Did William Forsythe Invent The Modern Ballerina?Interview with William Forsythe
Posted 16 October 2009 - 12:23 PM
Can someone name a ballet work Forsythe's done since the Forsythe rep program for Paris in '99? (Woundwork and pas/parts)
It's not as if works such as Artifact and Czar weren't great and that's I think why we do hold on to them, but that's not what he's doing - and we have to ignore his current output to discuss him in a balletic light.
Posted 16 October 2009 - 08:56 PM
If Forsythe isn't worthy, let's hear about the real frontier of balletic choreography.
Posted 16 October 2009 - 08:59 PM
Posted 16 October 2009 - 10:20 PM
Genius is so enrolling......
Posted 17 October 2009 - 03:59 AM
Posted 17 October 2009 - 05:19 AM
I'm glad we're returning to Lucy's original question. Thanks, Mel. Would love to hear more details about your nomination of Nijinska..
Allow me to return to the original question, and reply that IMO, Nijinska invented the modern ballerina. And she did it during the 1920s.
Posted 17 October 2009 - 07:45 AM
(There's a very nice DVD about Doubrovska by Virginia Brooks, available from her web site. http://www.brooksdan.../Doubrovska.asp )
Posted 17 October 2009 - 08:22 AM
Posted 17 October 2009 - 08:27 AM
Exactly how "modern" -- in the sense of innovative -- IS this?
RS: In a recent interview that I did with [New York City Ballet principal dancer] Wendy Whelan, she commented that you had invented the modern ballerina. Do you think that’s true?
WF: I think Balanchine did that, but it’s true that in my work, both the man and the woman have equal say in the dynamics or contributions to a pas de deux or any action that they shared. In In the Middle, for example, they are testing the limits of their cooperation as much as anything. It’s not just about support; it’s about enabling something that couldn’t happen alone. Those off-balance moves of the pas de deux couldn’t be sustained without the entirety of their physique – it’s a complex physical construction.
Posted 17 October 2009 - 08:39 AM
Posted 17 October 2009 - 09:58 AM
Posted 17 October 2009 - 10:30 AM
While I don't believe that everything that Balanchine choreographed after "Agon" was a crowd-pleaser -- he did choreograph "Episodes" later, after all -- to me "Agon" is the clean geometry of Diana Adams' performance in the kinescope, and I don't think the bendy-twisty interpretations that came afterwards extended the modern ballerina any more than I think today's 180 degree extensions have extended the classical ballerina.
Or do we define "modern ballerina" very narrowly to mean a female wearing minimal clothing and stretching and twisting the limbs? (There are some choreographers who do se "Agon" as the beginning of contemporary ballet and toss out everything else.
Posted 18 October 2009 - 04:46 PM
0 user(s) are reading this topic
0 members, 0 guests, 0 anonymous users
Help support Ballet Alert! and Ballet Talk for Dancers year round by using this search box for your amazon.com purchases. (If it doesn't appear below, your computer's or browser's adblockers may have blocked display):