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What is happening at Royal Ballet?


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#16 LMCtech

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Posted 24 October 2001 - 11:47 AM

I did not mean to offend, y'all.

What was the track record in Australia? I admit I know Mr. Stretton more as a dancer than an AD. Did the same sort of things happen there to the detriment of the Company?

#17 Alexandra

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Posted 24 October 2001 - 12:01 PM

LMCTech, they aren't the same kind of companies. I think that question falls into the category of comparing apples and oranges. Someone could be the best Director in the history of time at Company X, but that doesn't mean they'd hack it at the Bolshoi or the Royal or NYCB.

#18 LMCtech

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Posted 24 October 2001 - 02:09 PM

So who hired him and why? I again will admit I am terribly ill informed about these processes in other countries, though I am very familiar with them here in the States.

#19 Alexandra

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Posted 24 October 2001 - 03:43 PM

The Royal Ballet is governed by a board. There was a search, and there were applicants who grew up in the Royal Ballet. I'm sure the board had its reasons, and I'm not trying to second guess them. I'm not saying that Stretton IS unsuitable; I don't know that, and we won't be able to judge it until he's been in there for awhile. All I've tried to do -- in this case, as well as several others -- is to suggest that there are different criterion for different companies, and that, while it's perfectly understandable -- and OK -- for balletgoers to mourn the loss of a favorite dancer or favorite ballet, there's more to it than that, so when people question company administration, choices, etc., they may be looking at the larger picture.

#20 Effy

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Posted 24 October 2001 - 09:24 PM

I think we need to consider that there are different types of companies. There are a handfull of classical companies with a historic tradition, Royal Danish Ballet, Bolshoi, Kirov, Paris Opera, Royal Ballet (London), NYCB and perhabs a few more. Any ballet master in charge must take care of tradition and make certain that the family silver is kept intact, as well as developing the companies. Then there are another group of ballet companies like Nederland Dance Theater, Hamburg, Stuttgart, Ailey, Roland Petit, and other which are dominated by a resident choreographer. When he dies or leaves the company, they face a different task and depending on the legacy may move up to the first group. Then there is a group of Wannabe Classical companies ABT, San Francisco, Boston, Harlem, Canada, Australia, National Ballet, Swedish Royal Ballet etc, that do not have a specific legacy to preserve but it constantly trying to build a platform an gain a personality au pair with the true classical companies. Each type of company needs a different type of artistic management. You cannot be a new broom at NYCB and swep out all the Balanchine and Robbins inherency. As the inventor creator in group two companysyou build accordingly to your own needs as choreographer. In awannabe company your job is to build identity and take risks. But if that is your background you may not be suited to the other groups. Do not get me started on the consequences of putting four in a row of those into a classical company


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