Diamond Project I -- up or down?
Posted 24 June 2002 - 05:53 AM
We're all in the Coliseum. The lion has the Diamond Project in its mouth and looks hungry. Nero looks around and, not wanting to make the decision himself, asks the crowd, "Thumbs down (he dies), thumbs up (he lives)."
We are the Crowd. How would you vote?
Posted 24 June 2002 - 06:24 AM
Posted 24 June 2002 - 06:54 AM
I like the idea of the Diamond Project, but I'd send it over to the Choreographic Institute and then perhaps pass over the good ones.
I just can't spend any more money on this stuff.
But to echo Farrell Fan, some of the earlier works were good.
Posted 24 June 2002 - 08:10 AM
Posted 24 June 2002 - 08:55 PM
Posted 25 June 2002 - 05:18 AM
Having a set time, place, and funding for new choreography is the best way to make sure new choreography gets a chance.
Granted, the Diamond Project has produced some stinkers - Kevin O'Day's pieces are unwatchable, in my opinion, and Damien Woetzel should keep his day job - but it has also produced some masterpieces.
And I would put Prejlocaj's "Stravaganza" on that list!
Posted 25 June 2002 - 06:43 AM
BryMar1995-I don't get the impression that the "dancers relish it". They looked exhausted by the time Mahdaviani's ballet finally premiered, and I'm sure they'd rather not do 50 different ballets in one season. And, since the same dancers seem to be picked for just about every ballet, there are some dancers who are probably not too happy about sitting on the sidelines for the duration.
There are plenty of other ballets that could be revived other than Symphony in C-plenty Balanchine and Robbins ballets have been shelved for far too many seasons and would make wonderful additions to the active rep. I'd love to see Coppelia, West Side Story Suites and Union Jack again, among others.
I've never seen Woetzel's Diamond Project ballet, but his ballet for the SAB Workshop was not bad, and showed some flashes of talent. He's had a lot more choreographic experience since the Diamond Project, so I'd give him the benefit of the doubt.
Posted 25 June 2002 - 07:27 AM
From the Preljocaj I've seen, (this and Le Parc come to mind) I think he's a good thinker, but not much of a choreographer with ballet dancers. A lot of the dancing in both is either thin or ponderous (he uses way too much unison) and his vocabulary makes no accomodation for the fact that he's not using modern dancers.
Preljocaj doesn't use pointe work, nor turn out, nor a high center of gravity, all hallmarks of ballet. If there are dancers out there trained to do works like this, and there are plenty, why is it being done on dancers on whom it's less congenial? And why do they have to do all the adapting? It's fine for people to say ballet dancers ought to be versatile; they ought to. But I get peeved when what they mean by that is "they should be modern dancers."
Posted 25 June 2002 - 07:33 AM
Posted 25 June 2002 - 08:05 AM
Posted 25 June 2002 - 08:21 AM
Thank God for Jenifer Ringer. Thank God for Peter Boal. But what-the-heck was with that pudgy blonde in the first number...sorry, I have a problem with baby ballerini-cheerleader-with-'heehaw smile' types. Not the type who I envision at a Tsar's Ball. Ballet is derived from royalty - kings & tsars. Basic elegance is the hallmark of ballet & all that we love, isn't it? Excuse me. You have no idea how looking at that cheerleader affected me.
I'll take a second look at that video soon & perhaps I'll change my mind.
Posted 26 June 2002 - 11:12 AM
Posted 28 June 2002 - 04:52 AM
Posted 02 July 2002 - 08:03 PM
I agree with Patricia and Leigh, that there are some choreographers whose style just may not fit well with NYCB. Eifman's theater dance and Preljocaj's modernism may not be what the company was trained for - too much of a departure from neoclassic formalism (although interesting challenges for both developing and mature artists in the company). Morris might be excellent as a formalist, except the ballet he documented on A&E for Royal Winnipeg seemed so darned flippant that I got the impression that he doesn't care about ballet at all, disdains it even. But he loves the paycheck ballet companies can deliver. Van Manen could probably do the company justice if he has inspiraton for a work. I love Forsythe's work on the company.
Peter Martins combs the globe for choreographers to do this project. They are the best he can find. What does that leave us to suplement the Balanchine/Robbins repertory? Ashton or MacMillan at NYCB? Fokine's Chopanianna or Kirov productions of Swan Lake? Neurmeir or Cranko repertory in State Theater? Makes one think.
Posted 03 July 2002 - 04:55 PM
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