NYC-ARTS

S2017 E128 | FULL EPISODE

NYC-ARTS Full Episode: October 26, 2017

Paula Zahn in conversation with Dr. Joseph W. Polisi, President of The Juilliard School, as he celebrates the accomplishments of his 34-year tenure.

AIRED: October 26, 2017 | 0:27:47
ABOUT THE PROGRAM
TRANSCRIPT

>>> COMING UP ON NYC ARTS, A

CONVERSATION WITH DR. JOSEPH

POLISI, PRESIDENT OF THE

JUILLIARD SCHOOL AS HE

CELEBRATES THE ACCOMPLISHMENTS

OF HIS 34-YEAR TENURE.

>> IT'S BEEN A GREAT HONOR TO BE

INVOLVED IN THIS INSTITUTION.

THE FACULTY AND STAFF AND EVERY

YEAR THE NEW GROUP OF

EXTRAORDINARY STUDENTS, ACTORS,

DANCERS, MUSICIANS WHO ARE WHITE

HOT WITH PASSION ABOUT WHAT THEY

WANT TO ACHIEVE IN THE ARTS.

AND THE TYPE OF IDEALISM THAT IS

REALLY QUITE UNIQUE IN TODAY'S

WORLD.

♪♪

>> FUNDING FOR "NYC ARTS" IS

MADE POSSIBLE BY ROSALIND P.

WALTER IN MEMORY OF DINA

MERRILL, KATE W. CASSIDY

FOUNDATION, THEA PETSCHEK

IERVOLINO FOUNDATION, JEAN

DUBINSKI APPLETON ESTATE, JODY

AND JOHN ARNHOLD, ELLEN AND

JAMES S. MARCUS, THE LEWIS

"SONNY" TURNER FUND FOR DANCE,

ELISE JAFFE AND JEFFREY BROWN,

THE MILTON AND SALLY AVERY ARTS

FOUNDATION AND ELROY AND TERRY

KRUMHOLZ FOUNDATION.

THIS PROGRAM IS SUPPORTED IN

PART BY PUBLIC FUNDS FROM THE

NEW YORK CITY DEPARTMENT OF

CULTURAL AFFAIRS IN PARTNERSHIP

WITH THE CITY COUNCIL.

ADDITIONAL FUNDING PROVIDED BY

MEMBERS OF THIRTEEN.

"NYC ARTS" IS MADE POSSIBLE IN

PART BY FIRST REPUBLIC BANK.

>> FLEXIBILITY, COORDINATION,

EXCELLENCE.

FIRST REPUBLIC PRIVATE WEALTH

MANAGEMENT, IT'S A PRIVILEGE TO

SERVE YOU.

>> AND BY SWAN AUCTION

GALLERIES.

>> SWAN AUCTION GALLERIES, WE

HAVE A DIFFERENT WAY OF LOOKING

AT AUCTIONS.

OFFERING VINTAGE BOOKS AND FINE

ARTS SINCE 1941.

WORKING TO COMBINE KNOWLEDGE

WITH ACCESSIBILITY, WHETHER YOU

ARE A LIFE LONG COLLECTOR, FIRST

TIME BUYER OR LOOKING TO SELL,

INFORMATION AT

SWANGALLERIES.COM.

♪♪

>> GOOD EVENING AND WELCOME TO

NYC ARTS.

I'M PAULA ZAHN.

ON TONIGHT'S PROGRAM WE WILL

MEET DR. JOSEPH POLISI,

PRESIDENT OF THE JUILLIARD

SCHOOL.

AND A RENOUNCED LEADER IN THE

FIELD OF PERFORMING ARTS

EDUCATION.

HE BECAME THE SIXTH PRESIDENT OF

JUILLIARD IN 1984, PRESIDING

OVER ONE OF THE MOST DYNAMIC AND

SUCCESSFUL ERAS IN THE SCHOOL'S

HISTORY.

JUILLIARD HAS ALWAYS PROVIDED

THE HIGHEST CALIBER OF ARTISTIC

EDUCATION FOR GIFTED MUSICIANS,

DANCERS AND ACTORS FROM ALL OVER

THE WORLD.

BUT UNDER POLISI'S LEADERSHIP,

THE 33 YEARS FOLLOWING HIS

ARRIVAL MARKED THE FLOURISHING

OF JUILLIARD'S ACTIVITIES WITHIN

THE SCHOOL.

WITH EXPANSION TO THE

SURROUNDING COMMUNITY AND WORLD,

MOST RECENTLY AS FAR AWAY AS

CHINA.

HE BROUGHT TO THE POSITION HIS

EXPERIENCE AS A COLLEGE

ADMINISTRATOR, AS A WRITER IN

THE FIELDS OF MUSIC, PUBLIC

POLICY AND THE ARTS AND AS AN

ACCOMPLISHED BASOONIST.

WITH THREE GRADUATE DEGREES IN

MUSIC AND A MASTERS IN

INTERNATIONAL RELATIONS, HE

BROUGHT A WEALTH OF KNOWLEDGE TO

THE TASK.

HIS PHILOSOPHY OF THE ARTIST AS

CITIZEN ALSO THE TITLE OF A

COLLECTION OF HIS ESSAYS AND

SPEECHES DECLARES THAT THERE

SHOULD BE NO DIVIDING LINE

BETWEEN ARTISTIC EXCELLENCE AND

SOCIAL CONSCIOUSNESS.

I HAD THE OPPORTUNITY TO SPEAK

WITH POLISI AS HE ENTERED HIS

FINAL YEAR AS THE LONGEST

SERVING PRESIDENT OF JUILLIARD.

HE WILL STEP DOWN AFTER 34 YEARS

OF SERVICE IN JUNE OF 2018.

♪♪

>> JOSEPH, GREAT TO SEE YOU.

THANKS FOR JOINING US.

>> MY GREAT PLEASURE.

>> WHEN YOU LOOK AT YOUR

ACADEMIC AND MUSICAL BACKGROUND,

IT WOULD HAVE SUGGESTED YOU HAD

A PRETTY GOOD SHOT AT A

SUCCESSFUL RUN HERE AT

JUILLIARD.

BUT WHEN YOU TOOK ON THIS

DAUNTING JOB, COULD YOU EVER

HAVE IMAGINED THAT YOU WOULD

STAY HERE FOR MORE THAN THREE

DECADES?

>> OH, NO.

I DIDN'T THINK THAT I WOULD LAST

MORE THAN A YEAR OR TWO.

BECAUSE I THINK WHEN I CAME IN,

I CAME IN, I WAS YOUNG.

I WAS 36 YEARS OLD.

I HAD A LOT OF IDEAS.

SOME OF THOSE IDEAS WERE

CONTRARY TO SOME OF THE

TRADITIONS THAT HAD BEEN GOING

ON EARLIER.

AND SO I CAME TO A REALIZATION

EARLY ON THAT PERHAPS I WAS

PUSHING THE ENVELOPE A LITTLE

BIT TOO MUCH.

SO 34 YEARS WOULD HAVE BEEN OUT

OF THE QUESTION IF HAD YOU ASKED

ME IN 1985 OR '86.

>> YET HERE YOU ARE.

HOW DO YOU FEEL?

>> I FEEL THAT IT'S BEEN

IMPORTANT AND GOOD WORK.

IT'S BEEN A GREAT HONOR TO BE

INVOLVED IN THIS MAGNIFICENT

INSTITUTION.

THE FACULTY, THE ADMINISTRATIVE

STAFF AND EVERY YEAR THE NEW

GROUP OF EXTRAORDINARY STUDENTS,

ACTORS, DANCERS, MUSICIANS WHO

ARE WHITE HOT WITH PASSION ABOUT

WHAT THEY WANT TO ACHIEVE IN THE

ARTS.

AND THE TYPE OF IDEALISM THAT IS

REALLY QUITE UNIQUE IN TODAY'S

WORLD.

♪♪

SO IT'S FOR ME VERY RESTORATIVE.

>> THAT'S A MESSAGE I THINK YOU

ARE TRYING TO REINFORCE WITH ALL

THESE YOUNGBUDDING ARTISTS IN

TRAINING HERE.

LET'S GO BACK AND REFERENCE SOME

OF THE TRANSFORMATIONS THAT HAVE

OCCURRED UNDER YOUR LEADERSHIP.

WHEN YOU CAME HERE YOU DIDN'T

THINK THERE WAS ENOUGH OF A

SENSE OF COMMUNITY.

THERE WAS NO DORM TO HOUSE

STUDENTS HERE.

>> IT WAS NOT A TRADITION TO

HOUSE OUR STUDENTS.

THE IDEA WAS THAT YOU CAME IN

EARLY IN THE MORNING, PRACTICED,

WARMED UP, REHEARSED, DID

LESSONS, PERFORMED AND LEFT.

IT DID NOT CREATE A SENSE OF

COMMUNITY.

AND I FELT IT WAS ABSOLUTELY

ESSENTIAL THAT THESE YOUNG

ARTISTS UNDERSTAND WHY THEY ARE

ARTISTS.

I MEAN, IT'S NOT ABOUT GETTING

THE NOTES RIGHT OR THE STEPS

RIGHT OR THE WORDS RIGHT.

YOU NEED THAT COMMUNICATION.

THAT I THOUGHT REQUIRED A SENSE

OF COMMUNITY.

WHO WE ARE AND WHO OTHER PEOPLE

WERE AND WHAT KIND OF CONTEXT

ARE YOU INVOLVED WITH WHEN YOU

ARE PRESENTING YOUR ART.

>> THERE WAS ANOTHER

CONTROVERSIAL IDEA YOU

SHEPHERDED.

THAT WAS THE IDEA OF REALLY

PROMOTING OF LIBERAL ARTS

EDUCATION.

AND YOU HEARD FROM SOME OF YOUR

CRITICS, I DON'T WANT THESE

GREAT MUSICIANS SITTING AROUND

IN THE LIBRARY AND MINIMIZING

THEIR TIME IN THE PRACTICE ROOM.

>> RIGHT.

>> IT TOOK HOLD AND PEOPLE ENDED

UP EMBRACING THAT IDEA, DIDN'T

THEY IN.

>> I THOUGHT THESE YOUNG PEOPLE

NEEDED TO HAVE A VERY FOCUSED

EXPERIENCE.

I DIDN'T EXPECT THEM TO BE

SPENDING HOURS IN THE LIBRARY

DOING RESEARCH.

THEY'RE NOT ENGLISH MAJORS OR

HISTORY MAJORS.

THEY ARE DANCE MAJORS AND DRAMA

MAJORS.

IF THEY SEE THERE'S AN EXCELLENT

EXPERIENCE IN THEIR LIBERAL ARTS

CLASS ON TUESDAY AND THURSDAY

FROM 1:00 TO 2:15, THEY RESPOND

TO THAT AND REACT IN A POSITIVE

WAY.

IN 2017, IT'S BECOME AN

INTEGRATED PART WHAT HAVE WE'RE

ALL ABOUT.

>> I'M CURIOUS HOW YOUR TRAINING

AS A BASOONIST AND BEING THE SON

OF A PROFESSIONAL BASOONIST, HOW

THAT HAS INFORMED THE WAY YOU

APPROACH YOUR JOB.

>> WELL, SINCE MY MUSICAL

BACKGROUND INVOLVES PRIMARILY

ORCHESTRA AND CHAMBER MUSIC

EXPERIENCE, I WAS IN THE

TRENCHES ON THOSE SIDES AND

SPENT MANY YEARS PLAYING IN

ORCHESTRAS.

I LOVE PLAYING CHAMBER MUSIC.

WHEN I BECAME PRESIDENT OF

JUILLIARD, I HAD SENSITIVITIES

AND UNDERSTANDING OF WHAT THE

NEEDS OF NOT ONLY WOODWIND

PLAYERS BUT THE ENTIRE ORCHESTRA

ENVIRONMENT.

WORKING TOGETHER AS A TEAM,

HAVING A SENSE OF PRIDE ABOUT

HOW YOU PRESENT YOURSELF ON A

DAILY BASIS IN THE ORCHESTRA AND

THE IMPORTANCE OF THE EXPERIENCE

WITHIN A LARGER ENVIRONMENT.

>> IN YOUR BOOK THE ARTIST IS

CITIZEN, YOU TALK A LOT ABOUT

HOW YOU WERE REALLY LOOKING TO

CREATE A BROADER FRAMEWORK FOR

THE MUSICIANS AND THE DANCERS

WHO ARE TRAINING HERE.

BECAUSE THEY'RE GOING TO BE

EXPECTED TO DO MUCH MORE THAN

THEY DID, LET'S SAY 30 YEARS

AGO, WHEN YOU CAME HERE.

WHAT DO YOU THINK IS KEY TO

THEIR TRAINING THAT WILL HELP

ENSURE THEY REMAIN RELEVANT?

>> THE ARTS IN AMERICA AND IN

FACT AROUND THE GLOBE I FEEL

THAT THEY ARE MISUNDERSTOOD AND

NOT AS SUPPORTED AS THEY SHOULD

BE.

>> THE SAD TRUTH IS IF YOU

ATTEND A PUBLIC SCHOOL IN SOME

PARTS OF THE COUNTRY YOU ARE

LUCKY IF THE SCHOOL HAS A MUSIC

PROGRAM OR ARTS PROGRAM.

>> THAT'S RIGHT.

THE ARTS TEACH MORE THAN WHAT IS

BEETHOVEN OR SHAKESPEARE.

IT TEACHES A SENSITIVITY.

IT TEACHES A FEELING OF EMPATHY

AND UNDERSTANDING OF THE HUMAN

EXPERIENCE.

IF YOU TAKE THAT OUT OF THE K

THROUGH 12 CURRICULUM, WHICH HAS

HAPPENED FOR MOST PART SINCE THE

1970s -- I WAS A PRODUCT OF THE

NEW YORK CITY PUBLIC SCHOOL

SYSTEM.

I LIVED IN FLUSHING, QUEENS.

WENT 1st THROUGH 12th GRADE.

IT WAS A RBUST AND HIGH QUALITY

ARTS ENVIRONMENT.

THAT'S WHERE I STARTED PLAYING

BASOON IN SEVENTH GRADE.

WITH THE FINANCIAL CRISIS, MOST

OF THE PROGRAM WENT AWAY.

IT HAS COME BACK.

BUT ONLY IN HOT SPOTS AROUND THE

CITY.

WHAT THAT MEANS IS, THEREFORE,

THAT WHEN YOU GO THROUGH AN

EDUCATIONAL SYSTEM AND YOU HAVE

NO EXPOSURE AT ANY SERIOUS LEVEL

TO THE ARTS, WHY SHOULD YOU HAVE

AN PIPHANY WHEN YOU ARE 42 TO

BUY A SUBSCRIPTION TO THE NEW

YORK PHILHARMONIC OR DETROIT

SYMPHONY.

YOU DON'T SEE WHAT THE ARTS ARE

AS PART OF YOUR LIFE.

THAT'S WHAT I THINK IS REALLY

LACKING.

THAT GOES BACK TO THE ARTIST TO

CITIZEN CONCEPT.

THE VERY BEST ADVOCATES FOR THE

ARTS ARE ACTORS, DANCERS AND

MUSICIANS WHO ARE COMMITTED TO

WHAT THEY DO.

BUT THEY HAVE TO LEARN MORE.

THEY'VE GOT TO LEARN TECHNIQUES

AS TO HOW TO GET THAT MESSAGE

OUT TO COMMUNITIES LARGE AND

SMALL.

>> PART OF YOUR CURRICULUM IS

ACTUALLY PROVIDING PUBLIC

SPEAKING CLASSES.

YOU ARE ASKING THESE STUDENTS IN

ESSENCE TO BECOME EDUCATORS.

TO GO OUT IN THE COMMUNITY AND

SPREAD THIS MESSAGE.

>> I REALLY WANT OUR STUDENTS TO

THINK OUT OF THE BOX.

I WANT THEM TO BE ABLE TO USE

THEIR SKILLS NOT ONLY AS

PERFORMING ARTISTS BUT AS

INTELLIGENT INDIVIDUALS WHO CAN

UNDERSTAND A GOOD DEAL ABOUT OUR

SOCIETY, THE ECONOMICS OF OUR

SOCIETY, THE POLITICS OF OUR

SOCIETY IN COMMUNITIES LARGE AND

SMALL AROUND THE UNITED STATES.

>> BUT AT THE SAME TIME YOU

WRITE ABOUT YOUR FEAR THAT ART

AND MUSIC MIGHT BE SWEPT AWAY BY

LACK OF KNOWLEDGE AND SIMPLE

INDIFFERENCE.

>> IT'S A FEAR THAT I CERTAINLY

EXPRESS AND FEEL.

BUT I HAVE BECOME OPTIMISTIC.

EVERY SEPTEMBER WHEN I WELCOME

IN A NEW CLASS OF JUILLIARD

STUDENTS IN ACT AND DANCE AND

DRAMA.

BECAUSE I SEE THEIR EYE

IDEALISM, DEDICATION, TALENT.

WITH THESE YOUNG PEOPLE, THERE'S

A FUTURE.

THAT'S WHY I'M OPTIMISTIC.

THERE'S A GREAT DEAL OF

FANTASTIC ARTISTIC ACTIVITY

THAT'S HAPPENING IN NEW YORK

CITY AND AROUND THE COUNTRY AND

AROUND THE WORLD.

WE ARE TRULY A GLOBAL

ENVIRONMENT FOR THE ARTS TODAY.

WE CAN'T IGNORE IT, NOR SHOULD

WE.

WE SHOULD EMBRACE IT.

>> I WANTED TO GIVE YOU A CHANCE

TO TALK ABOUT THE DRAMA

DEPARTMENT AND SOME OF THE

CHANGES THAT HAVE BEEN MADE OVER

THE LAST 30 OR SO YEARS.

CAN YOU POINT TO ONE CHANGE THAT

YOU ARE PARTICULARLY PROUD OF?

>> I THINK OUR DRAMA DIVISION,

WHICH STARTED IN 1968 AND

CONTINUES TO BE VERY CLASSICALLY

BASED, WITH DEEP ROOTS IN

SHAKESPEARE, BUT WE HAVE ALSO

ADDED ABOUT 20, 30 YEARS AGO A

VERY INTENSE PLAYWRIGHT'S

PROGRAM.

CONTEMPORARY DRAMA ARE AN

IMPORTANT PART OF WHAT WE DO.

>> THERE'S NO ANGELS IN AMERICA.

THERE'S ONLY THE POLITICAL.

>> WE NOW HAVE YOUNG ACTORS WHO

ARE JUST AS COMFORTABLE WITH SAM

SHEPHERD AND BEYOND.

I HAVE SEEN THAT AS AN

EVOLUTIONARY PROCESS.

WE HOPE WE HAVE BEEN MORE

SENSITIVE TO DVERITY WITHIN

OUR WORLD AND THE WORK THAT

COMES FROM THAT EFFORT.

>> PAINT THE HOUSE, SWEEP THE

CHIMNEY --

>> WHAT ABOUT THE WORLD OF DANCE

HERE?

WHAT ARE YOU MOST PROUD OF?

>> AT OUR BASE, IS CLASSICAL

DANCE.

EVERY DANCER HAS A CLASSICAL

BALLET CLASS IN THE MORNING.

BUT THEN WE MOVE ON TO

CONTEMPORARY DANCE OF ALL SORTS

AND ALL CHOREOGRAPHERS.

OUR DANCERS, THEREFORE, REALLY

ARE ABLE TO PERFORM AT A WIDE

ARRAY OF STYLISTIC APPROACHES TO

DANCE.

OUR DANCING NOW IN COMPANIES ALL

OVER THE WORLD, HAVE BECOME CORE

CHOREOGRAPHERS AND TEACHERS.

IT DATES BACK TO 1951, WHEN BILL

SCHUMANN, THE PRESIDENT AT THE

TIME, DECIDED IT WAS NECESSARY

TO HAVE DANCE AS PART OF A MUSIC

SCHOOL.

HE WAS ABSOLUTELY RIGHT.

>> I THINK AN IMPORTANT PART OF

YOUR LEGACY IS THE EXPANSION.

TELL ME ABOUT THE NEW CAMPUS YOU

ARE CREATING IN CHINA, ABOUT A

45 MINUTE TRAIN RIDE OUTSIDE OF

BEIJING.

>> JUILLIARD HAS BEEN AN

INTERNATIONAL INSTITUTION, CLOSE

TO -- SLIGHTLY OVER 30% OF OUR

STUDENTS FROM OUTSIDE OF THE

UNITED STATES.

WE HAVEN'T BEEN A GLOBAL

INSTITUTION IN THE SENSE THAT WE

EXPECT EVERYBODY TO COME TO NEW

YORK INSTEAD OF REACHING OUT.

SO THIS INITIATIVE IN CHINA

INVOLVES A BRANCH CAMPUS, A

SMALL HAMLET OF 14 MILLION

PEOPLE OUTSIDE OF BEIJING.

WE WILL OFFER A CERTIFIED JULIE

JUILLIARD MASTERS DEGREE IN

MUSIC.

AND SOMETHING I CALL JUILLIARD

IMAGINATION, WHICH WILL BE A

LARGE BASE WHERE PEOPLE CAN COME

FROM 9:00 IN THE MORNING TO

11:00 AT NIGHT, EXPERIENCE OUR

BUILDING AND NOT NECESSARILY

HAVE TO GO TO -- EVEN GO TO A

CONCERT OR BUY A TICKET OR

ANYTHING LIKE THAT THE HOPE IS

JUILLIARD CAN HAVE A FICTIONAL

BASE OF OPERATION IF EAST ASIA,

AN IMPORTANT COUNTRY THAT'S VERY

SUPPORTIVE OF WESTERN CLASSICAL

MUSIC AND SEE HOW IT EVOLVES AND

BECOME PART OF THAT VERY, VERY

IMPORTANT PROCESS THAT IS THE

FUTURE OF THE ARTS IN THE WORLD.

>> ARE YOU FEELING MIXED

EMOTIONS AS YOU LEAVE HERE?

>> OF COURSE.

SURE, SURE.

IT'S BEEN MY LIFE FOR 33 YEARS.

MY THREE CHILDREN GREW UP WHILE

I WAS JUILLIARD PRESIDENT.

NOW MY GRANDCHILDREN ARE WALKING

THROUGH THE HALLS.

IT'S AN IMPORTANT PART OF ME.

IT'S ALWAYS BEEN A GREAT HONOR.

I ALWAYS SAW MYSELF AS A PERSON

WHOSE RESPONSIBLE WAS TO CREATE

AN ENVIRONMENT WITHIN WHICH

THESE MAGNIFICENT PEOPLE WOULD

FLOURISH.

IF I HAVE HELPED DO THAT A

LITTLE BIT, THEN I'M HAPPY.

>> WE WILL WATCH WITH GREAT

INTEREST TO SEE WHAT ELSE YOU DO

IN THE YEARS TO COME TO PROMOTE

THE IMPORTANCE OF ARTS.

WE'RE TRULY APPRECIATIVE OF

EVERYTHING YOU HAVE DONE.

>> THANK YOU SO MUCH.

>> NICE TO SEE YOU.

>>> GOOD EVENING.

WE'RE AT A MUSEUM LOCATED ON THE

UPPER EAST SIDE.

IT WAS FOUNDED IN 1956 BY JOHN

D. ROCKEFELLER, III, WHO WANTED

TO FOSTER GREATER COOPERATION

BETWEEN ASIA AND THE UNITED

STATES.

AN INITIAL BEQUEST OF CLASSIC

WORKS OF ASIAN ART FORMS THE

BASIS OF THE MUSEUM'S COLLECTION

TODAY.

MASTERPIECES FROM THE ASIA

SOCIETY MUSEUM HIGHLIGHT THE

ARTISTRY OF ASIAN CERAMICS,

METALWORK AND STONE CARVING AND

FOLLOWS HINDUISM ACROSS ASIA.

THE EXHIBITION IS DIVIDED INTO

THREE SECTIONS.

FOR SUSS TA NANCE IN THIS WORLD

AND THE NEXT CONTAINS VESSELS

FOR HOLDING FOOD AND DRINK.

FROM KOREA, JAPAN AND CHINA.

REGARDING GODS AND KINGS

INCLUDES EXAMPLES OF SOUTH AND

SOUTHEAST ASIAN SCULPTURE.

IT RANGE FROM AN INDIAN BRONZE

OF A HINDU GOD TO 11th CENTURY

SANDSTONE FIGURES FROM CAMBODIA.

TRANSMISSION OF BUDDHIST

DEMONSTRATES THE COMPLEXITY OF

REPRESENTATIONS OF BUDDHIST

DETEES ACROSS ASIA.

IT INCLUDES FIGURES FROM INDIA

TO CASHMERE OF THE SAGE BUDDHA.

ELIZABETH McGOVERN KNOWN FOR HER

ROLE AS LADY CROWLEY TAKES A

TURN ON BROADWAY.

SHE'S APPEARING IN A FAMILY

DRAMA SET IN THE PERIOD

FOLLOWING THE THIRST WORLD WAR.

TIME IN THE CONWAYS RETURNS TO

BROADWAY FOR THE FIRST TIME

SINCE ITS PREMIERE IN 1938.

McGOVERN IS THE MATRIARCH OF THE

FAMILY.

ACT ONE OPENS IN 1919 IN

BRITAIN.

A TIME OF OPTIMISM AT THE END OF

THE GREAT WAR WITH MRS. CONWAY'S

DAUGHTER CELEBRATING HER 21st

BIRTHDAY.

>> IF YOU ARE HAVING A PARTY,

YOU ARE HAVING A PARTY.

>> YES.

IT ISN'T THAT.

IT ISN'T THAT YOU SUDDENLY

DISLIKE THE PEOPLE.

BUT YOU FEEL -- WELL AT LEAST I

DO AND I SUPPOSE THAT'S WHAT

FATHER FELT TOO.

YOU FEEL QUITE SUDDENLY IT ISN'T

REAL ENOUGH.

YOU WANT SOMETHING TO BE REAL.

DO YOU SEE, MOTHER?

>> ACT TWO SETS THEM 20 YEARS

LATER.

WE SEE THE WAR CASTS A LONG,

DARK SHADOW OVER THE FAMILY.

DIRECTED BY REBECCA TEICHMAN,

IT'S INED ENGAGEMENT.

THE MORGAN MUSEUM CELEBRATES A

PRIVATE COLLECTION OF DRAWINGS

ASSEMBLED OVER THE LAST HALF

CENTURY.

THE COLLECTION FIRST PROMISED TO

THE MARCH BEGAN IN 1975,

INCLUDES 424 WORKS IN TOTAL

RECEIVED BY THE MUSEUM IN EARLY

2017.

DRAWN TO GREATNESS, MASTER

DRAWINGS FROM THE THAW

COLLECTION PRESENTS MORE THAN

150 MASTER WORKS FROM THE

RENAISSANCE TO THE 20th CENTURY.

THE GALLERIES ARE DIVIDED INTO A

SERIES OF MAZE-LIKE ROOMS.

ALLOWING VISITORS TO HAVE AN

INTIMATE ENCOUNTER WITH SOME

EXCEPTIONAL WORKS OF ART.

A FEW ARTISTS ARE REPRESENTED IN

GREATER DEPTH.

AMONG THEM REMBRANDT AND GOYA.

ALSO ON VIEW IS A LETTER BY

VINCENT VAN GOGH TO FELLOW

ARTIST PAUL GOGHAN AS WELL AS

MODERN WORKS BY PICASSO AND PAUL

CLAY.

DRAWN TO GREATNESS, MASTER

DRAWINGS FROM THE THAW

COLLECTION REMAINS ON VIEW AT

THE MORGAN LIBRARY AND MUSEUM

THROUGH JANUARY 7.

HEAD TO THE BROOKLYN MUSEUM AND

TRAVEL ACROSS THE CENTURIES FOR

AN EXHIBITION OF LATE 18th

CENTURY ETCHINGS, EARLY 20th

CENTURY CINEMA AND 21st CENTURY

DRAWINGS ON A MONUMENTAL SCALE.

PROOF, GOYA, ROBERT LONGO, AND

SEVEN FILMS FROM A RUSSIAN

FILMMAKER.

THE FILMS ARE PROJECTED IN SLOW

MOTION, ONE FRAME EVERY SIX

SECONDS.

A PROCESS OF COMPOSITION AND

MONTAGE.

IT'S CURATED BY LONGO.

LONGO'S WORK INCORPORATE PRINT.

FROM A FOOTBALL PLAYER'S PROTEST

TO POLICE VIOLENCE AGAINST

AFRICAN-AMERICANS TO THE PLIGHT

OF REFUGEES IN THE

MEDITERRANEAN.

ALL THE WORKS SHOW THE POWER OF

THE MONOCHROMATIC PALLET OVER

TIME, HIGHLIGHTS HOW THEY HAVE

USED ARTWORK TO RESPOND TO

REVOLUTION, WAR AND CIVIL

UNREST.

PROOF, IT'S ON VIEW AT THE

BROOKLYN MUSEUM THROUGH JANUARY

7.

AND FINALLY, A BELOVED FILM IS

NOW REENVISIONED AS A WORK FOR

THE STAGE.

MATTHEW BORN HAS ADAPTED THE

1948 CLASSIC THE RED SHOES ABOUT

THE LIFE AND LOVES OF AN

AMBITIOUS BALLERINA.

VICTORIA PAIGE LIVES TO DANCE.

BUT SHE'S TORN BETWEEN TWO MEN

WHO CAN HELP HER ACHIEVE HER

DREAM.

THE RED SHOES WAS FIRST STAGED

IN LONDON LAST YEAR WITH ASHLEY

SHAH AS VICTORIA PAIGE AND SAM

ARCHER AS THE IMPRA SAR YO.

IT WILL ROTATE THE STARRING ROLE

BETWEEN NEW YORK AND LONDON

DANCERS.

NEW YORK CITY BALLET PRINCIPAL

SARAH MERNS SLIPS ON VICTORIA'S

CRIMSON TOE SHOES.

WE WILL BE JOINED BY MARSILO

GOMEZ.

MATTHEW BORN'S THE RED SHOES IS

AT NEW YORK CITY CENTER OCTOBER

26 THROUGH NOVEMBER 5.

THAT'S THE NYC ARTS NEWS.

FOR MORE INFORMATION ON CULTURAL

EVENTS IN OUR AREA, SIGN UP FOR

A FREE WEEKLY E-MAIL AT

NYC-ARTS.

FROM PARK AVENUE, I'M CHRISTINA

HA.

>>> HELLO, WELCOME TO LINCOLN

CENTER.

YOU KNOW ALL YEAR ROUND NEW

YORKERS AND GUESTS FROM AROUND

THE WORLD VISIT THIS CULTURAL

MECCA FOR ITS THEATERS

OVERFLOWING WITH THE BEST IN

MUSIC, DANCE, OPERA, DRAMA AND

FILM.

ON OCTOBER 30, JUILLIARD

CONTEMPORARY ENSEMBLE WILL

PERFORM.

ON NOVEMBER 6, THE AMERICAN

BRASS QUINTET WILL MAKE AN

APPEARANCE.

ON NOVEMBER 7, THE NEW JUILLIARD

ENSEMBLE WILL PERFORM WORKS BY

CANCELLI.

VISIT THE PERFORMANCE CALENDAR

AS JUILLIARD.EDU.

VISIT THEIR

FOR MORE INFORMATION CENTER

WEBSITE AT LINCOLNCENTER.ORG.

>>> I HOPE YOU HAVE ENJOYED OUR

PROGRAM THIS EVENING.

I'M PAULA ZAHN AT THE TISH WNET

CENTER AT LINCOLN CENTER.

NEXT WEEK, A VISIT TO THE

BROOKLYN STUDIO OF A MODERN

VIOLIN MAKER TO DISCOVER THE

UNIQUE SKILLS IN CREATING AN

OUTSTANDING MUSICAL INSTRUMENT.

>> EVERY VIOLIN I MAKE I KEEP

REALLY EXHAUSTIVE RECORDS ABOUT

EVERY ASPECT.

IF AN INSTRUMENT COMES BACK AND

I LIKE IT, I WANT TO MAKE

ANOTHER ONE LIKE THAT, I HAVE

SOME RECORD WHAT I DID.

>> A LOOK AT SOME OF THE MTA'S

MUSIC UNDER NEW YORK PROGRAM.

>> I WANTED THIS FIERCE, STRONG,

FEMININE GIRL GROUP.

THAT'S HOW I CAME UP WITH THE

IDEA.

♪♪

>> FUNDING FOR "NYC ARTS" IS

MADE POSSIBLE BY ROSALIND P.

WALTER IN MEMORY OF DINA

MERRILL, KATE W. CASSIDY

FOUNDATION, THEA PETSCHEK

IERVOLINO FOUNDATION, JEAN

DUBINSKI APPLETON ESTATE, JODY

AND JOHN ARNHOLD, ELLEN AND

JAMES S. MARCUS, THE LEWIS

"SONNY" TURNER FUND FOR DANCE,

ELISE JAFFE AND JEFFREY BROWN,

THE MILTON AND SALLY AVERY ARTS

FOUNDATION AND ELROY AND TERRY

KRUMHOLZ FOUNDATION.

THIS PROGRAM IS SUPPORTED IN

PART BY PUBLIC FUNDS FROM THE

NEW YORK CITY DEPARTMENT OF

CULTURAL AFFAIRS IN PARTNERSHIP

WITH THE CITY COUNCIL.

ADDITIONAL FUNDING PROVIDED BY

MEMBERS OF THIRTEEN.

"NYC ARTS" IS MADE POSSIBLE IN

PART BY FIRST REPUBLIC BANK.

>> FLEXIBILITY, COORDINATION,

EXCELLENCE.

FIRST REPUBLIC PRIVATE WEALTH

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