Technique or Personality?
Posted 31 March 2002 - 07:43 PM
Now my comments are all going to be based on impressions - not their technique as I am not capable of seeing all the particulars of that. Their costumes were not very attractive either - no colors except black, white, a somber gold and maybe a brown... What happened to the Spanish dancer's red? Instead the dancer who had the lead in the Spanish Princess's dance had a white romantic tutu with black swirls placed strategically over each breast so that she reminded me either of some sort of Valkyrie or a stripper. It was very distracting to see these bulls eyes on her bodice!
In my opinion there not much "life" was shown by the dancers. I didn't detect any joy or electricity... I happen to like Swan Lake and this one just didn't have any drama that seemed believable in it...the "acting" was seriously lacking on Saturday night.
I also found it a bit presumptuous to read in the program that he was "considered the greatest living choreographer in the world today"!
As I said, maybe it was an off night Paul...I hope so.
Posted 31 March 2002 - 08:04 PM
and it sounds like Grigorovitch can't get the best dancers any more......
But here WAS a time when people claimed he was the worlds' greatest choreographer, as others claimed that Ashton was, and Americans claimed that it was self-evident that Balanchine was.....
Posted 31 March 2002 - 08:20 PM
Posted 01 April 2002 - 11:21 AM
Posted 19 April 2002 - 01:38 AM
Originally posted by bhough
I am finding this discussion quite interesting, as I have been experiencing the mostly painful process of company auditions. It seems almost impossible to demonstrate your "personality" at the typical audition, when bar work and combinations are what the auditioners are looking at. That seems to be what gets you the initial acceptance into a company and then they work on personality. It seems as if much of this mystical "personality" comes from within the artist themselves, however, and it is a shame that they aren't hiring personality with the potential to improve technique (and I am speaking in terms of a high level of technique). I would much rather watch an "artist" with some technical flaws then a "technician" with artistic flaws. After all, isn't this what dance, and ballet in particular, is all about?
I do agree with bhough, however, if you are all personality that certainly not appealing, as is all technique.
Posted 21 April 2002 - 04:31 PM
Posted 25 April 2002 - 04:12 PM
Posted 01 May 2002 - 06:43 AM
I often felt that the directive "Don't act! Just do the steps!" (Paraphrased here, I'm sure, and usually given for abstract ballets that are about, among other things, music and structure) is misleading or misunderstood (my opinion, of course, and not intended to offend). It means for me rather "Cut the histrionics! Listen to the music. Dance how you feel, and with everything you've got. But most of all, be yourself when you dance - as honestly and as openly as you can!"
Posted 01 May 2002 - 09:34 AM
Old sufi tale -- the pasha asks the sufi how to become generous, and the sufi tells the pasha, sire it will be almost impossible for you, for what you want iss hte reputation for generosity, and you can not get real generosity till you have destoryed the desire for appearing to have it....
Last night ath the Isadora Duncan Awards ceremony here in San Francisco, Joanna Berman said the most remarkable thing when she received the award for her performance in Sleeping Beauty..... She said she'd found in that perfrmance she'd had to let go of her plans... she hadn't really quite expected to do the role at all, she was coming back from surgery on her foot, and , well, Sleeping Beauty!!! and then her partner kept getting injured, 2 or three of them..... the person she danced it with (who was wonderful) didn't start working with her till that day, the day of hte perfromance itself.... so she was just going to have to let it happen, let it be what it was going to be....., but when she went out there she noticed she felt a new kind of freedom, a wonderful way of being onstage... she'd tried to hold on to it and take it with her into future performances..... She'd thought it was a private experience and was surprised to think it had been seen, and it was swonderful to have it remembered and singled out for an award so long after the fact...
Posted 21 May 2002 - 08:05 AM
Posted 29 May 2002 - 04:26 AM
Posted 05 June 2002 - 07:33 AM
Posted 22 June 2002 - 04:18 PM
anyways, I've noticed that soem dancers have SUCH great presence on stage that it's hard to say "her turn out is ony 176 dergees" because they radiate charme and confidence...I can't stand to watch dancers with blank faces, for me, it would just take the focus away from the technique.
Posted 23 June 2002 - 09:17 AM
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: