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Balanchine is the future?


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#16 cargill

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Posted 18 August 2000 - 08:46 AM

I don't want to try to read McCauley's mind, but I read the piece to mean that Balanchine ballets were in most companies' futures--that they hadn't danced them yet and would get the opportunity, whereas at NYCB he was now very familiar and perhaps a bit old hat with some of the dancers. I didn't think that he meant that only Balanchine would be in other companies futures.

I don't remember the Tobias article where she complained about using Meunier so much, but it may be that she saw a pattern of using one particular dancer until she was injured and out for a long time--as has happened with Koworski, Ansanelli, and others.

#17 Michael

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Posted 24 August 2000 - 09:03 AM

McCauley's criticism makes good reading, whether you agree or disagree, because it is so detailed.

Note, though, that McCauley's criticism of Martins seems to be concentrate on Martins as "ballet master" -- of the way the company is now performing the basic elements (tendu and turn out)-- the things drilled and honed in company class. That's what McCauley concentrates on more than on Martins' role as company director, mounting new choreography, etc., including his own.

I wonder what he thought after the Edinburgh performances. Some of the British press seemed to me to have covered the festival as if they were seeing Agon for the first time.

#18 Alexandra

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Posted 24 August 2000 - 09:26 AM

Michael, I think Macauley means "ballet master" in its original sense. Balanchine was the company's "ballet master." It's the person who gives the artistic guidance: casting, coaching, choosing repertory, choosing the company's mission.


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