[size="2"][size="3"]I bought the British edition of the DVD. It's a region 2 PAL disc, so if you don't live in Europe, you need an all-region player. But it sells on British Amazon for £12, so I couldn't resist the price. (I have to admit to ordering several other items to make the shipping costs worth my while.) There are no extras on the DVD other than the trailer, and the subtitles are embedded.
Each time I watch the film, I keep thinking of the discussion about casting between Emanuel Gat and Brigitte Lefèvre in which she seems to imply that he shouldn't expect to get any étoiles for his piece. This is very interesting considering that Wayne McGregor got Marie-Agnès Gillot, Benjamin Pech, Agnès Letestu, Mathieu Ganio, Mathias Heymann, Jérémie Bélingard and Dorothée Gilbert for Genus
. She also made a comment about the pointlessness of driving race cars at 6 m.p.h. Fast forward to Aurélie Dupont and Hervé Moreau in Sasha Waltz's piece.
I also found McGregor's practice of anglicizing his dancers' names quite amusing, particularly in the sequence where he rehearses Ganio and Heymann, both of whom he calls "Matt," which you'd think would make his instructions somewhat difficult to follow.
It was interesting to watch Pierre Lacotte drag Letestu over the coals, not that his criticisms weren't justified, particularly his observation about her spoon-like hands. But it was curious that his request that she gradually lower her raised leg in a supported turn was not heeded by Dorothée Gilbert once Paquita
got to the stage. Did she not get any coaching from him?
It was also interesting to watch Laurent Hilaire coaching Sarah Kora Dayanova and asking for "more generous" couronnes, because what I really wanted was for someone to ask the same of Aurélie Dupont. (Honestly, her ports de bras are my greatest object to her dancing.)
I love the film up until about 20 minutes from the end. Once Wiseman shows an extended excerpt from Mats Ek's La casa de Bernarda Alba
, he loses me, because I find myself thinking: all that talent, all that work, all those resources for this
? After that I find myself deflated as a viewer, and things that would have fascinated me earlier, like the janitor cleaning up the opera house after a performance, no longer speak to me, and the sequence of Yann Bridard rehearsing the Pina Bausch piece just seems like too much of the same, choreographically speaking.
It's unfortunate that Wiseman chose to document that particular season. Back then we commented on the repertoire, too.[/size]http://ballettalk.in...ason-2007-2008/