All true, SimonG, but as far as Balanchine was concerned, at least, he did a lot of these extracurricular activities from hunger. Iím sure his art benefited from them to some extent and he did not look down on this work, but if he had been able to concentrate on ballet full time, he would have done so. (I suspect the same is true for Ashton, as well.)
Yes, I know, but I think that's what made him, and Ashton, perhaps it wouldn't have been their first choice but how different would their art have been without that huge eclectic tapestry of experience, those years in which they formulated their views on society, life, their world and how it would impact on the art they came to create.
That's the thing, I don't see those experiences as negative at all. In relation to Quiggan saying that everything that there is to be said, or done has been, true, but what is infinite in variety is the way the individual reinterprets.Would someone who's spent their whole life within a studio, first as dancer then as choreographer have that wealth of experience to draw from? That's part of my problem with Christopher Wheeldon, he knows his technical onions, you can't argue that but the outlook is as academic as a series of barre exercises - the intellectual motivation behind the work, kind of parochial.
It's the individual who has seen a great deal who makes work worth a damn. I think that's what I've been unclear in saying, i believe that instead of interrupting their progress as choreographers that wealth of life experience in no small part made them.