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#271 cubanmiamiboy

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Posted 14 May 2013 - 12:56 PM

Regarding aesthetics, I remember watching a video where Natalia Makarova was coaching Uliana Lopatkina in the White Swan pdd. At one point Lopatkina unhurled her legs in a rather stretched attitude, and Makarova asked her why she was doing that, when the choreography calls for an arabesque. Lopatkina got rather defensive and said, "Aesthetics." Makarova asked her to try the other approach and Lopatkina got even more defensive and said "I don't LIKE it!!!!" My impression is that at the Mariinsky, aesthetics (in particular, a long, stretched look) is more important than ever.


How funny...canbelto. You reminded me a conversation that I had maaaaaany years ago with a friend of mine, a ballet lover. I was still living in Cuba, and my mother, who was here, had send me a video of a Russian SL. We watched the VHS at my place, and at one point my friend commented "Oh, look...just like all the Russian ballerinas, doing attitudes instead of arabesques". Wow...and that was a zillion years ago...Posted Image

#272 tutu

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Posted 21 May 2013 - 05:33 PM

Here is a link from RT apr30 27min long dubbed to english. Has both Skorik, Fateyev, and Vishneva. Coaching and backstage life at the Mariinsky. From Oksana point of view. http://rt.com/shows/...-mariinsky-628/


Thank you for linking to this, cantdance. Certainly offers a very interesting perspective.

#273 Buddy

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Posted 22 May 2013 - 02:42 AM

I've seen this video clip also and I think that it gives a very nice and sympathetic view of Oxana Skorik and Timur Askerov.

When I think about Oxana Skorik at this point in time I tend to focus on a quality that is so essential in my enjoyment of lyrically beautiful dance. This quality is the refined and dreamlike flow of motion. I think that this is the essence of what makes Oxana Skorik so special for me.

She also has other exceptional qualities that make her equatable to two other young dancers that I like very much, Alina Somova and the youngest, Olga Smirnova. In this respect, I consider them to be among the most 'interesting' 'classical' dancers today. But for the moment I'm thinking a lot about lyrical flow.

In a recently viewed internet video clip I've noticed something else that I've not strongly felt before in Oxana Skorik, a 'Natural' and gentle overall expression that so compliments the essential loveliness of her motion. In at least parts of Alexei Ratmansky's Cinderella (internet video excerpts) Alina Somova shows very similar beauty.

It makes them both -- lovable as well as ethereal.

#274 Tiara

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Posted 22 May 2013 - 05:54 AM

The only interesting fact about Oxana Skorik to me is the fact that she is cast at all despite her inadequacies. Far from having a "gentle overall expression" she is one of the least expressive dancers I have seen, having a very still face that does not communicate emotion to the audience. The number of mistakes that she makes renders her completely unfit to be a Mariinsky soloist in my opinion, and far from having wonderful flow of movement, I see a dancer who merely moves between poses. I completely fail to understand how anyone can enjoy her dancing and I have seen her dance on Mariinsky stage many times.

#275 Birdsall

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Posted 22 May 2013 - 06:35 AM

The only interesting fact about Oxana Skorik to me is the fact that she is cast at all despite her inadequacies. Far from having a "gentle overall expression" she is one of the least expressive dancers I have seen, having a very still face that does not communicate emotion to the audience. The number of mistakes that she makes renders her completely unfit to be a Mariinsky soloist in my opinion, and far from having wonderful flow of movement, I see a dancer who merely moves between poses. I completely fail to understand how anyone can enjoy her dancing and I have seen her dance on Mariinsky stage many times.


I have to admit that I agree with Tiara. Before I went in March I was praying and praying that I would not get a Skorik debut in Raymonda or Aurora. I didn't think she would get Aurora, because even her body type is wrong for that, but I thought anything is possible under Fateyev. I just find it sad that someone has to pray that he will not be stuck with someone who messes up all the time when thinking of traveling to go to the Mariinsky. That is truly sad. Old timers tell me that was NEVER the case with the Mariinsky (Kirov) back in the day. We are talking about the company that has the reputation of being Point North on the compass of ballet. And these mess ups are not isolated moments. Even if the latest mess up does not end up on YouTube it is circulated privately via private YouTube videos, and Cristian asked if there was ever a performance of hers without a mess up, and so far it doesn't appear to be the case. This is not what we expect from the North point of Ballet. We don't want someone learning her craft before our eyes. We want finished artists on the stage. A mess up here and there is not a big deal. Mess ups every performance is a big deal. And when you add on top of the mess ups the fact that there are so many dancers who rarely get solo roles who deserve them and could dance them right this minute without messing up, it just boggles the mind. Kolegova, Novikova, Osmolkina, and many in the corps can dance better. This is where people's frustration comes from. I don't think anyone really wants to beat up on anyone, but when we know there are better dancers not getting chances while someone keeps getting chance after chance and messing up, it upsets many people.

#276 Birdsall

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Posted 22 May 2013 - 07:03 AM

I've seen this video clip also and I think that it gives a very nice and sympathetic view of Oxana Skorik and Timur Askerov.

When I think about Oxana Skorik at this point in time I tend to focus on a quality that is so essential in my enjoyment of lyrically beautiful dance. This quality is the refined and dreamlike flow of motion. I think that this is the essence of what makes Oxana Skorik so special for me.

She also has other exceptional qualities that make her equatable to two other young dancers that I like very much, Alina Somova and the youngest, Olga Smirnova. In this respect, I consider them to be among the most 'interesting' 'classical' dancers today. But for the moment I'm thinking a lot about lyrical flow.

In a recently viewed internet video clip I've noticed something else that I've not strongly felt before in Oxana Skorik, a 'Natural' and gentle overall expression that so compliments the essential loveliness of her motion. In at least parts of Alexei Ratmansky's Cinderella (internet video excerpts) Alina Somova shows very similar beauty.

It makes them both -- lovable as well as ethereal.


I already responded to your post and Tiara's, as you will read, but I want to say that I wish I could see the glass half full the way you do. One thing that is good about you is that you are always positive. Maybe if I ever get some meds I will start to be more positive! LOL

#277 Tiara

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Posted 22 May 2013 - 07:27 AM

I already responded to your post and Tiara's, as you will read, but I want to say that I wish I could see the glass half full the way you do. One thing that is good about you is that you are always positive. Maybe if I ever get some meds I will start to be more positive! LOL

It is good to be positive, but I think some of the problem is there are too many people who have given Oxana Skorik the benefit of the doubt too many times. There is a difference between hoping someone will improve and giving her a chance, and knowing when to quit because this is not going to happen. The Mariinsky audience suffers because it does not see a truly Great Mariinsky Ballerina, and other dancers suffer because they are denied chances to dance. Mariinsky management is completely at fault for all this.

#278 Dale

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Posted 22 May 2013 - 07:47 AM

I hope some of what was written recently is in jest because it's close to getting personal. Please, let's stay on topic and keep things impersonal and polite.

#279 Buddy

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Posted 22 May 2013 - 07:59 AM

Thanks Dale for your comment and everyone else for your interest.

[font=Helvetica][size=4]I can understand some of the comments about 'hesitations' although I've not seen that much of it in my stage viewings. I've also seen some rock solid stage performances. It is also what I have to refer to as her *Beautiful Essence* that I find so wonderful and for me supersedes everything else. [/size][/font]

[font=Helvetica][size=4]I would like to make a comment that is kind of interesting. In one of her performances, which may have had the most 'hesitations' that I've seen from her, I was actually the most impressed. It was maybe because she was out of her comfort zone that she produced some of the finest stage brilliance that I've ever seen.[/size][/font]


[the word "ever" was added to my last sentence]

#280 Birdsall

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Posted 22 May 2013 - 08:13 AM

I hope some of what was written recently is in jest because it's close to getting personal. Please, let's stay on topic and keep things impersonal and polite.


Dale,
If you mean my comment about meds, I really did mean it to pertain to me. Opera was my crazy meds for 20 years after my sister died. It practically saved my life. Walking away from a career I loved caused the opera (my meds) to no longer work. So I turned completely to ballet which is helping a lot. But I have begun to think I need some real meds too, so that I can stop having negative thoughts. Loss of identity, career, graying hair, mid-life crisis......it all has hit me big time.
Anyway, I am sorry if my comment seemed like an attack on Buddy. I wish I could be more positive about life in general let alone opera or ballet. I say all this very openly because I think ballet probably gives solace to a lot of people on this forum. I was in a bad place mentally and my trip in March to the Mariinsky gave me something to look forward to and was an infusion of life for me that lasted for a month. Now thinking about meds for the first time in my life (my parents will be dead against it), because I no longer want to analyze the height of buildings and wonder if they are high enough to die or would only injure.
Like I said, I am going through a lot mentally and only open up so Buddy is not insulted and also in case others out there find solace in ballet. Don't worry! I am not suicidal. I have looked up and read that passive death thoughts are common during depression.

#281 Dale

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Posted 22 May 2013 - 08:20 AM

OK. I appreciate everybody's response. We're all good.

Back to Skorik!

#282 Buddy

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Posted 22 May 2013 - 08:25 AM

Birdsall, I think that the ballet means a lot to most of us here, which is why we sometimes get so passionate about it. It is one of the highlights of my life and I hope that it continues to be one in your life as well.

Very best wishes.


[Dale, I posted my comment before seeing yours]

#283 Helene

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Posted 22 May 2013 - 09:34 AM

No one has to understand anyone else's enjoyment of or appreciation for any dancer. This is a discussion board, not a court of law.

#284 Buddy

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Posted 22 May 2013 - 10:06 AM

[font=Helvetica Neue]I just made a comment about Oxana Skorik having been brilliant because she may have been outside her comfort zone. This may have been the reason, but in any case I did think that she was brilliant. What I wouldn't want to imply is that an artist has to do this to be great. I would wish all artists to be as healthy and happy in what they are doing as is possible. In fact, for me, this would be the most important thing. [/font]


[font='Helvetica Neue'][I deleted my first sentence because I think that it might be misunderstood][/font]

#285 cubanmiamiboy

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Posted 22 May 2013 - 10:56 AM

This is beyond everything and anything I've ever seen, heard or read in ballet...

At 1:12 here's your "born Odetta". I just can't imagine the frustration of all the capable female dancers being relegated to seat in the background and force to contemplate the unfairness of this world...

3:33 is so disgraceful that it becomes sad...





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