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About sandik

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  1. It is indeed an excellent book -- I used it in dance history classes frequently. Jowitt is so good at giving you the sense of what it was like at the time.
  2. (I'm late to the party on this thread, and so I'm just going to reply to several posts in one go.) I've never seen the Neumeier, but this collection of music sounds very interesting. I've been very intrigued by the video of Alexander Eckman's version of the ballet -- it's set on the Joffrey now, and I'm scheming to see it. And about keeping track -- I stage managed a production in college, and so I always see those faces in front of me when I hear the text! I've wondered the same thing about Oberon. Sometimes it seems to me that the dancers give everything more emphasis on the repeat, like an argument that is stalled at the same thing, but I think I'm reading in. And when I see the Cavalier, I think Benno. I didn't know this -- how fascinating! I'm not sure I'd make that bargain altogether, but it is one of the loveliest things I know.
  3. This sounds spectacular -- perhaps I can sneak away from local things next time and come down there!
  4. I'm not sure that Acocella thinks of that repertory as "corny" either, but Brown and her colleagues had had enough of its heroics. "Yvonne Rainer, David Gordon, Douglas Dunn, Lucinda Childs, Steve Paxton, Deborah Hay, Simone Forti, most of them belonging to the so-called Judson Dance Theatre or the improvisational collective known as Grand Union, or both—fought their way free from what they saw as the corny exaltations of classic modern dance and began making the wry, dry, and often conceptual dance that came to be known as postmodern." Rainer's "No Manifesto" was a clear statement of their attitudes back then "no to moving, or being moved."
  5. That's a tall Oberon!
  6. Saw the Bolshoi in Cinema broadcast last weekend, which closed with Etudes -- such a technical tour de force all around.
  7. What she said -- Copeland was both sincere and poised, which is a hard combination. One of the audience questions touched on the Under Armor situation -- Copeland said that she had faith in the people she knew in the organization and that she was still happy to represent them.
  8. Well fiddlesticks -- that's a car ride.
  9. Adding to the complexity of the situation. Hoping that they take this step to clarify what they want from the company.
  10. I'm so glad to see Jakobson's work getting some stage-time -- for ages all we knew were rumors. He did indeed work in a different style and direction than his contemporaries in the West -- it's fascinating to see the possibilities that he felt were in the art form.
  11. That seems to be true all over, which just helps bolster my contention to my family that writing consistently over a period of time (like many newspaper columnists) is a harder job than it might seem at first.
  12. That certainly does seem to be the current solution, doesn't it?
  13. I loved the final comment (about the rather haphazard cultural references in the Hartford Ballet production designs, touching on Native American elements) "Which might have made it 'American' in a way not at all intended."
  14. With lovely flamingos in the header!