Posted 21 June 1999 - 04:11 PM
Welcome, Alymer. It's especially nice to have someone else who's sensitive to style differences!
I can't add anything to your post except to second it. It's partly that gossip sells but it's also partly, I think, that in our information age, when it's possible to gather every piece of information, it's difficult to know what to use. Some people, of course, don't find that a problem and tell, or write, everything they know. And some people are afraid they'll be found not to have been thorough enough. Kavanagh may well have been in the latter group. She may have wanted to be conscientious. I also think that the book might be short on the artistic side because David Vaughan's critical biography is so complete it would be hard to better it. None of this makes me either like or admire the book any better, but it does make me understand it.
I asked around about the allegations that Ashton orchestrated an anti-MacMillan feeling in New York and couldn't find any substantiation of it among the New Yorkers I talked to who were there at the time. For one thing, Ashton didn't socialize with the NY critics, I'm told. For another, as some of the people I talked to said, "What anti-MacMillan faction?" (There were several New York critics who backed MacMillan for a long time as the best young classical choreographer, while, at the same time, being worried about why the Royal Ballet was beginning to look a bit different.)
Posted 22 June 1999 - 12:38 PM
Posted 23 June 1999 - 12:52 AM
My complaint is the "quality" of writing - which for me doesn't "flow" or keep my interest. I love to read and do so voraciously - But this one book is taking forever - more of a chore than an enjoyment... hmmmm...
[This message has been edited by Lugo (edited June 23, 1999).]
Posted 23 June 1999 - 09:17 AM
Posted 24 June 1999 - 09:16 PM
Posted 28 June 1999 - 09:52 PM
[This message has been edited by Nanatchka (edited June 29, 1999).]
Posted 28 June 1999 - 11:19 PM
Posted 29 June 1999 - 09:37 AM
Jane (also English)
Posted 29 June 1999 - 08:48 PM
Posted 30 June 1999 - 12:59 AM
The party-going Ashton gives rise to a piece like 'Facade', his spoofs with Helpmann inspiring the sistere in 'Cinderella' and the forlorn lover inspiring many of the works. His lack of a full ballet or musical training and his technical shortcomings as a dancer resulting in an insecurity that gives rise to Kavanagh's account of his jealous anger at Helpmann's choreographic work for Sadler's Wells during the War.
Interestingly, the few UK dance folk who I have spoken to about the book really enjoyed it and like me found it an absorbing and easy read. For all his faults, I ended up finding Ashton more interesting by the end of the book and it certainly made me want to see more of his work.
I just loved the anecdote of him using his free public transport pass to attend a engagement where he would then travel in a Royal carriage.
Posted 30 June 1999 - 12:54 PM
0 user(s) are reading this topic
0 members, 0 guests, 0 anonymous users