As any long-time Phantom fan knows, searching out authentic Italian meals in Central PA is both a challenge and a passion for your favorite restaurant reviewer.Such a challenge/passion often results in disappointment and lowered expectations.A good example was several years ago when I took Italian friends to a place I’d heard of in Enola called Dolce Vita (literally “sweet life”).
The experience was less than sweet, so far less that I didn’t even write about it. I figured I’d wait, give it a second chance, but I just never went back.So it was with suspicion and low expectations that I ventured out to the relocated Dolce Vita, which moved this year from Enola to Camp Hill.
Well, vivere e imparare — live and learn!For although Dolce Vita in Camp Hill is owned and operated by the same Nino Basic who owned and operated Dolce Vita in Enola, dining in the new location is very different.Maybe some of that is atmospheric. As I recall, Dolce Vita in Enola was just a cut above a working-class neighborhood saloon and about as Italianate as a blue-collar bar in Essen. Not that there’s anything wrong with establishments of Ceramic tile. It’s just they’re rarely home to well-made angel hair pasta. And the overall feel at Dolce Vita in Camp Hill is different.
Located in a renovated two-story house along the main drag of Market Street, it has a nice, quiet Italian feel thanks to its warm colors and lighting, an interior stone archway, tile floors, linen tablecloths, Italian art, a first-floor serving bar — although the place is BYOB — and Italian opera music playing in the background.
Appetizers included mushrooms stuffed with lump crab and baked clams casino with baby clams. Both were exceptional.The regular menu, which seems to me entirely sufficient, is accompanied with a list of “specials” (chicken meatballs and crabmeat-stuffed salmon, for example) that seem to outnumber the regulars.
This generally raises questions for me along the lines of: How can any kitchen, let alone a small one, offer such variety without liberal use of frozen foods? And, if one is eating frozen foods, why not dine at home?But, having said that, entrées sampled at my table were very good, and one was better than that.
I had steak di Napoli ($21), a New York strip steak with mushrooms, onions and green and red peppers in marinara sauce. Though the steak (ordered rare) was a tad tough and not quite rare, it was tasty. The peppers were great. And the side of pasta that comes with all nonpasta entrées was perfect.A dining partner had a “special,” capellini d’Angelo ($24), extra-thin spaghetti served with shrimp, large chunks of crab and asparagus. The dish drew rave reviews and was large enough to also provide lunch the following day.
The restaurant offers standards: red or white linguine with clams; veal or chicken Piccata or Marsala; spaghetti with meatballs or sausage; manicotti, baked ziti and just about any other classic Italian dish you can think of.But it also has offerings such as red snapper with shrimp dipped in eggs, and a house dish of sautéed veal with eggplant, porcelain tiles, ham, onions, tomato and mozzarella in a white wine sauce — in other words, variety.
This is the kind of place, largely due to its location, that can become a regular stop for a lot of people, including neighborhood walk-ins.If you bring wine, there is no corking fee. Ice buckets for white wine are available upon request. There’s better Italian in Central PA. But Dolce Vita of Camp Hill shows promise. Its challenge will be to maintain consistency given the wide variety it offers. The irony? Owner operator Nino Basic is from Yugoslavia. But, hey, everybody loves Italian.
Today’s kitchens easily supplant the bathroom as the home’s most dangerous room. While scalds and falls on tile can inflict serious harm in the bathroom, modern kitchen appliances and gadgets offer many more opportunities for injury. Even a seemingly simple kitchen task can result in a devastating injury.
Just ask April Stewart Klausner, a New York illustrator and accomplished cook. Recently Ms. Klausner, 56, severed four tendons, multiple nerves and a blood vessel in her hand while pitting an avocado, something she’d done countless times.
Gushing blood and unable to feel or move two fingers, she was taken by ambulance to an emergency room. The injury required more than three hours of surgical repair and many months of painful rehab. It will take at least a year for the injured nerves to heal, and Ms. Klausner can only hope her hand will function normally, enabling her to resume her career full-speed.
The therapists at Lang Hand Therapy in Manhattan told her she was the fourth “avocado victim” they’d seen that month. “So add that to immersion blenders and mandolines . . . and maybe the bathroom is not the most dangerous room in the house!” Ms. Klausner said in an e-mail.
Knowledge and mindfulness are the secrets to kitchen safety. My husband used to say, “From rushing no good can come.” Don’t try to do several things at once, and leave enough time to accomplish your tasks.
Use timers, especially for foods that cook a long time. I use them for everything I cook. My favorite is the battery-operated West Bend Kitchen Timer, easily set by punching in the numbers for hours, minutes and seconds — a worthwhile investment.
Read the full products at http://www.tilees.com/!
2013年8月19日星期一
2013年8月12日星期一
Jessamine County Burglary Suspect
Police say a Jessamine County burglary suspect who likely hurt himself after falling through the ceiling of a pawn shop early Monday has been arrested, and police say he is the same man who went through the ceiling to burglarize a Lexington business earlier this year.
Officers responded to a burglar alarm at Sam's Check Cashing and Pawn Shop on Lexington Road around 1 a.m. Monday. They say they found a hole in the building roof and a mess inside. Police say infrared surveillance video revealed a man, now identified as Paul Masters, 48, crawling above the store's ceiling, dropping down to the floor, and looking over merchandise. After repeating the process several times, the burglar fell through the porcelain tiles and landed on the floor. Masters allegedly then pried open a door, cut some razor wire over a fence, and hopped over.
It remains unclear if Masters got away with anything.The previous burglary happened in March. Masters allegedly scrambled through the attic of a Lexington store. Police say he also gave them a hard time before they could make an arrest.Police say Masters was sneaking around in the attic of the Roses general store off of Winchester Road hadn't gotten around to doing whatever it was he planned to do from up there, when employees heard him moving about from above the tile ceiling, and called police.
Police swarmed the shopping center, and chased Masters through the attic. Police say Masters ran probably about 50 yards through the attic area before the ceiling gave way and he fell about 12 feet through the tile ceiling to the ground.
The original design of the (Newfoundland & Labrador) building featured slate tiles adorning the intricate roof structure. However, the stone tiles became a problem when they began falling off during windy weather shortly after the building opened in 2010.At one point, a falling tile nearly struck a person attending the courthouse. The Department of Transportation and Works had to erect safety fencing around the entire perimeter and build wooden structures around the entrances to the building.
The department also asked the original roofing contractor, Allied Constructors, to determine if there had been a flaw in the initial design or in the installation of the roof. Government also threatened to take legal action against the contractor if it didn’t remediate the problem.In the meantime, action is being taken (in late July) to put fibreglass shingles that resemble the original slate tiles. The tender for that was issued this past spring and has been awarded to a different contractor, BDW Roofing based in Stephenville.
“So, you will have a similar effect (as slate tiles), but with a fibreglass shingle,” said Davis. “We know that’s what is widely used in many buildings and houses throughout Newfoundland and Labrador. They are sort of time-tested.”More importantly, Davis said completing this work will mean the unsightly safety fencing and polished tiles will finally be removed.“That’s the plan,” he said. “We hope to have it all done, completed and cleaned up this year and have it back to a finished condition like we hoped to have back in 2010.”
The Culver Archaeological Project (CAP), supported to the tune of ￡90,900 by the Heritage Lottery Fund, has also discovered a circular kiln, possibly for firing tiles, and a sunken tile-lined basin – which the team is struggling to find anything to compare it to in Britain.
The six-week dig at the Roman settlement began last month and smaller discoveries include glass beads, coins, lead weights, a stylus for writing on a wax tablet, a ceramic spindle whorl and a complete lower quern stone.Also brooch and glass vessel fragments, Samian pottery with a maker’s mark and hundreds of pieces of pottery and tile fragments from the Roman period.
CAP Deputy Archaeological Director David Millum said it appeared the urn could possibly very late Romano British or even post-Roman as it sat above the main Roman features – and was caught by the bucket of the mechanical digger when clearing away the topsoils.
Officers responded to a burglar alarm at Sam's Check Cashing and Pawn Shop on Lexington Road around 1 a.m. Monday. They say they found a hole in the building roof and a mess inside. Police say infrared surveillance video revealed a man, now identified as Paul Masters, 48, crawling above the store's ceiling, dropping down to the floor, and looking over merchandise. After repeating the process several times, the burglar fell through the porcelain tiles and landed on the floor. Masters allegedly then pried open a door, cut some razor wire over a fence, and hopped over.
It remains unclear if Masters got away with anything.The previous burglary happened in March. Masters allegedly scrambled through the attic of a Lexington store. Police say he also gave them a hard time before they could make an arrest.Police say Masters was sneaking around in the attic of the Roses general store off of Winchester Road hadn't gotten around to doing whatever it was he planned to do from up there, when employees heard him moving about from above the tile ceiling, and called police.
Police swarmed the shopping center, and chased Masters through the attic. Police say Masters ran probably about 50 yards through the attic area before the ceiling gave way and he fell about 12 feet through the tile ceiling to the ground.
The original design of the (Newfoundland & Labrador) building featured slate tiles adorning the intricate roof structure. However, the stone tiles became a problem when they began falling off during windy weather shortly after the building opened in 2010.At one point, a falling tile nearly struck a person attending the courthouse. The Department of Transportation and Works had to erect safety fencing around the entire perimeter and build wooden structures around the entrances to the building.
The department also asked the original roofing contractor, Allied Constructors, to determine if there had been a flaw in the initial design or in the installation of the roof. Government also threatened to take legal action against the contractor if it didn’t remediate the problem.In the meantime, action is being taken (in late July) to put fibreglass shingles that resemble the original slate tiles. The tender for that was issued this past spring and has been awarded to a different contractor, BDW Roofing based in Stephenville.
“So, you will have a similar effect (as slate tiles), but with a fibreglass shingle,” said Davis. “We know that’s what is widely used in many buildings and houses throughout Newfoundland and Labrador. They are sort of time-tested.”More importantly, Davis said completing this work will mean the unsightly safety fencing and polished tiles will finally be removed.“That’s the plan,” he said. “We hope to have it all done, completed and cleaned up this year and have it back to a finished condition like we hoped to have back in 2010.”
The Culver Archaeological Project (CAP), supported to the tune of ￡90,900 by the Heritage Lottery Fund, has also discovered a circular kiln, possibly for firing tiles, and a sunken tile-lined basin – which the team is struggling to find anything to compare it to in Britain.
The six-week dig at the Roman settlement began last month and smaller discoveries include glass beads, coins, lead weights, a stylus for writing on a wax tablet, a ceramic spindle whorl and a complete lower quern stone.Also brooch and glass vessel fragments, Samian pottery with a maker’s mark and hundreds of pieces of pottery and tile fragments from the Roman period.
CAP Deputy Archaeological Director David Millum said it appeared the urn could possibly very late Romano British or even post-Roman as it sat above the main Roman features – and was caught by the bucket of the mechanical digger when clearing away the topsoils.
2011年10月10日星期一
Stoke-on-Trent children to create 2012 'wonderwall'
Children in Stoke-on-Trent are being challenged to design their own ceramic tile - to become a permanent reminder of the London 2012 Olympics.
An Olympic themed "wonderwall" will be put together as a piece of art using the winning tiles.
Designs can be created using computer graphics, digital photography, line drawing and painting.
And the council wants every child in Stoke-on-Trent to think about what the Olympic Games means for them.
Images will be on show in a temporary exhibition to coincide with the 2012 Games before the creation of the permanent work.
The winning designs will be hand painted onto tiles by artists from Anita Harris Art Pottery.
The competition is open to all children, schools, colleges and youth organisations.
Tile designs must be on a piece of paper or card sized 30cm by 20cm and entries need to be returned by 9 December this year.
Cabinet member for children's services Debra Gratton said: "This is a wonderful opportunity for our young people to create something unique and everlasting for an event in this country which may never come again in our lifetime.
"I'm looking forward to seeing the winning entries and potentially unearthing some more untapped artistic talent."
The locations for the temporary exhibition in Stoke-on-Trent and Cheshire and the permanent piece of public art for the city have not been decided.
An Olympic themed "wonderwall" will be put together as a piece of art using the winning tiles.
Designs can be created using computer graphics, digital photography, line drawing and painting.
And the council wants every child in Stoke-on-Trent to think about what the Olympic Games means for them.
Images will be on show in a temporary exhibition to coincide with the 2012 Games before the creation of the permanent work.
The winning designs will be hand painted onto tiles by artists from Anita Harris Art Pottery.
The competition is open to all children, schools, colleges and youth organisations.
Tile designs must be on a piece of paper or card sized 30cm by 20cm and entries need to be returned by 9 December this year.
Cabinet member for children's services Debra Gratton said: "This is a wonderful opportunity for our young people to create something unique and everlasting for an event in this country which may never come again in our lifetime.
"I'm looking forward to seeing the winning entries and potentially unearthing some more untapped artistic talent."
The locations for the temporary exhibition in Stoke-on-Trent and Cheshire and the permanent piece of public art for the city have not been decided.
2011年6月26日星期日
Glastonbury Festival
Unlike the apocryphal Inuit vocabulary for snow, the English language does not have enough words to describe the many varieties of mud. Nowhere was this lack more in evidence than at Glastonbury.
Softened by wet weather in the weeks preceding the festival and host to rain on Friday, the Somerset site was churned into a quagmire by 177,000 pairs of boots. Connoisseurs of mud had a field day. There was sticky mud that felt like you were walking through molasses; slippy mud that felt like you were walking on ice; oozy mud that gathered in treacherous lakes; and stray mud that insinuated itself into your sleeping bag. It was, in short, a very muddy experience.
Please respect FT.com's ts&cs and copyright policy which allow you to: share links; copy content for personal use; & redistribute limited extracts. Email ftsales.support@ft.com to buy additional rights or use this link to reference the article - http://www.ft.com/cms/s/2/54aa47e0-a00b-11e0-a115-00144feabdc0.html#ixzz1QR5bz9SW
The wretched conditions called for an anthem-friendly rock band to make the wet huddled masses gaze heavenwards and think inspiring thoughts. By chance, Glastonbury had two on hand: U2, who headlined the Pyramid stage on Friday, and Coldplay, who followed on Saturday. (The final headliner was Beyoncé, who was due to close the festival last night, the first woman to headline Glastonbury in its 41-year history. A Financial Times review of her show will be published tomorrow.)
U2’s set was stripped-down and forthright, the work of a band with a point to prove. The Irish foursome had flown in especially from the US where they are on their “360 Degree” world tour. They were booked to play Glastonbury last year but had to pull out after Bono injured his back.
The singer’s vertebrae aren’t the only sign of frailty in the U2 behemoth. The album they’re working on has been pushed back to next year after initial recording sessions didn’t work out, and they’ve been under fire for moving part of their business affairs from Ireland to a lower tax jurisdiction in the Netherlands, leading tax-avoidance protesters to threaten to disrupt their performance.
The protest duly materialised with an inflatable balloon reading “U Pay Tax 2” appearing during the opening song, but it deflated after a violent intervention by security staff. The usually loquacious Bono made no allusion to the subject. “Have you come here to ask forgiveness?” he sang cryptically during “One”, rain splashing his sunglasses. Incandescent guitar playing from The Edge lit up the damp scene. Without the high-tech stagecraft of their usual shows the quartet were focused and hungry. But the heavy-handed suppression of the protesters left a sour taste. Glastonbury’s reputation as a haven for freethinking was dented.
Friday’s surprise was an unannounced show by Radiohead on a small stage in a far-flung part of the site, playing a low-key set drawing on their new album The King of Limbs. It was an ill-kept secret, however; the space was overwhelmed and many disconsolate festivalgoers were turned away.
The weather added to the downcast mood. Getting wet and cold sharpens one’s temper towards pop stars, with their comfortable dressing rooms. When Bobby Gillespie moaned, “C’mon Glastonbury, you can do better than that,” during Primal Scream’s underwhelming set you wished someone would unfurl a banner reading “So can you”.
Succour came from an unlikely quarter. Hardcore New York rappers The Wu Tang Clan are about as far from Glastonbury’s touchy-feely image as it’s possible to get without being arrested, but they strong-armed an initially lukewarm audience into submission with a belligerent hip-hop masterclass at the Pyramid stage, led by chief rapper Method Man, a mud-defying spectacle in box-fresh white trainers and white towelling robe.
The weather picked up on Saturday. The mud, however, remained. Jessie J performed sitting on a throne, lame with a broken foot. Both the singer’s chutzpah and her immobility summed up the festival, hobbled by the mudbath but making the best of it. A Stonehenge of discarded Wellington boots appeared in the dance area. Elsewhere some wag placed banana peel on an evil-looking slick of mud, cordoned it off and left a sign reading “Caution: slip hazard”.
When sunshine finally appeared on Saturday afternoon, the atmosphere was transformed. At the West Holts stage, one of Syria’s most popular singers, Omar Souleyman, performed a vibrant set mixing up-tempo dance beats with traditional Arab music. There was no mention of the unrest roiling his nation. Janelle Monáe played her quicksilver R&B as the sun set. The uplift in mood extended to the mercurial dub reggae pioneer Lee “Scratch” Perry: the 75-year-old was reluctant to leave the stage after his pulsating midnight show.
After nightfall, the Pyramid stage looked majestic. A light beamed into the night sky from the apex of the pyramid and flares were let off. It was an open goal for headliners Coldplay and they didn’t miss; but nor did they execute it very memorably. Chris Martin’s yearning falsetto pressed the right buttons but the sense of transcendence they engendered felt too formulaic, too easily won.
Mud-spattered festivalgoers deserved better – and they got it from Pulp, Saturday’s secret guests. Led by an irrepressible Jarvis Cocker, the reformed Britpop band played a well-judged mix of rarities and hits, climaxing with a stirring rendition of “Common People”. The audience sang each word with Cocker before streaming off into the night. It was the moment of renewal for which Glastonbury was crying out.
Softened by wet weather in the weeks preceding the festival and host to rain on Friday, the Somerset site was churned into a quagmire by 177,000 pairs of boots. Connoisseurs of mud had a field day. There was sticky mud that felt like you were walking through molasses; slippy mud that felt like you were walking on ice; oozy mud that gathered in treacherous lakes; and stray mud that insinuated itself into your sleeping bag. It was, in short, a very muddy experience.
Please respect FT.com's ts&cs and copyright policy which allow you to: share links; copy content for personal use; & redistribute limited extracts. Email ftsales.support@ft.com to buy additional rights or use this link to reference the article - http://www.ft.com/cms/s/2/54aa47e0-a00b-11e0-a115-00144feabdc0.html#ixzz1QR5bz9SW
The wretched conditions called for an anthem-friendly rock band to make the wet huddled masses gaze heavenwards and think inspiring thoughts. By chance, Glastonbury had two on hand: U2, who headlined the Pyramid stage on Friday, and Coldplay, who followed on Saturday. (The final headliner was Beyoncé, who was due to close the festival last night, the first woman to headline Glastonbury in its 41-year history. A Financial Times review of her show will be published tomorrow.)
U2’s set was stripped-down and forthright, the work of a band with a point to prove. The Irish foursome had flown in especially from the US where they are on their “360 Degree” world tour. They were booked to play Glastonbury last year but had to pull out after Bono injured his back.
The singer’s vertebrae aren’t the only sign of frailty in the U2 behemoth. The album they’re working on has been pushed back to next year after initial recording sessions didn’t work out, and they’ve been under fire for moving part of their business affairs from Ireland to a lower tax jurisdiction in the Netherlands, leading tax-avoidance protesters to threaten to disrupt their performance.
The protest duly materialised with an inflatable balloon reading “U Pay Tax 2” appearing during the opening song, but it deflated after a violent intervention by security staff. The usually loquacious Bono made no allusion to the subject. “Have you come here to ask forgiveness?” he sang cryptically during “One”, rain splashing his sunglasses. Incandescent guitar playing from The Edge lit up the damp scene. Without the high-tech stagecraft of their usual shows the quartet were focused and hungry. But the heavy-handed suppression of the protesters left a sour taste. Glastonbury’s reputation as a haven for freethinking was dented.
Friday’s surprise was an unannounced show by Radiohead on a small stage in a far-flung part of the site, playing a low-key set drawing on their new album The King of Limbs. It was an ill-kept secret, however; the space was overwhelmed and many disconsolate festivalgoers were turned away.
The weather added to the downcast mood. Getting wet and cold sharpens one’s temper towards pop stars, with their comfortable dressing rooms. When Bobby Gillespie moaned, “C’mon Glastonbury, you can do better than that,” during Primal Scream’s underwhelming set you wished someone would unfurl a banner reading “So can you”.
Succour came from an unlikely quarter. Hardcore New York rappers The Wu Tang Clan are about as far from Glastonbury’s touchy-feely image as it’s possible to get without being arrested, but they strong-armed an initially lukewarm audience into submission with a belligerent hip-hop masterclass at the Pyramid stage, led by chief rapper Method Man, a mud-defying spectacle in box-fresh white trainers and white towelling robe.
The weather picked up on Saturday. The mud, however, remained. Jessie J performed sitting on a throne, lame with a broken foot. Both the singer’s chutzpah and her immobility summed up the festival, hobbled by the mudbath but making the best of it. A Stonehenge of discarded Wellington boots appeared in the dance area. Elsewhere some wag placed banana peel on an evil-looking slick of mud, cordoned it off and left a sign reading “Caution: slip hazard”.
When sunshine finally appeared on Saturday afternoon, the atmosphere was transformed. At the West Holts stage, one of Syria’s most popular singers, Omar Souleyman, performed a vibrant set mixing up-tempo dance beats with traditional Arab music. There was no mention of the unrest roiling his nation. Janelle Monáe played her quicksilver R&B as the sun set. The uplift in mood extended to the mercurial dub reggae pioneer Lee “Scratch” Perry: the 75-year-old was reluctant to leave the stage after his pulsating midnight show.
After nightfall, the Pyramid stage looked majestic. A light beamed into the night sky from the apex of the pyramid and flares were let off. It was an open goal for headliners Coldplay and they didn’t miss; but nor did they execute it very memorably. Chris Martin’s yearning falsetto pressed the right buttons but the sense of transcendence they engendered felt too formulaic, too easily won.
Mud-spattered festivalgoers deserved better – and they got it from Pulp, Saturday’s secret guests. Led by an irrepressible Jarvis Cocker, the reformed Britpop band played a well-judged mix of rarities and hits, climaxing with a stirring rendition of “Common People”. The audience sang each word with Cocker before streaming off into the night. It was the moment of renewal for which Glastonbury was crying out.
2011年6月22日星期三
Bulls and Bears on the Trenches - Quicksilver Resources
Shares of Quicksilver Resources Inc. (NYSE:KWK) closed the trading day higher by $0.06 or 0.4% from its previous close. Quicksilver's shares price action formed what is considered to be a doji close, where the open and close prices are very close to each other, mainly signaling an indecision between buyers and sellers.
Quicksilver Resources Inc. (NYSE:KWK) is an exploration and production company engaged in the development and production of long-lived natural gas and oil properties onshore North America. Based in Fort Worth, Texas, the company is widely recognized as a leader in the development and production of natural gas from unconventional reservoirs including shale gas, coal bed methane and tight gas sands.
Quicksilver's current stock range is defined by a trough, which marks calculated support at $14.46 and by a peak that marked the resistance point at $15.29. These levels are closely watched by traders managing their positions.
Traders wanting to establish a position in Quicksilver Resources or traders that are already holding the stock can use the doji close to their advantage, since the pattern present a short term pause in the stock's price action. This pause results in an entry point for traders depending of which way the stock resolves this short term indecision.
Doji are important candlesticks that provide information on their own and as components in a number of important patterns. Doji form when a security's open and close are virtually equal. The length of the upper and lower shadows can vary and the resulting candlestick looks like a cross, inverted cross or plus sign. Alone, doji are neutral patterns.
Any bullish or bearish bias is based on preceding price action and future confirmation. In the case of Quicksilver Resources, given that the stock finished the session higher, bulls should monitor their positions for confirmation that stock will continue higher by taking today's intraday high.
Quicksilver Resources Inc. (NYSE:KWK) is an exploration and production company engaged in the development and production of long-lived natural gas and oil properties onshore North America. Based in Fort Worth, Texas, the company is widely recognized as a leader in the development and production of natural gas from unconventional reservoirs including shale gas, coal bed methane and tight gas sands.
Quicksilver's current stock range is defined by a trough, which marks calculated support at $14.46 and by a peak that marked the resistance point at $15.29. These levels are closely watched by traders managing their positions.
Traders wanting to establish a position in Quicksilver Resources or traders that are already holding the stock can use the doji close to their advantage, since the pattern present a short term pause in the stock's price action. This pause results in an entry point for traders depending of which way the stock resolves this short term indecision.
Doji are important candlesticks that provide information on their own and as components in a number of important patterns. Doji form when a security's open and close are virtually equal. The length of the upper and lower shadows can vary and the resulting candlestick looks like a cross, inverted cross or plus sign. Alone, doji are neutral patterns.
Any bullish or bearish bias is based on preceding price action and future confirmation. In the case of Quicksilver Resources, given that the stock finished the session higher, bulls should monitor their positions for confirmation that stock will continue higher by taking today's intraday high.
2011年6月8日星期三
Royal Danish Ballet’s ‘A Folk Tale’ has the human touch
“A Folk Tale,” which the Royal Danish Ballet performed Tuesday night at the Kennedy Center Opera House, is exactly that: a story of the folk, of ordinary people in extraordinary circumstances. It is a sophisticated, shadowy garden-party ballet, rather like Hans Christian Andersen meets “A Midsummer Night’s Dream” with a little disquieting Ibsen thrown in. Dance-wise, this is not an evening that delivers flashy pyrotechnics. Rather, one of its chief charms is the subtle way that movement and body language are used to distinguish one type of folk from another.
But we’re not talking only about people in this ballet, which springs from the 1854 original by Danish choreographer August Bournonville but was reworked earlier this year by Artistic Director Nikolaj Hubbe and his associate, Sorella Englund. Half the cast members are fantasy creatures; some of the key characters are trolls. One troll, Birthe, thinks she’s human — as a result of a baby mix-up, she’s been raised in a wealthy landowning family, and at first her ungainliness and beastly temper (she likes to whip servants with her riding crop) seem merely the antics of a grown-up spoiled brat. We learn later that her behavior is the key to her true origins.
Then there’s a human, Hilda, who lives among the trolls (she, too, was part of the mistaken baby swap) and is presumed to be part of their world, though she’s gentle and willowy and moves with a kind of floating grace that no underground creature possesses.
The rest of this story of mistaken identities, greed and the power of true love is complicated. But I’d wager you can follow most of it even without the program notes (though I recommend reading them), because the tale is so well told in the body. The characters are put over with vivid conviction by dancers who seem to have absorbed acting ability through every pore. This is the great and lasting achievement of the Danish ballet tradition.
Not every one of these dancers is a beneficiary of the famed Danish schooling in dramatic projection — for instance, Alba Nadal, whose Birthe is imperious with a colorful dose of mania, is from Spain — so credit is also due Hubbe, the former New York City Ballet star, for sharpening the collective talents. As Hilda, Susanne Grinder is as different from the trolls as the sun is from storms. She is not the strongest technician I’ve ever seen and, in fact, was rather wobbly in spots on Tuesday. But her expressive powers are a delight, and she never forgets who she is onstage. You see this in how elegantly she carries herself, the expansive sweep of her arms, even in how she inclines her neck a little to show a shade of hopelessness in Act 2, after she learns she must marry one of the hairy little trolls.
Grace, such as Grinder demonstrates, is the defining mark of humanity here. Hubbe has secularized the ballet — Bournonville’s original contained Christian references, entwining religious grace with physical grace. But the spiritual message is largely the same. Love, kindness, consideration for others — these traits set the virtuous apart, and so it is that Hilda eventually marries her true intended, Junker Ove, danced as a sensitive, quiet lad by Marcin Kupinski. The nicest guy finishes first here.
That is, unless he’s a troll. Sweet little Viderik, performed Tuesday by the compelling character dancer Lis Jeppesen, is in love with Hilda, but there is no place for him in her happily-ever-after. The look on his rubbery face — and especially the stoop to his furry, misshapen body — is utterly wrenching as he watches the happy nuptials at the end. Prepare yourself.
Poignant as it is, this is not a ballet of high physical drive. The Bournonville style is understated, though the flashes of quicksilver footwork and light, airy jumps in “A Folk Tale” are splendid. Hubbe, who took over in 2008, has said refining the company’s technique is a priority. This production shows us that ballet is a theatrical art, not just an athletic one.
In this unhurried work of subtlety, Mia Stensgaard’s sets and costumes are the most emphatic element and wonderfully so. Her lacy laser-cut designs create intriguing patterns of shadows and light and take us into a world of Victorian pop-up cards with a 21st-century edge. Here, the human realm is not so different from the hidden fairy burrows; one unfolds to reveal the other, challenging our perceptions of both and plunging us into the unsettling origins of folk tales as a way to explain the unexplainable.
But we’re not talking only about people in this ballet, which springs from the 1854 original by Danish choreographer August Bournonville but was reworked earlier this year by Artistic Director Nikolaj Hubbe and his associate, Sorella Englund. Half the cast members are fantasy creatures; some of the key characters are trolls. One troll, Birthe, thinks she’s human — as a result of a baby mix-up, she’s been raised in a wealthy landowning family, and at first her ungainliness and beastly temper (she likes to whip servants with her riding crop) seem merely the antics of a grown-up spoiled brat. We learn later that her behavior is the key to her true origins.
Then there’s a human, Hilda, who lives among the trolls (she, too, was part of the mistaken baby swap) and is presumed to be part of their world, though she’s gentle and willowy and moves with a kind of floating grace that no underground creature possesses.
The rest of this story of mistaken identities, greed and the power of true love is complicated. But I’d wager you can follow most of it even without the program notes (though I recommend reading them), because the tale is so well told in the body. The characters are put over with vivid conviction by dancers who seem to have absorbed acting ability through every pore. This is the great and lasting achievement of the Danish ballet tradition.
Not every one of these dancers is a beneficiary of the famed Danish schooling in dramatic projection — for instance, Alba Nadal, whose Birthe is imperious with a colorful dose of mania, is from Spain — so credit is also due Hubbe, the former New York City Ballet star, for sharpening the collective talents. As Hilda, Susanne Grinder is as different from the trolls as the sun is from storms. She is not the strongest technician I’ve ever seen and, in fact, was rather wobbly in spots on Tuesday. But her expressive powers are a delight, and she never forgets who she is onstage. You see this in how elegantly she carries herself, the expansive sweep of her arms, even in how she inclines her neck a little to show a shade of hopelessness in Act 2, after she learns she must marry one of the hairy little trolls.
Grace, such as Grinder demonstrates, is the defining mark of humanity here. Hubbe has secularized the ballet — Bournonville’s original contained Christian references, entwining religious grace with physical grace. But the spiritual message is largely the same. Love, kindness, consideration for others — these traits set the virtuous apart, and so it is that Hilda eventually marries her true intended, Junker Ove, danced as a sensitive, quiet lad by Marcin Kupinski. The nicest guy finishes first here.
That is, unless he’s a troll. Sweet little Viderik, performed Tuesday by the compelling character dancer Lis Jeppesen, is in love with Hilda, but there is no place for him in her happily-ever-after. The look on his rubbery face — and especially the stoop to his furry, misshapen body — is utterly wrenching as he watches the happy nuptials at the end. Prepare yourself.
Poignant as it is, this is not a ballet of high physical drive. The Bournonville style is understated, though the flashes of quicksilver footwork and light, airy jumps in “A Folk Tale” are splendid. Hubbe, who took over in 2008, has said refining the company’s technique is a priority. This production shows us that ballet is a theatrical art, not just an athletic one.
In this unhurried work of subtlety, Mia Stensgaard’s sets and costumes are the most emphatic element and wonderfully so. Her lacy laser-cut designs create intriguing patterns of shadows and light and take us into a world of Victorian pop-up cards with a 21st-century edge. Here, the human realm is not so different from the hidden fairy burrows; one unfolds to reveal the other, challenging our perceptions of both and plunging us into the unsettling origins of folk tales as a way to explain the unexplainable.
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