Posted 29 September 2004 - 10:15 AM
My knowledge is so limited that I stumbled on this one, although some Robbins did occur to me. What comes to the minds of others, who both know what is out there and what the Joffrey's style is?
And, while we're at it, what do you project for the Joffrey's future when Gerald Arpino leaves the helm? (DISCLAIMER: I'm not intending to suggest that he is planning to anytime soon.)
Posted 29 September 2004 - 10:22 AM
Posted 29 September 2004 - 06:11 PM
Posted 29 September 2004 - 06:39 PM
Posted 30 September 2004 - 02:01 PM
Posted 30 September 2004 - 03:04 PM
And the performance itself, even with Tina LeBlanc as the lead, didn't have a voice. It was like being in a mausoleum, rather than seeing a live work - but I've felt that way about other Hodson-Archer reconstructions. They may be scholars, but these works need ballet masters to live.
Posted 30 September 2004 - 03:20 PM
And I'd really like to see them come back to Seattle!
Posted 30 September 2004 - 06:37 PM
Posted 01 October 2004 - 03:16 PM
Posted 01 October 2004 - 03:41 PM
Well, at the very beginning they were the company that toured in a station wagon. Cunningham was the minibus.
This raises a question about which I've wondered for a while. Does the current Joffrey resemble the old Joffrey in style, choreography, repertoire? I keep hearing about eclecticism and youth and upstartness. They don't seem much younger to me than other companies (who all seem to hire 16-20 year olds). Is there a vibe that I'm missing? And, if it is still there, is (was) it philosophical or a virtue born of economic necessity? They surely aren't the company that toured around in a minibus or whatever. What are they?
But anecdotes aside, this is an excellent question. For many years, the Joffrey held a particular position, both on its own and in relationship to other NY ballet companies. NYCB was Balanchine, ABT was a mix of classical and American works with a procession of guest artists, the Feld company was, well, the Feld company, and Joffrey was all the other stuff. Robert Joffrey took the Ballet Russe as a model, in several different ways, trying to act as a conservator of that material and looking for innovation in choreography. He was committed to variety in the repertory, including a mix of old and new, but it's hard to know how he might apply that aesthetic today, when other companies have taken on so many of those characteristics.
In the past, they actively collected works from new ballet choreographers, works from the historic rep that were out of favor with other groups, works from artists outside of ballet. I think, if you were to apply those criteria to repertory building today, you'd be looking again to the Ballet Russe rep (especially the Massine and Nijinska works), to people like Kylian and Forsythe (who's a Joffrey alum) and to people like Trisha Brown or Stephen Petronio (work that can have a strong "dancey" base but has a distinct non-ballet style). But unlike times past, these choices would not necessarily make the company unique -- these are programming strategies that served the Joffrey well enough that they have been adopted by several other groups.
Posted 01 October 2004 - 03:44 PM
Actually, I think they might be a good candidate for some Bejart -- maybe some of the earlier, more dance-specific work.
Perhaps I should have added that I didn't want to see ABT or NYCB do Bejart or Eifmann, but with Joffrey's old affinity for pop(?), it might be a possible fit? ... Are there any Cuban choreographers whose work Joffrey should feature? For a while there, it seemed like Joffrey was a home for Cubans.
And the Alonso "Carmen" might be an interesting fit as well.
Posted 01 October 2004 - 06:47 PM
Posted 01 October 2004 - 07:58 PM
And back to the source, why not revive "Remembrances" and "Gamelan"?
Did Gamelan use a live gamelan?
Posted 01 October 2004 - 08:03 PM
(OK, I checked: It was his Suite for Violin, Piano, and Small Orchestra, which incorporated a few Harry Partch-like instruments and effects.)
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