a notebook computer 100 relating to this invention, with a keyboard unit 110 conveniently removed to make its internal structure visible. The keyboard unit 110 is normally provided on an upper surface of a system unit 190 of the computer 100. The system unit 190 contains therein a mother board that has a CPU and a memory, peripheral controller chips, as well as a variety of peripheral devices including storage devices such as a hard disk drive (HDD) (not shown), a floppy disk drive (FDD) 130 and a CD-ROM drive (not shown). Also, a cover portion is pivotably hinged at a rear edge of the system unit 190. In this cover portion, a liquid crystal display (LCD) unit 120 of ten-odd inches in size is embedded.
In the system unit 190, there is provided a media bay 140 that can contain either one of storage media such as FDD 130, a CD-ROM drive and a DVD drive or a second battery as an internal device, in accordance with user's preference. This media bay 140 may be alternatively called "ultra bay".
By way of example, FDD 130 is ready for use as an internal device of the computer 100 whenever it is inserted from an entry 142 for the media bay 140 and attached to a connector 144 of the media bay 140. The media bay 140 has a status LED 180 for indicating status of a device attached to the media bay 140 and an eject lever 170 for removing a device attached to media bay 140.
Also, the system unit 190 is provided with a battery bay 150 that has a mechanism similar to the media bay 140 and is adapted for containing a battery or the like, as well as an entry 152 for receiving/removing a battery. Similar to the media bay 140, this battery bay 150 has a status LED 180 for indicating status of an attached battery and an eject lever 170.
In FIG. 2, there is schematically shown a hardware configuration of a typical notebook computer (PC) 100. An example for implementing this invention is a type of PC, which conforms to the specification of OADG (PC Open Architecture Developer's Group) and incorporates an operating system (OS) such as "Windows95" of Microsoft Corp. or "OS/2" of IBM Corp.
CPU 11, acting as a main controller, executes a variety of programs under the control of OS. CPU 11 may be a CPU chip called "Pentium" or "MMX Technology Pentium" made by Intel Corp. CPU 11 interconnects with each hardware block (to be described) through a hierarchical bus structure of three levels, which comprises a processor bus 12 directly coupled to its own external pins, a PCI (Peripheral Component Interconnect) bus 16 as a local bus and an ISA (Industry Standard Architecture) bus 18.
Processor bus 12 and PCI bus 16 are interconnected by a bridge circuit (host-PCI bridge) 13. This bridge circuit 13 comprises a memory controller for controlling access operations to a main memory 14, a data buffer for absorbing a speed difference between both buses 12 and 16.
Main memory 14 is a writable memory used as read-in areas or working areas of executed programs. In general, main memory 14 comprises a plurality of DRAM (dynamic RAM) chips such that its basic capacity is typically 32 MB and extendable up to 256 MB. The executed programs include an OS such as "Windows95", each device driver for operating peripheral equipment as hardware and a variety of application programs.
L2-cache 15 is a high speed memory for absorbing access time to the main memory 14 and is used for temporarily storing limited code and data to be frequently accessed by CPU 11. In general, L2-cache 15 comprises SRAM chips and its typical capacity is 512 KB.
PCI bus 16 is a type of bus that enables transfer of data at a relatively high rate (bus width: 32/64 bits, maximum operating frequency: 33/66 MHz, maximum data transfer rate: 132/264 MBps), and is used for connecting relatively fast PCI devices such as a video controller 20 and a card bus controller 23. As is well known in the art, the PCI architecture is based on the proposal of Intel Corp. and implements the so-called "PnP" (Plug and Play) function.
The video controller 20 is a dedicated controller for actually processing drawing instructions from CPU 11. In operation, it temporarily stores the processed drawing information into a screen buffer (VRAM) 21, reads the drawing information from VRAM 21, and provides the same as a video output to a liquid crystal display (LCD) or a CRT display 22.
The card bus controller 23 is a dedicated controller for directly coupling those bus signals on PCI bus 16 to an interface connector (card bus) in a PC card slot 24A. Insertable into this PC card slot 24A is a PC card 24B, which conforms to the industry standard (e.g., "PC Card Standard 95") defined by PCMCIA (Personal Computer Memory Card International Association)/JEIDA (Japan Electronic Industry Development Association). As types of PC card 24B, there are a LAN card for connection to a network, an integrated HDD card as an external storage device, a SCSI (Small Computer System Interface) card for connection to an external SCSI device, and the like.
PCI bus 16 and ISA bus 18 are interconnected by a bridge circuit (PCI-ISA bridge) 19. This bridge circuit 19 is constructed to contain a DMA controller, a programmable interrupt controller (PIC) and a programmable interval timer (PIT). DMA controller is a dedicated controller for executing a data transfer between a peripheral device (e.g., FDD 31) and main memory 14 without intervention of CPU 11. The programmable interrupt controller (PIC) is a dedicated controller that is responsive to an interruption request (IRQ) from a peripheral device for causing a predetermined processing program (interrupt handler) to be executed. The programmable interval timer (PIT) is an apparatus for generating timer signals (normally, in the form of square waves) at predetermined frequencies, which are programmable.
Also, the bridge circuit 19 is provided with an IDE interface for connecting external storage devices, which conform to the IDE (Integrated Drive Electronics). To this IDE interface, an IDE hard disk drive (HDD) 25 and an IDE CD-ROM drive 26 may be connected by means of ATAPI (AT Attachment Packet Interface). In place of IDE CD-ROM drive 26, another type of an IDE device such as a DVD (Digital Video Disc) drive may be connected. External storage devices such as HDD 25 and/or CD-ROM drive 26 are contained at a certain place in the computer 100, which may be called "media bay" or "device bay". These external storage device as standard features may be mounted interchangeably and exclusively with another device such as an FDD and/or a battery (in the case of notebook PC).
HDD 25 is better than another external storage device in terms of its access rate. Accordingly, by copying software programs (e.g., OS, applications) onto disks of HDD 25 (i.e., by "installing" them), these programs are ready for use by the computer 100. CD-ROM drive 26 is capable of reproducing a music CD (CD-DA data) and reading computer data (CD-ROM data). This is convenient for installing software programs provided in the form of a CD-ROM into the computer 100. The DVD drive is a device for handling a DVD as a type of optical discs, which comprises a DVD-ROM drive and a DVD-RAM drive. A data transfer rate of the DVD drive is comparable to that of a 10� speed CD-ROM drive. A DVD is a medium adapted for storing a variety of materials including but not limited to images, and it has a capacity of 4.7 GB (comparable to images and sounds for 133 minutes) on a single surface.
Further, the bridge circuit 19 has a USB route controller for connecting a USB (Universal Serial Bus) as a general purpose bus, as well as a USB port 27. USB supports the "Hot Plugging" function for allowing a new peripheral device (USB device) to be attached/detached while its power is turned on, in addition to the "Plug and Play" function for automatically recognizing a newly connected peripheral device and for performing re-setup of the system configuration. To a single USB port, a maximum of sixty three USB devices can be connected in a daisy chain fashion. Examples of USB devices are a keyboard, a mouse, a joystick, a scanner, a printer, a modem, a display monitor, a tablet, etc.
ISA bus 18 has a slower data transfer rate than PCI bus 16 (bus width: 16 bits, maximum data transfer rate: 4 Mbps) and, thus, it is used for connecting relatively slower peripheral devices such as a ROM 17, a modem card 28, a real time clock (RTC) 29, an I/O controller 30, a keyboard/mouse controller (KMC) 34 and an audio controller 37.
ROM 17 is a non-volatile memory, which permanently stores code groups (BIOS: Basic Input/Output System) for controlling I/O operations of respective hardware components such as a keyboard 35 and FDD 31, in addition to a POST (Power On Self Test) program or the like.
Modem card 28 is a device for transmitting computer data in a digital form via an analog telephone line. It includes a signal processing circuit (modem chip) for modulating transmission data and for demodulating received data, as well as other circuit components such as a data access arrangement (DAA) circuit for connecting the modem to a public line in accordance with the line switching standards for each locale.
RTC 29 is a device for measuring the current time-of-day. In general, RTC 29 is mounted on a single chip with a CMOS memory (not shown). Typically, this CMOS memory is used for temporarily storing critical information to security/safety of the computer 100 such as system configuration information (setup value of BIOS) and a power on password. RTC/CMOS 29 is backed up by a back up battery (normally a coin battery: not shown) so that the measured/stored contents are not lost even after the computer 100 goes to its power-off state.
I/O controller 30 is a peripheral controller for controlling operations of FDD 31, I/O operations of parallel data (PIO) via a parallel port 32, and I/O operations of serial data (SIO) via a serial port 33. A printer may be connected to the parallel port 32, whereas a joystick may be connected to the serial port 33.
KMC 27 is a dedicated controller for capturing input scan codes from the keyboard 28, or input coordinate values from a pointing device (mouse 36 or a track point) as computer data. Audio controller 37 is a dedicated controller for performing I/O processing of audio signals, and it includes a CODEC (COder-DECoder: an AD/DA converter having a mixing function) for recording/reproducing audio signals in a digital form. Audio signals may be received as voice signals from a microphone 39, or as a line input from an external audio equipment (not shown). Conversely, generated audio signals may be provided as a line output to an external audio equipment (not shown), or as outputs from a speaker 38 after amplified at an audio amplifier. Audio controller 37 may be constructed in accordance with the industry standards "AC 97", defined by Analog Device, Inc., Creative Labs, Inc., Intel Corp., National Semiconductor Corp., and Yamaha Corp.
At one end of the buses 16 and 18, at least one PCI bus slot 16A and at least one ISA bus slot 18A may be provided respectively. To these bus slots 16A and 18A, a PCI compatible adapter card 16B and an ISA compatible adapter card 18B may be mounted respectively. one example of the adapter cards is a LAN card for connecting the computer 100 to a network, and another example is a SCSI card for connecting to a variety of SCSI devices including an HDD, a CD-ROM drive, a DVD drive and a printer.
A typical user of the computer 100 operates the system through keyboard 35 or mouse 36 to execute various application programs such as a word processing program, a spreadsheet program and a communication program so that the executed result is useful for accomplishing his/her work on the display screen.
General purpose personal computers commercially available in the current marketplace will sufficiently function as the computer 100 shown in FIG. 2. It is apparent that additional electronic circuits or the like other than those shown in FIG. 2 are required to construct the computer 100. However, these components are not described in the present specification, since they are well known in the art and yet they do not pertain to the gist of this invention. Also, it should be understood that for brevity of the drawings, only a portion of the connections between the illustrated hardware blocks is shown.
To summarize the above, FIGS. 1 and 2 schematically show the media bay 140 (ultra bay) as a port for attaching various external storage devices. As examples of these external storage devices attached to this media bay 140, FIG. 2 further shows CD-ROM drive unit 26, HDD unit 25 and FDD unit 130. It should be understood here that peripheral devices attachable to the media bay 140 are not limited to these devices, but may be any one of another storage device, communication device, battery or the like so far as the said device conforms to the interface standards of media bay 140.
In FIG. 3, there is shown an internal structure of FDD unit 130 relating to this invention. This FDD unit 130 comprises an FDD 320, a connector 132 for attaching FDD 320 to the media bay 140 of the computer 100, a connector 310 for connecting FDD 320 to a cable 410 for external attachment (see FIG. 4), a cable 330 for interconnecting FDD 320, the connector 132 and connector 310 respectively, and an exterior housing 340 for fixing the foregoing elements in its inside. The connector 310 may further comprise a lock mechanism (latch) 312 that is designed to prevent the cable 410 for external attachment from being detached.
FDD 320 has electronic components and an interface circuit for implementing read/write functions of a floppy disk, whereas this interface circuit is connected to both connectors 132 and 310 via the cable 330. While said FDD 320, connectors 132 and 310 are simply interconnected by the cable 330 in this embodiment, it may be necessary to provide an interface conversion circuit between FDD 320 and both connectors 132, 310 depending on the nature of interfaces supported by these connectors 132, 310. The cable 330 may be a coaxial cable, a flat cable, a flexible substrate, etc.
FIG. 6 is a perspective view showing a connector structure of FDD unit 130 in a preferred embodiment of this invention. In this drawing, a positional relationship between the two connectors 132 and 310 in the embodiment of FIG. 3 is shown in more detail. The connector 132 is used for internal attachment, whereas the connector 310 is used for external attachment. The connector 132 or 310 may comprise the lock mechanism 312.
In place of aforesaid cable 310 shown in FIG. 3, a flexible substrate 330 as a connection means is shown in FIG. 6. While the connector 132 and 310 are shown in FIGS. 3 and 6 to be provided on different surfaces of FDD unit 130, they may be provided on the same surface. However, when an excessively large area is required for attaching both connectors 132 and 310, they will have to be provided on two different surfaces respectively. Also, when FDD 320 is presently in use as an external device, it is possible to protect its presently unused connector 132 for internal attachment by means of a protection cover (not shown). Also, such a protection cover may be formed to function as a leg of FDD unit 130.
In FIG. 4, there are shown two different connection states of FDD unit 130 shown in FIG. 3 or the like and the computer 100 respectively. First, when FDD unit 130 is to be used as an internal device, it is inserted from an entry 142 for the media bay 140 and attached to a system unit of the computer 100 using the connector 132 for internal attachment.
On the other hand, when the media bay 140 is presently in use by another internal device such as CD-ROM drive unit 460 or the like, FDD unit 130 is attached to the computer 100 via a cable 410 for external attachment connected to the connector 310 for external attachment. One end 412 of this cable 410 is connected to the connector 310 provided on FDD unit 130 for external attachment, whereas another end 414 of this cable 410 is connected to a connector 434 provided on the computer 100 for external FDD unit. Thus, externally attached FDD unit 130 is enabled to operate as a part of the computer 100 in a manner similar to the above case where FDD unit 130 is contained in the media bay 140 as an internal device. Note in this respect that no special component such as an attachment means as before is required even for such external attachment.
Further, when either one of HDD unit 450, CD-ROM drive unit 460 and battery unit 470 is to be used as an internal device, instead of FDD unit 130, anyone of these units 450, 460 and 470 is inserted from the entry 142 for the media bay 140 and attached to a system unit of the computer 100 using its associated connector 454, 464 or 474 for internal attachment in the same manner as described above with respect to FDD unit 130.
When the media bay 140 is presently in use by another internal device, either one of HDD unit 450, CD-ROM drive unit 460 and battery unit 470 is attached to the computer 100 via an externally attaching cable 430 connected to its associated connector 452, 462 or 472 for external attachment. One end 432 of this cable 430 is connected to the connectors 452, 462 and 472 provided on these respective units for external attachment, whereas another end 420 of this cable 430 is connected to a port 440 for USB, an expansion bus or SCSI of the computer 100. Thus, an externally attached unit 450, 460 or 470 is enabled to operate as a part of the computer 100 in a manner similar to the above case where such a unit is contained in the media bay 140 as an internal device. Note in this respect that no special component such as an attachment means as before is required even for such external attachment.
The invention has been described with reference to several specific embodiments. One having skill in the relevant art will recognize that modifications may be made without departing from the spirit and scope of the invention as set forth in the claims.
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Owner name: INTERNATIONAL BUSINESS MACHINES CORPORATION, NEW Y
Free format text: ASSIGNMENT OF ASSIGNORS INTEREST;ASSIGNORS:AGATA, HIROAKI;ISHIHARA, YOSHIHISA;REEL/FRAME:009627/0227
Effective date: 19981030
|Sep 25, 2003
|Fee payment
Year of fee payment: 4
|Aug 4, 2005
Owner name: LENOVO (SINGAPORE) PTE LTD., SINGAPORE
Free format text: ASSIGNMENT OF ASSIGNORS INTEREST;ASSIGNOR:INTERNATIONAL BUSINESS MACHINES CORPORATION;REEL/FRAME:016891/0507
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Voyage to some of the world's most spectacular places by small ship cruise!
Cruise the eastern islands of Darwin's famed archipelago, including Genovesa Island, prime nesting site of beautiful red-footed boobies, colorful South Plaza Island, with its hybrid iguanas, and Santa Fé, a great place to snorkel.
Aboard the 12-guest Reina Silvia with your naturalist guide, set off into Darwin's world for an active journey full of nature hikes and wildlife wonder, including fantastic snorkeling with playful sea lions.
With our expert marine biologist Trip Leader, snorkel in one of the most pristine setting on our planet, the Waigeo Islands of the Raja Ampat archipelago in the heart of the Coral Triangle.
Natural history sea kayaking and snorkeling tour of Palau including the Rock Islands, coral reefs, sharks and turtles, mangrove forests, Peleliu Island and marine archaeology.

subset: commoncrawl


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Recipe: 30-Minute Chili
Do you want delicious chili but you don't want to wait all day? Our 30-Minute Chili recipe will have you enjoying one of our quick-fix suppers in no time. This simple-to-make chili recipe only has six ingredients, but you'll marvel at its slow-cooked flavor. Simmering the ground beef is probably the hardest part; once you've finished that, you just pour everything else in, and stir. If you prefer an Italian-style take on 30-Minute Chili, spice this up and use 1 pound of ground sausage and 1 pound of ground beef. Whether you prefer a traditional chili or you would like to enjoy some Italian-infused flavors, this easy-to-make chili will always be ready when you are.
Cooking Video: Quick-Fix Chili
Find our favorite soups, stews, and chilis to keep your family warm on cool evenings.


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Since launching six years ago, Instagram has fast become one of the most popular social networks, visited by almost 400 million monthly users.
The app was developed to give instant access to the lives of users, and offers anyone the chance to capture snapshots on their phone or mobile device and share the moment immediately.
You can now get a window into the lives of your favourite dancers, glimpse company life backstage or view a whole portfolio of the world's best dance photographers. For fans wanting more – here's the best dance Instagram accounts to follow, if you aren't already:
balletzaida @balletzaida
Professional ballet photographer, Oliver Endahl calls Ballet Zaida 'an ongoing fine art project' to engage audiences that haven't yet been exposed to ballet. Endahl captures seemingly spontaneous ballet poses from urban locations like pavements and stairwells to more dramatic locations like this shot, taken in a sunlit forest.
Balletbeautiful @balletbeautiful
Run by professional dancer and celebrity fitness guru Mary Helen Bowers, Ballet Beautiful showcases some of Bowers' favourite moves.
The Ballet Beautiful workout mixes athleticism with the grace of classical ballet. BB fans include Natalie Portman, who trained with Bowers for her role in Black Swan.
Thousands have since followed the workout programme at home by subscribing to Ballet Beautiful online videos. Take a look at her YouTube channel.
Olivia Grace Cowley @missoliviac
Royal Ballet dancer and resident sartorialist Olivia Cowley gives followers a glimpse of life behind the red curtain as a Soloist for the Company. Her feed also showcases looks from her fashion blog Ballet Style, influenced by the magic of her day job as a dancer.
Ponsphoto @ponsphoto
New York-based photographer Luis Pons claims photographing dancers healed him of an endless loop of anxiety and depression. In an interview with the Huffington Post he said, 'I strive to capture the beauty of dance outdoors and also say something deeply about myself'. His photos capture the dynamic between the control required by dancers to achieve each challenging poses among the moving, unpredictable setting of the world outside the studio.
New York City Ballet @nycballet
FROM THE ARCHIVE & ON STAGE TONIGHT // The original cast of N.Y. Export: Opus Jazz, Jerome Robbins' Ballets: U.S.A. performing the ballet at the Festival of Two Worlds in Spoleto, Italy, June 1958. Still as fresh and young today as it was nearly 60 years ago. #jeromerobbins #nycballet #nycb #newyorkcity #spring16 #marthaswope
A photo posted by New York City Ballet (@nycballet) on
As the official account of one of America's leading ballet companies, New York City Ballet often posts in threes to tease audiences with atmospheric slices of upcoming productions. View on the full-tile version of the app in order to appreciate the images that spill over one square. English National Ballet @englishnationalballet
We were invited to mark the 40th anniversary of Queen's Bohemian Rhapsody - head to our Facebook page or youtube.com/queenofficial to watch the stunning piece choreographed by James Streeter and performed by Erina Takahashi and James Forbat. #BoRhap40 Ballet rocks! A photo posted by English National Ballet (@englishnationalballet) on
Follow English National Ballet to get a glimpse at some of their latest productions. This shot captures the making of ENB's ode to the iconic English band Queen, with their take on 'Bohemian Rhapsody'.
Misty Copeland @mistyonpointe
@henryleutwyler A photo posted by Misty Copeland (@mistyonpointe) on
Misty Copeland made history when she became the first African-American woman to be promoted to the rank of Principal in American Ballet Theatre's 75-year history. She has been named as one of the 100 most influential people in the world by Time magazine. Ballerina Project @ballerinaproject_
Ballerina Project in Paris: #Ballerina - @katieboren1 at #PalaisGarnier #Paris #Bodysuit by @wolfordfashion #Wolford #WolfordBodywear #ballerinaproject_ #ballerinaproject #ballet #dance #EiffelTower A photo posted by ballerina project (@ballerinaproject_) on
The Ballerina Project is a collection of over 1,000 images that has taken photographer Dane Shitagi more than ten years to build. His work features dancers from the world's biggest ballet companies and now has over 400,000 followers on Facebook.
balletrusse @balletrusse
'The ballet is a purely female thing; it is a woman, a garden of beautiful flowers, and man is the gardener.' George Balanchine A photo posted by Maria Kochetkova (@balletrusse) on
Maria Kochetkova's account has already earned her over 100,000 followers. Currently a Principal Dancer for San Francisco Ballet, Kochetkova has danced for many of the world's top dance companies. The Ballet Bag @theballetbag
For #TutuTuesday, the @soloists_principals_rdballet in Balanchine's T&V. ©Costin Radu #ballet #royaldanishballet #Balanchine A photo posted by The Ballet Bag (@theballetbag) on
One of the best ballet webzines, bloggers Emilia and Linda started the Ballet Bag in 2009 to break down the myths of the artform, such as the idea that ballet is only for traditionalists. The duo have their fingers truly on the pulse of the dance scene and their Instagram account showcases the latest productions from companies in the UK and Europe.
Dancer's Diary @dancersdiary
Final #Giselle with #akanetakada ;) A photo posted by Andrej Uspenski (@dancersdiary) on
Since retiring from dancing in 2015, Andrej Uspenski has taken up photography full-time. His unique position allows him to capture an intimate look at day-to-day life and special moments for Company. Balletpost @balletpost
Featuring @tippytoegirl Photo by @sfballet. A photo posted by Owner: @vrwolf16 (@balletpost) on
A curated stream of ballet photos and videos from rehearsals around the world – aspiring dancers can tag #balletpost for a chance to be featured in their feed.
Cloud and Victory @cloudandvictory
REACHING FOR PIZZA: The upside to your partner poisoning himself to death is never having to share your pizza. #everycloudhasasilverlining Pic: Viktoria Tereshkina and Xander Parish, Romeo & Juliet, by Natasha Razina. Congrats also to @_xander on his promotion! #ballet #dance #romeoandjuliet #mariinsky #viktoriatereshkina #xanderparish #reachingforpizza
Need a little pick me up on your lunch break? Dancewear brand Cloud and Victory serves up little slices of dance-related humour on their feed. Royal Opera House @royaloperahouse
24 – On Stage with The Royal Ballet In the lead-up to Christmas, each day during Advent we'll be sharing a Nutcracker-inspired snap from behind the scenes at the Royal Opera House. Happy Christmas Eve! This special snap required our photographer to climb up the sides of the auditorium and into the fly tower. It was taken just after the Company had finished a two hour matinee performance of The Nutcracker and they're still smiling! This rounds up our Instagram calendar this year, thanks for following along and Merry Christmas! The Royal Ballet's production of The Nutcracker was broadcast live in cinemas on 16 Dec 2015. To find your nearest encore showing head to www.roh.org.uk/cinema #ROHadvent #royaloperahouse#royalballet #ballet #Christmas #Xmas#Advent #AdventCalendar #Nutcracker#ROHnutcracker A photo posted by Royal Opera House (@royaloperahouse) on
We couldn't help but mention the official Instagram home of the Royal Ballet (and The Royal Opera). Expect exclusive rehearsal shots and a behind the scenes look at life at Covent Garden.
When I became interested in conducting, I was of course aware of the lack of prominent female conductors, but this was not the primary focus for me – the music was and is!
In my teens, I discovered an old score in the piano stool at my grandparents' house. It was Johannes Brahms's First Symphony. I hadn't been exposed to such things before and intrigued, I bought a Classics for Pleasure recording of the work, with James Loughran conducting – for hours I sat with the score, listening, following, and trying to make sense of it.
My interest in the world of orchestral sound was fully ignited through this experience.
My father was a film sound recordist – which is perhaps where I get my love of orchestral sound from. To me, the orchestra is one large instrument, with infinitesimal possibilities for tone colour and dynamic range. Composing could have been an alternative career but my lack of abilities in that direction forbade it.
The gender issue is a tricky one. Once it becomes an unhealthy focus then the energies risk being directed that way rather than simply trying to be as decent a conductor as possible. That's the advice I gave the women at a recent ballet conducting workshop held at the Royal Opera House.
I am wary of gender-specific workshops – I worry that by labelling workshops 'women only', the whole event potentially becomes about the issue – but right now there is a disparity between the number of female and male conductors and valuable initiatives like this are hopefully encouraging more women to conduct.
The event was very interesting, and we had wonderful access, from observing talented Royal Ballet Young Choreographer Charlotte Edmonds at work with dancers in the studio, to words of wisdom from The Royal Ballet's Chief Pianist Robert Clark, and Senior Ballet Master, Christopher Saunders.
The weekend focused on what it means to become a ballet conductor and survive as one. A conductor for this genre has to have the art of compromise – it's an added challenge to interpret a score, make it sing with the choreography while retaining the musical integrity of the composer's intentions. A ballet conductor requires tenacity and subtlety, giving strong direction to musicians while coping with the choreography and any spontaneity that may happen on stage.
As the repertory expands, conducting for the ballet is more exciting than ever and I urge all conductors (of all genders) to consider it. To my shame I had never seen a full-length ballet before I applied for and won The Royal Ballet and Birmingham Royal Ballet's competition 'Conduct for Dance' in 1993, expertly instigated and run by Barry Wordsworth. This gave me so much opportunity to become immersed in an art form which has become so special to me. I hope others will be inspired to do the same.
One of the great risks of conducting is that we have no possibility to hide in a practice room to hone our skills. This can lead to a lack of self-confidence in the young conductor. A conductor (male or female) should never stand in front of the orchestra and apologize for being there, through their body language or verbal means. This of course does necessitate a thorough preparation beforehand which, as I have learnt, is the only thing that will give the conductor true confidence in what they are trying to impart.
I am sure that many more female conductors will grace the podiums in future years. I was told by one of the participants of the Women's Conducting Workshop, that female student conductors have outnumbered men in a year's intake at the Royal Academy of Music, a very different scenario to when I was there. The future looks bright for female conductors and I hope we are on the way to a more equal environment, where a conductor is only assessed on skill and talent and not their sex.
Andrea Quinn studied conducting at the Royal Academy of Music. She has been Music Director for companies including The Royal Ballet, New York City Ballet and Sweden's Norrlandsoperan conducing ballet, opera and concerts.
The Women's Conducting Workshop was held at the Royal Opera House in association with Morley College.
Amélie Gautreau, or Madame X, was the American wife of a French banker and well-known among Parisian high society. Artists competed to capture her beauty and in 1884 — at the height of her fame — she agreed to the request of American portraitist John Singer Sargent.
However, the painting was to be her downfall. After its unveiling at the Paris Salon, a scandal ensued over the suggestiveness of her dress, originally depicted with one strap worn down off her shoulder. The model's reputation was irreparably tarnished and she was ostracized from high society.
The story has inspired Strapless, a new ballet by Artistic Associate of The Royal Ballet Christopher Wheeldon.
'It's a very relevant story for today in a sense because it's about how they build you up and then they break you down', says the choreographer. 'There's something magnetic about it.'
In creating the scenario for the ballet, Christopher enlisted the support of dramaturg Charlotte Westenra, whose background lies in theatre rather than dance.
'It's a new medium for me', she says. 'You have to tell the story in a different way,' Charlotte explains. 'In the theatre you have a lot of shortcuts, but in ballet you have to do it emotionally and with the music.'
The score comes from Mark-Anthony Turnage – a second collaboration between the composer and Wheeldon following their collaboration on The Royal Ballet's Metamorphosis: Titian in 2012:
'I've loved his music for years. We talked a lot about the influences of French composers of the time to come up with a sound that was very much of today, but evoking late 1800s Paris,' says Christopher.
Watch more films like this on the Royal Opera House YouTube channel:
Strapless runs in a Mixed Programme with After the Rain and Within the Golden Hour 12 February–11 March 2016. Tickets are still available.]]>
In 2005, Artistic Associate of The Royal Ballet Christopher Wheeldon choreographed his landmark one-act ballet After the Rain for the New York City Ballet. The piece is a celebration of the company's founder, George Balanchine and is set to a moving score by Estonian composer Arvo Pärt.
Eight years later, NYCB Principals Maria Kowroski and Ask la Cour performed an extract of the work — the final pas de deux — on the 57th floor of 4 WTC, one of the buildings in Lower Manhattan that makes up the rebuilt World Trade Center complex. Since 2013, the film has been viewed on YouTube almost 2 million times.
Next month, the full ballet will be performed by The Royal Ballet at Covent Garden for the first time as part of a mixed programme of Wheeldon works which features the world premiere of his new ballet Strapless and another one-act work, Within The Golden Hour.
After the Rain / Strapless / Within the Golden Hour runs 12 February–24 March 2016. Tickets are still available.
The mixed programme is staged with generous philanthropic support from John and Susan Burns, Gail and Gerald Ronson through The Gerald Ronson Foundation and the Wheeldon Triple Bill Production Syndicate.]]>
In the spring of 1969, after a 13-year absence directing and choreographing Broadway musicals, straight plays, film, his own dance company and an experimental theatre group, Jerome Robbins returned to New York City Ballet with a rapturous new work, Dances at a Gathering, the critical and popular success of the season. Robbins, 'still fascinated by the music of Chopin', was thinking of a follow-up: a set of three pas de deux set to Chopin's Nocturnes.
But the summer after Dances at a Gathering was a fraught one for Robbins. Although the choreographer was currently living with a young woman named Christine Conrad, he had recently begun an affair with an actor, Edward Davis (not his real name), who was married and bisexual. The affair caused a painful rupture in his relationship with Conrad. Almost more painfully, Davis then broke off the affair, and Robbins, psychically battered, retreated to a beach house on Long Island.
It was supposed to be a healing respite, but two friends, in a mistaken attempt to cheer Robbins up, encouraged him to experiment with LSD, which he had never tried. The result was a cataclysmic 'bad trip' in which Robbins became convinced that he'd been transformed into a glass table that had cracked all over and was about to shatter into a million shards. Terrified, he curled into a fetal position, remaining 'close to suicide, murder – & total anarchy', as he put it, for almost forty-eight hours.
Once his LSD crisis was over (he had flashbacks for weeks) he tried to get started on his planned Chopin ballet. But more disaster followed. Still bewitched, bothered and bewildered by the events of the last months, he took a bad step while demonstrating an idea to the dancers in the studio: there was an audible pop, and he crumpled to the floor. He'd snapped his Achilles tendon in two.
Surgery repaired the injury and Demerol dulled the pain, but Robbins found choreographing in a wheelchair, with a plaster cast on his leg, impossible. For someone who thought with his body, who had to dance to make dances, it was impossible. Finally, however, he was able to get around on crutches and began to put the ballet together. Unsurprisingly, given the circumstances surrounding its creation, it was dark, but it was also, paradoxically, understanding and tender: a meditation – sometimes empathetic, sometimes rueful – on love.
In the Night takes place on a dimly-lit stage. To the music of four Chopin nocturnes three couples of varying temperaments appear, each seemingly at a different stage in their relationship. First is a youthful pair lost in heedless ecstasy. They are succeeded by a more mature, sophisticated duo, whose half-ironic politesse is expressed in mirrored gestures; for these two, love is a banked fire whose heat is only revealed by the trembling batterie of the woman's feet as her partner lifts her in an embrace. Finally a third couple sweeps on, passionate and tempestuous, he pursuing her. They fling themselves at each other, expostulate, rush away, and come together again – at which point the woman sinks to the floor in front of him, her hands extended. And he takes them and lifts her, in arabesque, high above his head like a goddess, then cradles her in his arms as he exits. At the ballet's end, to the gently rocking notes of the last nocturne, all three couples emerge as if from separate trances, encounter and acknowledge one another, then part and go their different ways.
As the critic Arlene Croce pointed out, In the Night was 'Robbins's first ballet to deal with mature people'. In fact – although he would almost certainly have denied anything so overt – it was his first attempt to engage, in an artistic way, with the confrontations and crises of his own maturity; to portray love in its different stages and at different ages, not just in its first fine careless rapture, and to show that each formed part of the whole.
This is an edited extract from Amanda Vaill's article 'Sweet Love Remembered' in The Royal Ballet's programme book, available during performances and from the ROH Shop.
In the Night runs 29 May–4 June 2015 as part of a mixed programme with Afternoon of a Faun and Song of the Earth. Tickets are currently sold out, but returns may become available and there are 67 day tickets available for all performances.
The production is staged with generous philanthropic support from Sarah and Lloyd Dorfman.
A Venn diagram is a useful thing. While it would take half a page of print to explain the – until now – tenuous connection between the dancers Wendy Whelan and Edward Watson (she American, he British), in diagrammatic form it's the work of a moment. Draw a circle and mark it 'New York City Ballet'. Draw another labelled 'The Royal Ballet'. In the lozenge where they intersect, write 'Christopher Wheeldon'.
The two star dancers have followed distinctly different paths, on opposite sides of the Atlantic, and only once, briefly, have their trajectories crossed in a joint performance, and that was a decade ago. But they have a common denominator in the choreographer they both know as Chris, for whom each of these dancers has been a major inspiration. Edward, as many readers will know, was Wheeldon's first casting choice for jealous king Leontes in his adaptation of The Winter's Tale. He was also the model for his White Rabbit in Alice's Adventures in Wonderland, to mention only the most recent roles. For her part, Wendy retired from New York City Ballet last year after 30 years with the company, the latter half of which saw her feature in almost every piece of work Wheeldon set his hand to in New York. So when someone said 'you two should do something together', neither dancer had to think twice about it. For not only did they share a history as Wheeldon muses, but each also wanted something of what the other appeared to offer.
Edward says he has always admired Wendy, 'not just for how she looks on stage, but for her quietly focused approach to everything. It might be to do with being American, but she has that quality more than most and that's how I want to be' Wendy, meanwhile, is ready for a new direction, post-City Ballet. 'If I see an open window with something interesting on the other side, metaphorically, I'm going to grab it,' she says. 'Ed has done a load of dramatic roles and I haven't, but I have a desire to do that. Somebody once told me "If you want something, find someone who has it and hang around them". I like to think if I spend enough quality time with Ed, it'll open that part of me up.'
The spur to their coming together was Edward's trip to New York with The Metamorphosis, Arthur Pita's dance-theatre adaptation of the Kafka story in which Edward plays the travelling salesman who wakes up one morning to find himself transformed into a giant insect. Wendy went along to see the show, loved it and afterwards Ed introduced her to the choreographer. 'They got on really well so I said "Why don't we ask Arthur to be the first person to make something for our show?"'
The three met again last August around the time of Wendy's visit to the Linbury Studio Theatre with her touring programme Restless Creature. This time the meeting with Arthur Pita got down to business in a dance studio. Wendy hadn't known what to expect, 'but Ed said "Trust me on this" and I'm glad I did. Just this little play-around session we had, which lasted a few hours, was exactly what I was looking for – a new approach.
'Arthur's not a ballet choreographer, but I'm really happy about that. This felt more like being in an improv acting class and it was an answer to a prayer. I don't know if I'd have been ready for this a few years ago, but now the soil is very fertile.'
Both Wendy and Edward are wary of giving too much away, but Edward is prepared to divulge that Arthur Pita's segment of the programme 'will be a story about two people. In the workshop, we basically just got to know each other again, discovering how each other moved... Arthur is working with the idea of the tango, a formal confrontation between two people, and we're playing around with some music and lyrics that suggest Kurt Weill's The Threepenny Opera. Whether or not that will be the final music, that's the kind of relationship these two people have.'
The evening will ultimately comprise three duets and two solos. A single designer – Jean-Marc Puissant – will give a unified look to the programme 'and there will be a soundscape that links everything', according to Ed, although he's not naming names. Both of the dancers are clear about what they don't want the evening to be. 'We've seen a lot of those shows where you each do your thing and then everyone claps, and then you have a little pause or a video clip before the next number. There's nothing wrong with that but we want this to be different. So we're going for an hour straight through, with one costume to which we can add or subtract things as we go. A lot of modern dance can end up looking a bit similar. I want this to be specifically about us two and where we are now in our dancing lives.'
Physically as well as culturally, Wendy and Ed make an intriguing match. Both are notably long limbed, whippet-lean and hyper-flexible, qualities that choreographers have been happy to exploit over the years. In addition, Wendy, by her own admission, has 'a crooked back, I have scoliosis. That limits a certain range of motion, but it enhances other shapes I can make well. I have a lot of asymmetry and it's something not every choreographer understands how to work with. In fact, it hasn't been a handicap at all, but my doctors are always amazed – they can't believe that I do what I do. But I've dealt with it since I was 12 years old and luckily I had some very good treatment at a young age, so I learned how to support my spine and work with it. The older I get, the more I have to think about it, because it tends to solidify with age. So I have to keep it as malleable and free as possible and I'm on a quest to keep it as juicy as I can.'
As Edward sees it, Wendy is 'kind of fascinating to look at, but you don't ever think "her back looks a bit wonky." You get drawn in. It is truly amazing the ability she has to draw you in and stop time, almost. She still has this magnificence; it's nothing flashy, more a kind of stillness about her, a focused simplicity.'
All being well, that mature artistry will be magnified to the power of two in their coming collaboration, given Edward's long experience as a partner as well as a soloist. 'I think the trust level will be really deep and special because of that, Wendy concludes. 'We're both experienced, we've both been around the block – we know what we want, we know what's meaningful to us. And the chemistry is what I really want to show – in lots of different choreographic forms.'
This article was originally published in the Royal Opera House Magazine, received quarterly by the Friends of Covent Garden.]]>
'There's something very magnetic about Wendy: when she comes out on stage she exudes that difference that a great artist has'. So says choreographer Christopher Wheeldon of the American ballet star who has provided inspiration for many of his works.
Christopher first met Wendy Whelan when the two were dancing with New York City Ballet in the 1990s and when he went on to choreograph Polyphonia, the work he describes as his 'break-out ballet', it was Wendy he turned to. 'She inspired me enormously: she's really interested in working with artists who are interested in her opinion and finding ways to combine forces to make something beautiful.'
Wheeldon went on to work with Whelan for the ballets After the Rain, The Nightingale and the Rose, Five Movements, Three Repeats and many more.
This autumn, after 30 years at New York City Ballet, Whelan will be retiring from the company and is making the leap from ballet to contemporary dance. For her new project, Restless Creature, which is in the Linbury Studio Theatre, she has invited four choreographers of modern dance – Kyle Abraham, Joshua Beamish, Brian Brooks and Alejandro Cerrudo – to create pieces for her to perform with each of them.
We spoke to Wheeldon about just what it is that makes working with Wendy – and watching her dance – so special.
Restless Creature runs in the Linbury Studio Theatre until 26 July 2014. Tickets are still available. The piece will also be performed at the Vail International Dance Festival on 6 August and further tour dates are still to be announced.]]>
American dancer Wendy Whelan has long been regarded as one of the world's top ballerinas, famed for her artistry and her striking muscularity. In April 2014 she announced her plans to retire from New York City Ballet – a company she has been with for 30 years. However, while Whelan's incredible career as a classical ballerina may be drawing to a close, she's far from hanging up her dancing shoes. Restless Creature – four duets created by young choreographers, who dance their creations with Wendy – marks the beginning of an exciting new chapter for this versatile dancer.
Here is a selection of our favourite moments of Wendy's performances currently available on YouTube.
The Nutcracker
Whelan enrolled at the School of American Ballet in 1982, just a year before its founder, the great George Balanchine, died. Whelan met Balanchine just once, but she is considered one of the supreme exponents of his style. Here, she performs the Arabian Dance from Balanchine's production of The Nutcracker:
Five Movements, Three Repeats
Royal Ballet Artistic Associate Christopher Wheeldon has collaborated extensively with Whelan. They danced together during Wheeldon's time a soloist with NYCB, and she later became his muse, creating roles in 13 of his ballets and performing regularly as a guest artist with Morphoses/The Wheeldon Company. Here she and NYCB principal Tyler Angle are in rehearsal for Five Movements, Three Repeats:
Labyrinth Within
Outside of the theatre, Whelan starred in the 2010 dance film Labyrinth Within, by the award-winning Swedish dancer/choreographer and filmmaker Pontus Lidberg. In this excerpt she dances with Lidberg himself:
Restless Creature
And finally, a glimpse of what's in store for Royal Opera House audiences when Whelan brings her Restless Creature to the intimate surroundings of the Linbury Studio Theatre later this month. Here, she works on and discusses her duet with choreographer Kyle Abraham:
Which are you favourite Whelan roles and videos? Who would you like to see her collaborate with in the future?]]>
When British audiences think of American ballet, the name that naturally comes to mind is that of the 'father of American ballet', George Balanchine. While many will have heard of his successor, Jerome Robbins, the extent of this choreographer's immense contribution to the history of American dance, and to ballet generally, is not always understood.
Robbins was born Jerome Rabinowitz in 1918, and raised in New Jersey. He began his professional career as a dancer, performing in Broadway shows and then with Ballet Theater (the company that was to become American Ballet Theatre). By the time he turned 25, many leading choreographers – including Balanchine, Leonid Massine and Michel Fokine – had noted his potential and created roles for him, the most celebrated of which was Fokine's Petrushka. But, in spite of his success, Robbins felt a sense of disconnection from the repertory he was performing – 'Why can't we dance about American subjects?' he once asked. Already a keen choreographer, he recruited a small group of dancers, commissioned a score from the then little-known composer, Leonard Bernstein, and created his first ballet, Fancy Free, in 1944. The work, which combined elements of classical ballet and jazz to tell the story of three young sailors on shore leave, was an instant hit, receiving 22 curtain calls at its first performance and catapulting Robbins to fame.
Over the next five decades, he won great acclaim as a choreographer and director. In a run of musicals for stage and screen, which included On the Town (1944), The King and I (stage, 1951; film, 1956), West Side Story (stage, 1957; film, 1961), Gypsy (1959) and Fiddler on the Roof (1964), he revolutionized the genre, moving away from the tradition of set dance pieces and instead integrating his choreography seamlessly with storylines, and using it to express the relationships between characters. This, as well as his tendency to choose subjects that addressed the lives and concerns of ordinary Americans won over audiences and critics alike. Robbins received a plethora of awards for his work on Broadway and film, including four Tony Awards, two Oscars, five Donaldsons and an Emmy.
At the same time, he became the first American to build an international reputation and an enduring legacy as a ballet choreographer. Following Fancy Free, he created series of short ballets on modern subjects for Ballet Theater. He left the company in 1948 to join New York City Ballet, where he became Associate Artistic Director the following year and stayed – apart from a few years out to explore experimental music theatre techniques – until the end of his career. Inspired by the NYCB's founder, his idol Balanchine, Robbins began to create increasingly abstract ballets that nevertheless retained his signature blend of dance styles and portrayed the intricacies of human interactions. From the sensitive, sensual Afternoon of a Faun (1953) to the Chopin ballets – including his wonderful comedy The Concert – and later works such the energetic, postmodern Glass Pieces with music by Philip Glass, each Robbins ballet has a unique and brilliant character.
Life was not always easy for the choreographer. In spite of his tremendous success, he was a perfectionist who was never completely satisfied with his work. He was also a hard taskmaster, which meant that he wasn't always popular; on one occasion his dancers for Billion Dollar Baby watched in silence as Robbins, walking backwards while delivering a tirade, fell into the orchestra pit. There were difficulties in Robbins's personal life, too, including the immense guilt he felt after naming Communist Party members during the McCarthy witch-hunts of the 1950s.
Perhaps, however, such troubles helped him to understand and connect with the lives and concerns of ordinary Americans. Balanchine once said to the ballerina Violette Verdy that 'the real American choreographer is Jerry, not me'; coming from the man regarded by many as the greatest choreographer of the 20th century, there could hardly be a greater endorsement of Robbins' work, and of his powerful influence on the traditions, style and popularity of American ballet.
Jerome Robbins' In The Night and Afternoon of a Faun will be performed alongside Song of the Earth in the upcoming Royal Ballet Mixed Programme. Tickets are now on sale to Friends of Covent Garden, with General booking opening on 31 March 2015.]]>
Leading choreographer and Royal Ballet Artistic Associate Christopher Wheeldon is perhaps best known for his narrative ballets, which for The Royal Ballet include the ever-popular Alice's Adventures in Wonderland, and his newest work, the acclaimed The Winter's Tale.
But, like many great choreographers, Wheeldon's bread and butter is the one-act abstract ballet. Over the course of his partnerships with The Royal Ballet and New York City Ballet, and with companies around the world, Wheeldon has created a magnificent portfolio of short ballets that are each exquisite examples of his distinctive choreographic language. To mark the return of DGV, we've picked out a selection of films from companies around the world showing Wheeldon's style, both in the rehearsal room and on stage.
Melissa Hamilton and artists of The Royal Ballet in 'Trespass' (Metamorphosis: Titian 2012) © ROH/Johan Persson, 2012
Beatriz Stix-Brunell and Nehemiah Kish in 'Trespass' (Metamorphosis: Titian 2012) © ROH/Johan Persson, 2012
Wheeldon's first work for NYCB as the company's first artist in residence was Polyphonia, first performed in 2001. Wheeldon set the work to four extremely taxing piano pieces by Hungarian composer György Ligeti – in this interview with NYCB he describes how he decided to 'find a really, really hard piece of music that's going to scare the living daylights out of you. I found the Ligeti piano pieces and thought ok this music is brilliant, it's terrifying and I wouldn't know what to do with it'. It's a work that demands careful counting from the dancers (see Royal Ballet dancer tackle the first movement in rehearsal with Wheeldon here) – but that pays thrilling dividends when Wheeldon's choreography brings out the underlying patterns within the music.
After the Rain
Wheeldon created After the Rain for NYCB's 2005 New Combinations Evening, an annual celebration of the company's founder George Balanchine. The original ballet is in two parts, with the first for three couples. But is the second part, a pas de deux set to Arvo Pärt's Spiegel im Spiegel, that has really hit a chord with audiences. The pas de deux was created on Wendy Whelan – a regular collaborator with Wheeldon – and Jock Soto, shortly before Soto's retirement. In an interview with Pacific Northwest Ballet for their revival of the pas de deux, Wheeldon described how 'it wasn't until after having an audience see that I realized people were very moved by it… Some people think that they see this idea of loss, or some of love. That's the wonderful thing about making abstract dance, that you all get to decide the story that you see'. In 2003, the extract was performed by NYCB principals Maria Kowroski and Ask la Cour on the 57th floor of 4WTC, the skyscraper that stands on one corner of Ground Zero in New York.
DGV: Danse à grande vitesse
Wheeldon's created DGV in 2006 for The Royal Ballet, and it returns to the stage in spring 2014 in the Company's upcoming mixed programme. The ballet is set to a score by Michael Nyman that was originally commissioned by the Festival de Lille to commemorate the inauguration of France's TGV high-speed train line. In this clip, New York City Ballet corps de ballet member Gretchen Smith rehearses the work:
Fool's Paradise
One of Wheeldon's first works for his company Morphoses was Fool's Paradise, first performed in 2007 at the company's inaugural season at Sadler's Wells. Joby Talbot created a full orchestration of his 2002 chamber work The Dying Swan, a soundtrack for Yevgeni Bauer's 1916 silent film of the same name. Talbot carefully nuanced his orchestration to support Wheeldon's choreography: 'I wanted to be able to use the broader orchestral sonorities to match the scope of Christopher's onstage vision, but also have the ability to shrink back to the piece's original intimacy at a moment's notice.' Wheeldon commented how 'The result is a beautiful score, excessively melodic'. It was the start of a partnership that has led to Talbot creating the specially-commissioned scores for Alice's Adventures in Wonderland and The Winter's Tale.
What is your favourite Wheeldon one-act ballet?
Wheeldon's new mixed programme After the Rain / Strapless / Within the Golden Hour runs 12 February–24 March 2016. Tickets are still available.
The Winter's Tale runs 12 April –10 June 2016. Tickets are still available.]]>


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Rajapruek Samui Resort, Koh Samui (and surrounding islands)
- Free WiFi and free parking
Main amenities
- 70 guestrooms
- On the beach
- Restaurant and bar/lounge
- 2 outdoor pools
- Breakfast available
- Beach umbrellas
- Conference center
- Childcare
- Air conditioning
- Daily housekeeping
- Garden
- Computer station
For families
- Free cribs/infant beds
- Babysitting or childcare
- Children's pool
- Babysitting or childcare (surcharge)
- Rollaway/extra beds (surcharge)
- Refrigerator
What's around
- In Na Thon
- Lad Wanorn Waterfall (2.3 mi / 3.7 km)
- Hin Laad Waterfall (2.6 mi / 4.2 km)
- Raja Pier (1.7 mi / 2.7 km)
- Lipanoi Pier (1.7 mi / 2.7 km)
- Ko Samui Hospital (2.1 mi / 3.4 km)
Rajapruek Samui Resort, Koh Samui (and surrounding islands)
Hotel Info: 866-539-8117from $36
- Family Suite
- Beachfront Bungalow
- Standard Deluxe Double
- Beach Bungalow
- Standard Deluxe Two Singles
- Deluxe Room, Pool Access
- Standard deluxe
Also popular with travelers from the USA
At a glance
Key facts
Hotel size
- This hotel has 70 rooms
- Check-in time 2 PM-10 PM
- Check-out time is Noon
Required at check in
- Credit card deposit required
- Government-issued photo ID required
Travelling with others
- One child (11 years old and younger) stays free when occupying the parent or guardian's room, using existing bedding, but may not be eligible for free breakfast
- Babysitting/childcare *
- No pets or service animals allowed
- Free WiFi in public areas
- Free WiFi in rooms
- Free self parking
- Free nearby parking
Nearby Three Star Koh Samui (and surrounding islands) hotels
In the hotel
- Breakfast (surcharge)
- Restaurant
- Bar/lounge
- Coffee shop/café
- Room service (during limited hours)
- Beach sun loungers
- Beach umbrellas
- Number of outdoor pools - 2
- Children's pool
- Kayaking on site
- Ecotours nearby
- Beach towels
- Pool sun loungers
- Pool umbrellas
- Conference space size (feet) - 1506
- Conference space size (meters) - 140
- One meeting room
- Conference center
- Computer station
- Front desk (limited hours)
- Concierge services
- Tours/ticket assistance
- Dry cleaning/laundry service
- Laundry facilities
- Free newspapers in lobby
- Luggage storage
- Wedding services
- Garden
In the room
- In-room climate control (air conditioning)
- Air conditioning
- Bathrobes
- Iron/ironing board (on request)
- Private bathroom
- Free toiletries
- 32-inch TV
- Satellite TV channels
- Desk
- Free WiFi
- Refrigerator
- Free bottled water
- Daily housekeeping
- In-room safe
- Connecting/adjoining rooms available
Top Koh Samui (and surrounding islands) hotels
Recently reviewed hotels in Koh Samui (and surrounding islands)
- Kirikayan Boutique ResortFrom
"Our stay at Kirikayan was very enjoyable. We loved the private beach and the smiles of all employees always being kind and helpful. Bed was super comfortable, and room was clean…"Jun 15, 2016
- Amari Koh SamuiFrom
"Wanted to get away for a few days and this place was perfect. Staff was friendly and went out of their way to help you. The property does sprawl across the main road so depending…"Jun 12, 2016
- Chaweng Regent Beach ResortFrom
"We had a great stay here. The hotel was in a perfect location right on the Chaweng Beach frontage road. Chaweng Beach is a very shallow beach not for swimming but it's great to…"Jun 12, 2016
- Melati Beach Resort & SpaFrom
"Before deciding which hotel to choose in Koh Samui, I conducted deep search and after my visit, I have realized that I could have made better decisions. Overall I have very high…"Jun 12, 2016
Nearby hotels
Special features
DiningSea Breeze - Overlooking the ocean and pool, this restaurant serves breakfast, lunch, and dinner. Guests can enjoy drinks at the bar.
Rajapruek Samui Resort, Koh Samui (and surrounding islands)'s small print
Also known as
- Rajapruek
- Rajapruek Resort
- Rajapruek Samui
- Rajapruek Samui Resort
The property has connecting/adjoining rooms, which are subject to availability and can be requested by contacting the property using the number on the booking confirmation.
Only registered guests are allowed in the guestrooms.
Children under 12 years old are not allowed in the swimming pool without adult supervision.
This property does not have elevators.
The name on the credit card used at check-in to pay for incidentals must be the primary name on the guestroom reservation.
Optional extras
Late check-out can be arranged for an extra charge of THB 1000
Rollaway beds are available for THB 700 per night
Breakfast is offered for an extra charge of THB 250 per person (approximately)
Cribs/Infant beds are available for an extra charge
Babysitting/childcare is available for an extra charge
We have included all charges provided to us by this hotel. However, charges can vary, for example, based on length of stay or the room you book.
Is the description of this hotel not correct? Tell us


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iXiGO Travel
ixigo is India's #1 web & mobile travel search app for hotels & flights. Search & compare best hotel rates, cheapest flight ticket fares, destination travel guides, places to visit, things to do, restaurants, trains, buses and much more, all for free, only with ixigo! Top Features: - Compare information and prices from 100+ travel sites for best airline & hotel deals - Find the best airfares and lowest hotel rates in India & across the world - Compare prices and rates of 250,000+ hotels globally - Read reviews from all leading hotel review sites - See hotel photos, amenity information, room rates & availability - Browse thousands of restaurants, dhabas & street food joints in India - See interesting nearby places to visit, things to do, places to shop & restaurants - Also search for trains & buses in India, via ixigo.com site - Track flight status & delays - Book conveniently on the website of your choice - A simple, fast and intuitive user interface know & go with ixigo. **Please Note** For any problems and feature requests, please write us to firstname.lastname@example.com Absolutely free of cost, free of ads. Can it possibly get better?More
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This delicious strawberry crostini recipe is perfect for summer entertaining! Creamy goat cheese and a simple strawberry salsa with fresh basil and balsamic vinegar are layered on crispy french bread and topped with a drizzle of honey. Vegetarian.
In a hurry? Click here to jump straight to the recipe!
Strawberriessssssss! I love them so.
(umm, hi, WHAT blog are we on again?)
We're riiiiiiight at the end of strawberry season here in upstate New York, so over the holiday I dragged my friend Erin (HI ERIN) with me to a couple of u-pick farms to stock up on the last wave of strawberry pickinzzzzz before they're gone again (*sob*).
I was pretty desperate for a strawberry fix (CHECK ANNND DONE ⬇⬆⬇), but we also lucked out and hit the first wave of RASPBERRIES at one of our local farms. I may or may not have gotten overly excited and picked, umm…all of them. So I may or may not have been living on nothing but berries for the last three days.
I'm not mad about it.
OH HEY PS – How was your holiday weekend? Good? Good!
I actually had a relatively busy 4th of July weekend (busy = I put on pants and left the house) between the berry picking and hosting not one but TWO barbecues (like, with OTHER HUMANS and everything) and shooting some new video content (OMG EXCITEMENT) for le bloggity blog here.
Also, I ate approximately 10976509238975908 (⬅ real number) of these strawberry crostini.
But, hey, okay, chillax a second, I didn't eat them ALLLLLL by myself.
I also gave one to Kyle.
But for real. These strawberry crostini? THEY'RE THE BOMB.
The natural sweetness of the strawberries and the fresh, earthy notes of basil are just so perrrrrrfect together (I'm a big big fan of berries + herbs, as you might remember) and a splash of balsamic vinegar brings the whole thing together.
Also, there is goat cheese. YOU'RE WELCOME.
This recipe isn't super "recipe-ish" with the measuring and the ingredients and blah blah blah (it's literally just putting honey on top of berries on top of cheese on top of bread), so feel free to adjust it however you'd like! I've included some of my favorite twists in the recipe notes below. The strawberry salsa would also be great with this Balsamic Glazed Salmon, as a separate dip with tortilla chips, or being shoved directly into your mouth without bothering to share with anyone.
- 8 oz. fresh goat cheese
- 8 slices crusty French bread
- ¼ cup extra virgin olive oil
- 1 cup diced fresh strawberries
- 6 large fresh basil leaves, roughly chopped
- salt and pepper to taste
- 2 tsp. balsamic vinegar
- ¼ cup honey
- Set the goat cheese out on the counter while you prep the rest of the ingredients - this will give it a chance to soften so it's easier to spread when you're ready to assemble your crostini!
- Lay French bread slices in a single layer on a baking sheet. Drizzle with a bit of olive oil (you may not need a full ¼ cup of the oil) and bake at 375 degrees F until lightly browned, about 5 minutes.
- While bread is toasting, prep the strawberry topping. Combine diced strawberries, chopped basil, a pinch of salt and pepper, and balsamic vinegar in a small mixing bowl and lightly toss to combine. Set aside.
- When your French bread is toasted, it's time to assemble! Spread each piece of toast with a layer of goat cheese, then top with a spoonful of the strawberry mixture. Finish crostini with a light drizzle of honey and serve immediately.
Serving a crowd? Use a baguette instead of the French bread so you can have smaller bites (and more crostini to go around!)
Instead of honey, you could also drizzle these crostini with a balsamic glaze.
Use mint instead of basil for a fresh twist!
The strawberry mixture can be made a day ahead of time and kept in the fridge.
PS – I've been trying out these fun Nutrition Facts labels at the end of my last few posts! What do we think? Helpful? Annoying? Couldn't care less? Drop me a comment and let me know how you like it!
Nutrition information provided by Edamam.


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While Tony Hawk studio Neversoft handles the console versions of
Belying its humble roots as a Kentia Hall diamond at the 2005 Electronic Entertainment Expo, the Guitar Hero franchise has grown to become a pop-culture juggernaut.
Chance Copeland
That's in part due to the ever-growing reach of the game, which expanded onto the Xbox 360 with
GameSpot had an opportunity to speak with Chance Copeland, associate producer for Aspyr Media, at this year's Austin Game Developers Conference to get more details on Guitar Hero III for the PC and Mac. Rated T for Teen, these versions will be available this fall.
Q: Tell us why Aspyr decided to make PC and Mac ports of Guitar Hero III. After all, isn't this the kind of game that's best played in the living room?
Copeland: Currently, the music-game genre has very little representation on the PC and Mac platforms, and we think it's past time someone blew that wide open with a powerful franchise like Guitar Hero. Another concept we're trying to transmit to gamers is the idea of "Guitar Hero on the go." Take your laptop with you in the car or on an airplane, put on your headphones, and rock all you want using one of our keyboard configurations for the game. Consoles just aren't travel-friendly the way a good laptop is.
And I'd also like to point out that more and more people are integrating PCs into their primary entertainment system, so playing Guitar Hero III PC in your living room isn't hard to imagine.
Give us an overview of what we can expect from Guitar Hero III for the PC and Mac.
Copeland: We'll assume that the majority of your PC gaming readers are familiar with the Guitar Hero franchise. With Guitar Hero III, the idea was to make incremental improvements that would make the gameplay better and provide an experience that gives the closest feel to playing a real guitar, without actually playing a real guitar, ever. Hammer-on and pull-off functionality has been improved. The timing window for hitting notes has also been increased slightly so there are fewer clinks when notes are missed by the smallest fractions of a second.
Of course, the one thing most people will notice is that the game looks incredible. The new engine created by Neversoft makes everything pop with tremendous detail, and this time around you'll notice that the drummer, bassist and singer's lip-synching all match the song that is being performed. The new venues are stunning, crazy to watch, and all react uniquely and in real time to the song that is being performed.
And of course we have to talk about the music. Guitar Hero III's set list features more master tracks than the previous iterations--more than 70 percent, in fact. These master tracks make a huge difference, and gamers will notice right off the bat when they are playing along with Metallica, the Rolling Stones, Pearl Jam or any of the other legendary acts. The songs are a great sample of almost every era of rock and are a fantastic mix of genres.
Finally, let's not forget online play, the new boss battles and guitar battle mode. There will be so much rocking to do, gamers won't know what to do with themselves.
Will the two new versions have their own unique guitar model?
Copeland: The PC version of Guitar Hero III will ship with a USB Guitar Hero guitar controller. We'll be able to talk more about the exact model soon.