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Future repertoire


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#16 Treefrog

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Posted 02 October 2004 - 03:20 PM

What luck! There's a gamelan at the University of Chicago!

Thanks to all, and especially to sandik for providing a good synopsis of the context.

#17 Treefrog

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Posted 10 October 2004 - 07:13 PM

Looks as though I'm not the only one wondering about the Joffrey's future. Sid Smith in the Chicago Tribune writes about the Joffrey after Arpino.

. . . rumors have been circulating in the dance community that there is a move on the part of his board of directors to oust Arpino in the near future.

Arpino and the troupe's response is unequivocal: The Joffrey Ballet here has the rights to all Arpino and Joffrey ballets "in perpetuity," and there is no move to retire Arpino, who, in fact, has a contract through 2007 and plans to be on hand for the troupe's 50th anniversary celebration, beginning in 2006. . .

And there is a plan for succession, strengthened by key promotions last summer, which the company says may be the source of the current rumors. . .

As for the succession plans here, last summer the company promoted two longtime ballet masters (and former dancers), Adam Sklute and Cameron Basden, to the newly created positions of assistant artistic directors. Still in place and crucial to the organization's future are two additional ballet masters, Mark Goldweber and Charthel Arthur. The four embody the notion of almost venerable continuity. All four worked under Joffrey himself, before his 1988 death, and three of them -- Sklute, Basden and Goldweber -- began as young dancers with the Joffrey II, the troupe's apprentice company.



#18 Jack Reed

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Posted 12 October 2004 - 12:41 PM

Leigh, thanks. On reflection while reading your post, I realized the that the Cotillon I wanted and hoped for this time around is one a ballet master has breathed life into, one I probably can't have.

I hadn't remembered that what I saw in 1990 was a Hodson-Archer prodution (Read your program, Jack!) and blamed the cast rather than their preparation for the fizzled "Hand of Fate" pas de deux and the remoteness (rather than presence) of much of the rest, more lively though that seemed than the H-A Sacre. (Liveliness related, perhaps to the recognisability of Balanchine's steps? And as he would say, did say, "Steps? Steps are what?" We have here a case in point, I think.)

So maybe it's best forgotten, if in sorrow...

#19 Leigh Witchel

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Posted 13 October 2004 - 10:09 AM

Or maybe waiting to be reawoken :wink: I just feel that revivals need to be approached with scholarly responsibility, but as a theatrical event. Otherwise everyone chalks it up to "historical interest" and the ballet is as dead as ever because nobody made a case for its revival.

#20 Jack Reed

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Posted 13 October 2004 - 11:03 AM

Or maybe waiting to be reawoken


What an inspiring metaphor and a fascinating concept! But how? As the years roll by, doesn't the possibility of this reawakening eventually disappear for one ballet after another? Doesn't the project we're discussing mean that time is up for Cotillon already, for example?

#21 Leigh Witchel

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Posted 13 October 2004 - 11:37 AM

Again, call me a cock-eyed optimist, but I believe in both ballet and ballerina parthenogenesis. It's happened with earlier revivals of the Bournonville works (the chain was never utterly broken though) and in the same way, every now and again a dancer comes along way after a choreographer's death who dances like s/he knew the choreographer personally.


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