Posted 03 April 2008 - 11:42 AM
Posted 06 April 2008 - 05:43 AM
Balanchine and Goldner on "reality" in ballet.
Balanchine (speaking of the Nutcracker): "Actually, it's not a deam. It's the reality that Mother didn't believe. The story was written by Hoffmann against society. He said that society, the grown-ups, really have no imagination that they try to suppress the imagination of children ... They didn't understand that nonreality is the real thing."
Nancy Goldner's comment: "Many of his other ballets move into a dreamlike or imaginary world that becomes a Balanchinian reality. Serenade is the most spectacular example, but it's not an overstatement to say that all of his ballets begin where Nutcracker ends -- in an eternal dream. The difference is that in the other ballets the dancers don't need to dream to be in a dream. The curtain rises, usually with a blue cyclorama as decor, and presto!, you're there, in a timeless placeless place. The dancers don't need a plot device to get them there; they don't need to lie down on a bed and fall asleep or take opium (like the hero in La Bayadere) or search for swans (like the Prince in Swan Lake).
From: Nancy Goldner, Balanchine Variations, p. 55. (The Balanchine quote comes orignaly from Nancy Reynolds, Reportory in Review, p. 157.
Posted 08 April 2008 - 07:51 PM
[size=2]-How would you like to be remembered?
- Iím telling you there is a future ahead. Ask me in two hundred years...! [/size]
Posted 14 April 2008 - 06:42 PM
A.T-"But thereís so much pressure to do this. 'No tutus and toe shoes for this troupe! Theyíre going beyond the rigid confines of ballet' ó you read this over and over and over.
M.B-I think thatís a lot of crap. I know with a lot of people that do that, itís because they canít."
Posted 05 May 2008 - 07:31 AM
Mme. Alonso [/size]
Posted 05 May 2008 - 08:09 AM
Sage travel advice for Ballet Talk on Tour!
Posted 01 June 2008 - 05:18 PM
-- Arlene Croce, Going to the Dance, p. 42.
Posted 02 June 2008 - 04:36 PM
[font="Comic Sans MS"][size=2]CS: "What is your greatest fear?
CA: Losing my sense of reality and forgetting where i came from."[/size][/font]
Posted 09 June 2008 - 03:02 AM
My Life in Ballet by Lťonide Massine. page 85
Posted 09 June 2008 - 05:43 AM
-- Samuel Chotzinoff, NY Post, reviewing the first first Manhattan performance of Balanchine's fledgling American Ballet in 1935.
Reminisence was a trifle, choeographed to what Balanchine called the"cute, nice, melodic" music of Benjamin Godard.
Chotzinoff did not like Serenade, on the same program, presumably because that ballet DID require that you understand something.
Source, Richard Buckle, George Balanchine: Ballet Master, p. 94.
Posted 09 June 2008 - 08:33 AM
[font="Comic Sans MS"][size=2]"Dear, you're young. Young people don't have injuries. Go home and read fairy tales. Try little red wine. You need nothing but this place. You don't need anybody else; you don't go anywhere else. You have a beautiful theatre here. You come in the morning. When you don't work, you go into studio by yourself; you do releves. You just stay here all day; you go home, drink little red wine. That's all you need".[/size][/font]
From Gelsey Kirkland's "Dancing on my grave"
Posted 16 June 2008 - 07:59 AM
[font="Comic Sans MS"][size=3]"There is nothing left for us but to live off our memories.''[/size][/font]
Posted 23 June 2008 - 01:54 PM
[font="Comic Sans MS"][size=3]"I think too much, far to much, to dance. For years i've been told this by friends, lovers, teachers and messiahs. Maybe I should have listened and stopped thinking. But must thinking be the death of my career?"[/size][/font]
Toni Bentley: "Winter Season: A Dancer's Journal"
Posted 23 June 2008 - 02:59 PM
Oh, well...and here we go with the old "Think vs. Dance" issue.
Oh vell, Cristian, while I can hardly thank you in the most sincere way for that one, I may, however, repay you with one of her productions from 2005, in the New York Review of Books:
In the full-page ad, her beautiful, mournful gaze, twenty years after losing her maestro, peers like a blond widow out of a black web. She, the last muse of the Man Who Knew Time, is posed with her arm across her neck like a noose.
Unlike the Joan Acocella review of Bentley's book, you don't even have to pay for this one. I can't imagine why...on the other hand, I may be because, even though quotable, I'm not sure if for the best reasons. The one you placed is along the same lines, very 'The Days of Our Lives.'
Edited to add: Sorry I forgot, she was talking about Darci. It's possible one might not have known.
Posted 05 August 2008 - 09:39 PM
..."when challenged directly once with the question "What keeps you in ballet?" he [John Cranko] answered.
'Well, if it's just steps, it's obviously not worth devoting one's life to. ...
There's a limit to the amount of jumping around people can do. You can lift a girl only so high; she can spin around on her foot only so many times. One has to convert this extremely physical image -- a physical way of expressing oneself -- into a spiritual way of expressing oneself.'"
Theatre in My Blood: A Biography of John Cranko by John Percival. Page 139
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