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Quote function didn't work properly--from Gnossie's post above--

"Cleo said
"Skorik bears no blame for what is happening at Mariinsky. She has worked hard through many challenges, and I think we have to give her credit for that. It's not her fault that she is an inexpressive dancer; she is doing the best she can with her instrument"
[...]. for years I have read how Alina Somova, a dancer I do NOT like has been trashed in this forum and never, not even once I read someone saying "she does the best she can so let's give her credit for that" why should one be kind to Skorik? ....

There is no reason for you to remember this, but actually in some of the long impassioned debates about Somova over the years people who didn't like videos of her dancing have jumped in to make comparable kinds of comments--for example, that at least they showed 'improvement' and 'hard work.' I never said that exactly, but I did, for example, once jump in to express reservations about focusing so much criticism on flaws of just one video of Somova's Aurora that had been taken quite a few years earlier. (However 'downgraded' my taste may be, I'm quite confident my memory of this is accurate :wink: .)

I tried to watch the documentary in which Skorik appears as a student, but gave up after two minutes--I found the tone very hard to take...

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Following the discussion of musicality at the Yulia Stepanova “Dancer” topic

I’ve been reminded of a fairly recent video clip of Oksana Skorik in which I find her to be more beautiful than ever in a new and different way.

Here is SFCleo’s comment from the Yulia Stepanova discussion.

“As a musician, I've always been impressed with her [Yulia Stepanova] musicality, i.e. Her ability to use the music in her dancing. To my eye, there is a sophistication in her dancing - a lack of "beatiness" -- that may be mistaken by some as not being "on" the music. Among solo musicians, it's ok to play with the beat for expressive purposes so long as you get to the down beat in time (if you are not intending to make a ritard.)”

My sense when I first saw the Oksana Skorik video was how integral she was with the aura of the performance, how totally committed she was to feeling and expressing it, being a part of it. After having read SFCleo’s comment I noticed how important her response to the music was. Even before reading this, I noticed where Oksana Skorik several times seemed to momentarily stop in the middle of the music and just let it pass through her, speak for itself.

Other things that I’ve noticed, as I have with the Yulia Stepenova video, include her working ‘around’ the music. She, and possibly Yulia Stepanova, can use one part of her body to accent one musical highlight, while another part carries the overall flow. For instance, her back stiffens to catch and suspend a highlight, while her arms flow along with the continuity. There are many other beautiful plays on the rhythm that are part of this delightful, totally immersed and magnificently absorbing interpretation.

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