Staging a ballet?
Posted 26 May 2003 - 05:45 AM
Posted 26 May 2003 - 06:00 AM
The 19th century is fair game, which is why there are a thousand "Swan Lakes" and "Coppelias." Even without a trust controlling it, choreographers will leave their works to someone. I don't think there's a MacMillan trust yet, but his widow controls the rights to his work; just try staging "Mayerling"
I think if you wanted to stage a Massine ballet, you'd have to find out who had the rights -- I believe his son, Lorca, is still alive, and go to him and ask him to come stage it, or suggest someone. And of course, the Trusts are a more formal situation.
You will see, at very small companies, ballets that look suspiciously familiar, with a different name. I once saw "Tchaikovsky Pas De Deux" (Balanchine) called "Romantic Duet." This isn't legal, of course, but it's done.
Bournonville isn't under trust -- no one owns his ballets. (He's always the exception.) One of the reason the company has been reluctant to release videos is they fear people will stage the ballets from the videos.
Anyone have examples of stagings of something other than Petipa, Fokine, Tudor, Ashton, Balanchine?
Posted 26 May 2003 - 04:36 PM
Posted 26 May 2003 - 05:05 PM
Posted 26 May 2003 - 07:10 PM
I'm sure it must be incredibly frustrating for people who either do know, or believe they know, how a ballet should appropriately be staged to watch it performed otherwise.
Posted 26 May 2003 - 07:50 PM
I think there are quite strong claims on the other side of this story.
Posted 26 May 2003 - 07:57 PM
I've never read anything to contradict the notion claim that Fokine made changes, often major changes, in his ballets every time he set them.
One of the problems the Fokine situation illustrates is that a choreographer can will his ballets to a trusted relative or associate, even designate who will stage them, but when those people die, they will choose their own heirs. It happens in other fields as well. The first generation may treasure their grandfather's books, say; the second may mean well, but not have the time or the inclination to care for the heritage properly; the third generation wants a new car and sells the whole kit and kaboodle to Mattel.
I don't get Ovation either, and am now very, very sorry!
(Robert Greskovic did an interview with Isabelle Fokine several years ago for DanceView that touched on some of these issues. It's another thing on my long list of "things to put up on the site some day....")
Posted 26 May 2003 - 08:09 PM
Hard to imagine anyone being very charitable in those circumstances. And there were probably plenty of scenes on film in which the company did not jeer at Ms. Folkine.
That could be a significant portion of the audience at performances of many works by many companies.
Posted 27 May 2003 - 02:43 AM
Posted 27 May 2003 - 10:55 AM
This all took place prior to a Kirov season in London some years ago and I seem to remember that Lopatkina agreed to give one performance of the "Isabelle" version, and then went back to the one she knew. The other ballerinas refused outright.
Posted 27 May 2003 - 02:22 PM
Posted 27 May 2003 - 02:50 PM
I know she tried to copyright some of these works but I'm not sure which ones or if the term is expired.
Posted 27 May 2003 - 05:05 PM
As this thread has gone off on the Fokine tangent... is Christine Fokine related to THE Fokine? My daughter's current school - Ballet Academy East was originally Christine Fokine's school on the upper East side and I'm just wondering if there is a connection?
Three years ago when I attended the YAGP at Fordham, I was introduced to a Madame Fokine and I knew it was a name that should strike the proverbial chord but wasn't quite sure if how she was related. At the time, I would hazard a guess that she was in her late 70's or more...very petite, too.
Posted 27 May 2003 - 05:34 PM
1. that program is fascinating viewing. and alexandra - you would love it. it's "MUST NOT MISS" for anyone interested in these issues. beg, borrow or steal, alexandra - but SEE THAT program.
2. i have that book you speak of, mel. it has LOTS of photos, posed by vera fokina, a looooong set of freeze-frame poses, intended to be replicated in such a way as to recreate the dance. the book itself is iINCREDIBLY comprehensive as to how fokine wanted the dance done. he wrote it himself. it goes into choreography, lighting, set, costime, music - the whole shebang. poses are tied to notes in the music by a precise numbering system. i love it!
3. choreographic copyright extends for 50 years beyond the death of the creator. presumably the heirs can only control things, legally, for that period.
doesn't anyone else remember talking about this?? :confused:
Posted 27 May 2003 - 05:41 PM
My point in initially starting this thread on Discovering Ballet was to engender conversation about what it involves to stage a ballet...and the "requirements" of doing this...if any.
The tangent it's gone off on is fine...but just had to throw this in so you wouldn't think all of us had early onset dementia! ;)
Let the conversation continue.
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