Posted 22 October 2006 - 10:47 AM
I just saw a production of sleeping beauty last night, my first time seeing it. I'm now curious...is it normal for the dancers to take bows after their solos?? I'm sorry that I don't know the names of any of the dances, but it first happened after the first time that Aurura danced, her and the three suitors danced, then she took a couple of bows. Later, some of the fairies also took bows after dancing. This seemed really odd to me, but since this was really my first actuall ballet to see (Swan Lake by Mathew Bourne is the only other I've seen live). I really enjoyed the production, I thought they did quite well from what I know. I felt bad that there was only like 50 people in the audience.
Anyway, sorry I get wordy, just curious if this is normal...thanks!!!
Posted 22 October 2006 - 12:26 PM
Which production of Sleeping Beauty did you see?
Posted 22 October 2006 - 04:29 PM
From posts on other threads, I gather that the Russians are especially known for the frequency of their bows after each individual sections of ballets: variations, pas de deux, big solos, etc.
Has breaking up the performance in this manner, as a matter of course, always been the practice in ballet?
Was there ever a time when stopping the performance for applause was reserved for and limited to occasions when the dancing was exceptionally brilliant?
Posted 22 October 2006 - 07:00 PM
When movie audience responses petered out over the years (probably around the release of the "That's Entertainment" series? ), directors stopped including pauses, and studios began editing out the ones in older fiilms.
Posted 23 October 2006 - 04:58 AM
As for which production it was, it was put on by Continental Ballet, a smaller company here in Bloomington. In the description on their website, it says some original coreography by Riet Velthuisen, the director, so I'm not sure what's by her and what's traditional. It was at a community center, and like I said, really only about 50 people there. Aside from the music being too loud, the stage possibly a little too small, and surprised by the pauses for applause, I thought it was really good overall. Their costumes were really nice, and I thought all of the dancers did quite well. That's not to say you couldn't tell some dancers were better than others. Some of them you could just tell they had to work at staying on their toes (sorry, but is it better to say "en pointe" then instead?? I'm still learning the basic terms...sorry). And it was really nice to now be able to understand what some of you talk about when referring to dancers transitions to and from pointe, demi-point and such. Aurora and the Prince (Tatianta Berenova and Pavel Homko married and both trained in Russia and have impressive sounding history) danced beautifully together. I thought it seemed obvious that they have danced together a lot and were very comfortable together. The other times that there was a guy and girl dancing together, there seemed to be a huge difference.
Anyway...sorry for a somewhat rambling post, I've gotta watch some more ballet to get a better idea of what's what still. This being the first time I've seen pointe work and a more traditional ballet, I don't really have anything to compare it to.
Thanks for answering my original question!!
Posted 23 October 2006 - 08:15 AM
I would imagine that bows and departing flourishes must be "rehearsed" and anticipated... perhaps depending on the audience enthusiasm? Does anyone know the inside scoop about how this is done? Who decides when to "interrupt" the performance for some bows etc. Even, who decides how many curtain calls are made and which cast members appear etc.?
Posted 23 October 2006 - 08:43 AM
Posted 23 October 2006 - 09:58 AM
Posted 23 October 2006 - 11:42 AM
Posted 23 October 2006 - 01:12 PM
I've been fascinated for years in seeing how a dance 'tells' the audience that it is over, especially if the work is not well known to the viewers. There seem to be myriad clues involved, but even then, there can be a fraught moment before understanding takes place and the response kicks in.
Here in Seattle, Pacific Northwest Ballet has been doing front-of-the-curtain bows (sometimes called tab bows) after the full stage bows for around 3 years, and it's only been recently that audiences seems to anticipate them. For an uncomfortable number of performances the applause would die off quite quickly after the main curtain came down (even though the spotlights came up on the curtain and you could see it being pulled back for the dancers to pass by) and things needed to get started up again when the first performers stepped out in front. I like these bows very much -- the dancers are just that much closer to the audience, and it feels very immediate, but I have great respect for those people who had to step out in front of an audience who had started looking for their bags on the floor and standing up to head out to the lobby for a break.
Posted 23 October 2006 - 01:44 PM
Posted 23 October 2006 - 09:34 PM
Are you talking about Bloomington Indiana? There's a ballet company, you know, at the University -- our own Ed McPherson came from there, and it's a very good school, by all reports. You might want to see some more ballets that they dance.
Good luck, and keep us posted.
PS In the OLD old days, not only was there applause interrupting hte show, and bows, if the audience REALLY liked something they swould "stop the show" -- literally clap and holler until in extreme cases the performer would do the whole thing all over again. They'd cry "Bis! Bis" or "Encore!" which is French for "do it again!" That would even happen with movies -- the Nicholas Brothers' movies, it would happen that hte audience would make the projector rewind the movie and show their dances again -- even if they were only making a 'guest appearance" and it was supposed to be a Don Ameche/Betty Grable movie, like "Down Argentine Way" (which is an exceptionallly stupid movie with a sublime number by hte Nicholas Bros.)
Posted 24 October 2006 - 05:03 AM
Thanks for all the responses!
Paul, nope, not Indiana, I'm in Minnesota, Bloomington is a suburb of Minneapolis.
Posted 24 October 2006 - 11:12 AM
Sometimes I perform in front of really dead audiences; for example, in Italy I sometimes get an audience who are mostly there because they have subscriptions to La Scala and get a ballet or two per season thrown in amongst the operas. They often sit there and look as if they don't really want to be there, and that is terrible for us; I try to do my best and there is no response. I need to feel an audience.
Posted 08 May 2007 - 04:04 AM
YES at the opera once...
But after reading reviews it is more than obvious that not everyone responds the same way to the same performance. I don't recall ever hearing a very few enthusiastic audience members clapping and shouting their bravos and the rest of those attending remaining quiet. Why not?
Do you think the audience reaction is a bit "infectious" as opposed to spontaneous? Clearly when virtuosity is displayed almost all the audience is enthused and reacts spontaneously.
So who are the reactive audience members? I wonder if the real cognoscenti are less demonstrative and the audience outbursts are mostly from the enthusiastic relative newbies. So who do you think are the shouters? And the booers... (I've not seen that... but I heard that Roberto Alagna was booed off the stage in La Scala this past Fall. Are some audiences more sedate and better behaved?
I would think that the performers like the spontaneous feedback... no?
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