Posted 07 February 2000 - 10:34 PM
My question is: Is Lynn Seymour a little bit plump for a balerina? I could not see a single muscle on her back or arms. Is it the way it should be, or was she really overwaight?
Posted 07 February 2000 - 11:15 PM
Posted 10 February 2000 - 10:56 AM
Posted 20 February 2000 - 08:53 AM
Isn't there a film of her doing Ashton's "Six Dances in the Manner of Isadora Duncan" (I think I have the name wrong)? She was heartbreaking in that.
Posted 20 February 2000 - 02:36 PM
Posted 20 February 2000 - 03:56 PM
Posted 20 February 2000 - 04:49 PM
Although Seymour was such a wonderful dramatic dancer, I think we lost a lot when she became so closely associated with tragedy. She rarely got a chance to show her sense of humour, and people tend to forget how beautiful her actual dancing was - she was so fluid, as if boneless, and almost seemed to melt into the music.
If I remember rightly, incidentally, Seymour did the Brahms Waltzes - or some of them at least - at the Met Gala in the 80s, which some people have on video.
Posted 22 February 2000 - 02:46 PM
Posted 22 February 2000 - 02:56 PM
Most of it is in what repertory they excel.
An example of a "romantic" role would be the female solos in Les Sylphides.
An example of a "dramatic" role would be Juliet.
Posted 22 February 2000 - 04:47 PM
I'll bet that closer to Fokine's day, each of those three leading "sylphs" was a different genre. And speaking of sylphs....Bouornonville considered his La Sylpide a classical role, as opposed to demicaractere (Teresina in Napoli) and let it go out of repertory when he didn't have a classical ballerina. The great Danish ballerina Margot Lander (the 30s and 40s) was heralded in Giselle and Coppelia, but never danced the Sylphide. I asked why once, and was told, "she had a gimmick in her eye."
[This message has been edited by alexandra (edited February 22, 2000).]
Posted 06 August 2012 - 01:31 PM
"Artist film-maker, Jayne Parker’s collaboration with choreographer Ian Spink of Second Stride fame is an elegeic and deceptively simple film, shot in an empty theatre. Featuring Lynn Seymour, one of the greatest and most expressive ballerinas of the 60s and 70s, the film reunites her with Donald Macleary her ballet partner of 30 years earlier. Their careers went in separate directions and the narrative echoes the formative moment of their meeting and the subsequent long absence."
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