Stage Right

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About Stage Right

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    Senior Member

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    Ballet Teacher, Former Dancer, Ballet Lover
  • City**
    Ithaca
  • State (US only)**, Country (Outside US only)**
    NY
  1. I saw La Valse once many years ago.....I was probably in my mid-teens, and on a trip to NYC with my mother. I remember loving it; there seemed to be a darkness to its beauty that appealed to me at that age (and might still, who knows). I wish I could say something more definitive about it, but I was young, drinking in whatever I saw of ballet, without much ability to discriminate or analyze. Just remember that I loved it and it stayed in my mind. I think Mimi Paul was one of the leads.
  2. I really wanted to like this movie too. But......I could barely make it through the first half hour. A fun premise for the opening, the freeway and the traffic jam and dancers, but it went on way too long with very predictable dancing. Also, I guess I'm old-fashioned (sure of it, in fact :), but the editing was so fast and vertiginous that I couldn't really enjoy much of anything I saw. The plot in the first half hour was not well-established. I lost interest and left.
  3. Ditto to Sandik's list--my college students also used many of these texts. For something visual, if you can find a copy, I HIGHLY recommend "Ballet Russes" DVD, on such places as netflix.
  4. I agree--it doesn't look like Fonteyn at all to me.
  5. The Sleeping Beauty (first ballet I ever saw, age 4) The Nutcracker (from dancing in it) Les Patineurs (same) Swan Lake Les Sylphides
  6. I'd love to see this but can't open the link??
  7. That is a fascinating article. it is a great credit to the dancers and teachers in Iran that they manage to persist under those conditions.
  8. I think the major problem is that they see fit to eliminate words pertaining to the natural world we all live in, and substitute words given to us by the commercial world of digital technology--talk about creepy!
  9. That's an interesting thought. To me it almost seems that that point of view (McGregor's) is endorsing the split between mind/emotions and body. Which is a point of view that modern dance training has traditionally opposed! So perhaps as an audience we're expected to just look at the body, the physique, and divorce that from our minds and our feelings, and the dancers do the same?? That doesn't appeal to me at all, and I think it's a flawed premise.
  10. I'm sad to hear this, as I, too, have many wonderful memories of The Ballet Shop and its owner (I'm not sure I even knew his name back then, although I can picture him in my mind's eye). I loved that place! May he rest in peace.
  11. Does anyone know if these are showing in the US?
  12. Thanks so much for posting this. I don't know if the problem is on my end or yours, but when i tried to listen to this, I got about 30 seconds into it, and it stopped, and a notice popped up saying "plug-in failure". Not a notice I've seen before, so not even sure what it refers to. Would love to listen to the whole thing, Erik Bruhn being one of my favorite male dancers.
  13. kfw, thanks for those video links--lovely dancers, very nice to see.
  14. I think Amy hit on an important point....that there can (and should) be a range of dynamics for grand jetes (as in other steps), depending on the style of the ballet in question, the expressive use of the grand jete (if any), and other considerations. I think it's a problem when a certain technique gets overvalued and popularized. Other examples of this tendency are six o'clock (and beyond) penchee arabesques, developpes a la seconde that go up to the ear, even many multiple pirouettes. If the focus is on obtaining the currently valued super-technique (as in this case, split-jump grand jetes), rather than the stylistic and expressive context of the larger dance, then yes, something has definitely been lost, and completely misunderstood as well.