Posted 13 June 2001 - 10:23 AM
English born and trained principals there were with the Royal these days. (I know in the Glory Days half the principals came from Commonwealth countries, but they had RAD training and the style was uniform.) Of course, the Royal hasn't been RAD for awhile now, and it sure shows
How is this viewed in England? Or elsewhere, for that matter. To me, it's not a matter of keeping other nationalities out, but of stylistic uniformity. (If you're born in Turkey or Norway or Uganda or China, that's fine, if you grow up in a company's school, or have a teacher who grew up in the school.)
If you go to see Paris Opera Ballet, do you expect to see French dancers? Do we want to see New Yorkers dancing with the Kirov or Bolshoi?
I got a press release from Cincinnati Ballet that said 46% of their 34 dancers were non-American. That, too, was a surprise. This isn't as much a matter of style, of course, as of jobs. They can't find 34 American dancers in Cincinnati???
What do others think about these, and other, ramifications of the current hot internationalization trend?
Posted 13 June 2001 - 10:53 AM
Whenever a company brings in a guest artist, I always wonder why. Is it for the dancer to do a style they've never done before or to add a little "spice" to the company's performance. Sometimes it works (Darci Bussell's 4T's performances at NYCB) and I'm sure there are times it doesn't (but I can't think of any).
I think that the lending of ballets must have an impact too. The Kirov doing Balanchine, NYCB attempting Bourniville, etc...
Jury is still out for me as to whether it's good or not, for myself a guest artist might peak my interest in going to see the company they're from, especially if they're good. I have to see if everyone else is as good as them too ;)
Posted 13 June 2001 - 11:20 AM
Posted 13 June 2001 - 12:05 PM
It is a shame for me that this cross pollination is occuring in companies such as Royal and the Kirov. But, for the dancers (especially principals) the artistic and performance opportunities are incredible. Also for choreographers (who would not want to do a ballet for Guillem?). This benefits dance and audiences, but does decrease the stylistic variety for balletomanes.
Posted 13 June 2001 - 12:25 PM
[ 06-13-2001: Message edited by: alexandra ]
Posted 13 June 2001 - 04:02 PM
[ 06-13-2001: Message edited by: ~A.C~ ]
Posted 13 June 2001 - 08:43 PM
I think guest artists are usually brought in to please boards.
Posted 14 June 2001 - 12:24 AM
Posted 14 June 2001 - 01:17 AM
Originally posted by Leigh Witchel:
And honestly, with NYCB where the style is so distinct, I can think of precious few times I thought a guest artist was succesful...
...and I am thinking of Bussell's appearances and Isabel Guerin's as well.
I happened to be thinking along these lines myself, having just watched 2 videos of "Tchaikovsky Pas de Deux," one with Patricia McBride and one with Darcey Bussell. The steps were the same, but the effect was so different.
Darcey has an almost incomparable sense of classical line and placement in everything she does. While she looked beautiful in this work, it didn't work for me. She gave it a serenity that took away it's edge. McBride's spikier performance was not as pretty but much more alive.
Still, I'd love to see what Darcey would do with "Ballo della Regina." (Just out of curiousity.) She has the speed, jump, and precision for it, but would her natural poise blunt its excitement?
Posted 14 June 2001 - 09:06 AM
Posted 14 June 2001 - 01:23 PM
I'm also thinking of this review from Igor Stupnkikov about Diana Vishneva's Mariinsky debut as Nikiya: "Vishneva seemed to be a guest star, very aloof and arrogant as if she did not belong to this ballet brotherhood but came from some celestial sphere to surprise, to conquer, to enrapture." And this girl is considered to be the "face of the Mariinsky Ballet". Yet I doubt very much that they are the ones who will save the company.
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