Amy Reusch

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About Amy Reusch

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    Platinum Circle

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    balletomane, videographer, formerly serious now recreational student
  • City**
    Connecticut, USA
  1. I was only able to get for a bit of Friday... The room was packed,more people than chairs... And afraid I did not take notes... Here are some random memories/thoughts... One thing I wondered was perhaps addressed during sessions I missed: under Stalin, it could be fatal to have Western connections... The exchanges started in the neighborhood of three years after Stalin's death... Was there a reluctance to be associated with a venture like this? Perhaps the new regime might also turn against those with Western connections? The bribes that were required in the USSR to get the exchanges to happen... Were some of these also to smooth over that reluctance? A theme seemed to be that the exchanges had much more impact on dance on the Western side of the Iron Curtain than on the Eastern side. But I am not sure I entirely agree... Sylvie Guillem, perhaps too late to be considered Cold War, but I believe she influenced the look of Russian dancers today... Their extreme flexibility... and the popularity of In the middle somewhat elevated.. There was some talk of the cultural exchange in Cuba and how the Cubans were resisant feeling they had their own distinct technique not requiring Russian patronizing... But there was no discussion of the details of this technique. I find it interesting because it often seems to me that the Cuban dancers more resemble the old soviet dancers than their Russian counterparts do. Ulanova was surprisingly old when she finally got to dance in the US? I didn't realize how long it took Hurok to bring The Bolshoi to the US. And the world nearly got DeNiro playing Hurok in a biopic. Russian Dancers were expected to bring back "thank you" gifts for those bureaucrats who got them in the tour... But they had very little money with which to purchase these gifts. It was not quite explained how they managed on their piitance of a per diem to purchase the gifts. I wondered why Merce Cunningham was not included... It seems he was not considered a gifted public speaker... But John Cage would have done this well for him, no? And on the Modern Art front the US State Dept was covertly funding abstract painting from the avant garde, why was dance exported more conservative? There was also talk of Ailey, Dunham & Primus in Africa. In some countries the local tribes distrusted Primus, thinking she was there to steal their dances, in others the colonial overlords feared she was fanning patriotic flames. I wanted to ask if dances were handed down as legacy in Africa as they are in some Native American tribes but time was limited and the room was packed with noted critics, authors & scholars, so.. not sure if questions from general public would have been welcomed.
  2. The index link has sadly gone inert... Found this nice thread when a friend posted a link to a video of that charming solo Ashton choreographed for Fonteyn at 60. So, that dance they do together before Ashton leads her offstage, is that the Fred Step? would be a fun game some August (or Nutcracker seige) to see how many quotes we can find in the piece. I think I see Ondine, maybe Firebird and surely Juliet?, but do not know the Fonteyn repetoire well enough to see more.
  3. Does she think they pay for bad reviews too?
  4. There seem to be fewer students than I would have imagined... and I'm surprised by the mukluks...
  5. Oddly, all the subject heading are shown lined up vertically as if in a column only one character wide... Until I click in far enough to read all the comments, then they suddenly align in a normal horizontal layout. It is a little hard to read. Not sure if this is because I am reading on an old iPad or what.
  6. Thank you, Mussel!!! Mearns is a revelation every time I see her dance... always every movement seems to motivate from deep within... so subtle and yet such a difference!
  7. There is a freedom in portraying the magical, come to think of it...
  8. The definition of "key employee", linked to above, states "Officers, directors and trustees are not considered key employees." Is Artistic Director not a director as defined by the IRS? Tax law details are such an arcane field!
  9. I agree with Sandik, it sounds like the trailer to Wim Wenders' Pina Bausch film.
  10. It worked for Rite of Spring, at least publicity wise.
  11. This is one of those things where we need a "like" button! I wonder what the cost was. I wish there were programs like this all over the world.
  12. If the move is beautiful, perhaps the skirt should be made opaque... Balanchine liked extensions but not used indiscriminately. I can't remember any pictures of oversplits in his dancers when he was alive...
  13. It would help a lot if this could be the new model... artistic integrity upheld but artist allowed to give financial benefit to whomever seems right.
  14. I was surprised to discover a few years ago there was a distinct PA Ballet style, but indeed there is. I would have had to sit and analyse it quite a bit to describe it, as it was subtle, but the company that performed in the videos on it's anniversary this side of the millenium looked surprisingly like the company of twenty years ago... and was distinguishable by that style from Boston Ballet and PNB even though there were a lot of reasons for these companies to resemble each other... perhaps it was the influence of constistent ballet masters & repiteurs, but it was there. While it is lovely with the global village that so much talent moves around the world..., I for one, am sorry to see the homogenizing effect the global village has had on companies that used to have such distinct flavors. Sure, the major companies still look different, but I would venture that they are a lot less different than they were thirty years ago. The repertories are becoming increasingly similar as well. Something is being lost here.