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School of American Ballet Workshop 2014May 31 & June 3


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#61 Kathleen O'Connell

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Posted 17 December 2014 - 05:46 AM

One of the things I learned when I did a deeper dive into PBS affiliate funding and scheduling yesterday is that local affiliates are sometimes able to acquire and broadcast material at essentially no cost.  It works like this: an independent producer approaches the affiliate and says "Would you like to broadcast a documentary about X?" The local affiliate says "Sure, but you have to find the funding, because we can't pay you for it." "Fine!" says the independent producer, "It just so happens that company Y & foundation Z have agreed to underwrite the production in exchange for a funder credit announcement at the beginning and the end of the program." "No problem!" says the local affiliate, "So long as your content complies with our guidelines, our charter, etc etc." And the thing gets done. 

 

Also, re fees: I believe that the fee schedule takes the size of the market into account as well, so that say, New York's affiliate might pay a higher fee than an affiliate in a smaller market would. I need to confirm this.



#62 Jack Reed

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Posted 17 December 2014 - 06:29 AM

... local affiliates are sometimes able to acquire and broadcast material at essentially no cost... 

 

Very interesting.  Keeping in mind the decentralized nature of PBS described above, when that happens at a local affiliate, can other affiliates pick up that material?



#63 Kathleen O'Connell

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Posted 17 December 2014 - 07:58 AM

 

... local affiliates are sometimes able to acquire and broadcast material at essentially no cost... 

 

Very interesting.  Keeping in mind the decentralized nature of PBS described above, when that happens at a local affiliate, can other affiliates pick up that material?

 

 

I don't see why not as long as they can secure the rights and sort out the funding.



#64 dirac

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Posted 18 December 2014 - 02:18 PM

Even though they don't have the same kind of advertising sales metrics to deal with, PBS does extensive research on viewers. Certainly part of that information comes from the donation patterns during pledge drives, but they also survey watchers/donors in various fashions, follow their viewer mail and use other tools. Part of the equation is their organizing mandate from the government - they are not charged with making money but instead on serving the public while not losing too much -- it's a tricky equation.

 

It is. Years ago there was a big fuss when NPR began to abandon its concert broadcasts in favor of more and more talk. One reason was that the music lovers were quick with complaints but less quick with donations. The talk show fans were also big donors. PBS should certainly be supporting dance on general principle, but the tricky equation should be kept in mind. Send money and tell them why.

 

The major PBS affiliate in my area, KQED, shows little in the way of dance. I usually see the dance programs, including the show under discussion, on PBS Life, a cable channel not accessible to everyone.

 

Regarding the show - enjoyed it hugely. What great kids, and so nice to hear from Kistler, Pilarre, and Schorer. I agree with Amour that Serenade in particular was wonderful, although the ballet is not suited to television (and even less to a computer screen). Martins had good things to say too, as he did in the Jerome Robbins documentary.



#65 Jayne

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Posted 18 December 2014 - 10:46 PM

Since HBO is going to stream direct to computers with TV screens attached, I wonder if there might be some hope for The Dance Channel or a PBS Culture channel in the future to do the same?  

 

When I had cable, I realized I only watched about 12 channels out of the 200 available to me.  It would have been cheaper for me to subscribe to individual channels, but cable doesn't offer that option.  As I understand it, the big stumbling block is the sports channels - ESPN pays billions in Major Sports broadcast fees, and the packaging of various studio owned networks makes it impossible to design packages that keep the premium channels you want, but omit ESPN.  



#66 Helene

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Posted 19 December 2014 - 10:29 AM

I've seen Balanchine's version many times, without the Four Cygnets and with Valse Bluette (changed in 1959), with a different ending in the Pas de deux, and I don't remember seeing a male variation.  Did they go back to the 50's and re-stage earlier versions to attribute this to Balanchine? I've only seen the magnificent sissone coda entrance in the coda in Balanchine -- Merrill Ashley was always majestic here -- instead of the horrific musical slowdown  for a pirouette diagonal, but on the whole it looked different from what I remember.



#67 rg

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Posted 19 December 2014 - 12:18 PM

the workshop staging of SWAN LAKE is only what Balanchine arranged in part. the cygnets quartet was probably eliminated by the move in '64 to Linc. Cent., or so Arlene Croce once suggested to me. Kistler must have gotten her sense of the choreography for this ubiquitous number from videos of other productions - i don't know of any films of Balanchine's version.

here's what the Balanchine cat. on line says about Balanchine's own revisions:

<<

RevisionsNew York City Ballet, changes from first years in repertory: 1956, traditional ending of pas de deux replaced by coda for corps de ballet (to Tchaikovsky's original score rather than the traditional Drigo interpolation); 1959, PAS DE TROIS omitted and new Prince's solo added to that music (Grand Waltz from Act II), replacing original Prince's solo to fourth variation of pas de six (Act III), traditional entrance of Swan Queen in coda rechoreographed; 1964, traditional Swan Queen solo replaced by new choreography (to Un Poco di Chopin, Op. 72, no. 15, 1893, orchestrated by Drigo) and subsequently changed several times, Prince's solo rechoreographed (to music from Act I pas de trois) and subsequently changed several times and often omitted, pas de quatre (DANCE OF THE FOUR CYGNETS) replaced by WALTZ BLUETTE for 12 Swans (to orchestrated version of Valse Bagatelle, Op. 72, no. 11 in E-flat), role of Benno omitted; 1980, traditional Swan Queen solo and entrance in coda restored.

>>

the climactic ending of the segment staged by Kistler finishes not with Balanchine's own moment for Odette flanked and supported by two swan maidens but with a version of the moment - a turned, shoulder lift - that Peter Martins's devised to for his staging of SWAN LAKE.



#68 Helene

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Posted 19 December 2014 - 12:46 PM

Thank you rg -- I missed the "1964" before the change from Cygnets to Valse Bluette, a lovely dance that maintains the mood, as opposed to the Four Cygnets.

 

I asked because this seemed to me to have Martins' imprint on it.



#69 sandik

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Posted 19 December 2014 - 10:55 PM

There's after Petipa, and there's way after Petipa.

#70 Natalia

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Posted Yesterday, 05:48 AM

I've seen Balanchine's version many times, without the Four Cygnets and with Valse Bluette (changed in 1959), with a different ending in the Pas de deux, and I don't remember seeing a male variation...


I've seen the ballet numerous times, always WITH a variation for Siegfried, immediately following Odette's solo. Most recent NYCB revival, as part of all-Tchaikovsky/Balanchine program, had it. So did Miami City Ballet in its Oct 2008 revival; however, Miami included an earlier Balanchine version of the male solo, to music from the A1 Pas de Trois. Current NYCB version of the Siegfried solo is to the traditional Grand Valse (waltz of the large swans) from the main lakeside scene.

#71 Helene

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Posted Yesterday, 08:05 PM

I hate the Four Cygnets dance performed right after such a sublime pas de deux sets a very different mood.  A friend posted this playful version to another board:

 

 

The mood is no less playful, but it was very clever.




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