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Do you like mime in ballet?


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Poll: Do you like mime in ballet? (0 member(s) have cast votes)

Do you like mime in ballet?

  1. Yes! (8 votes [30.77%])

    Percentage of vote: 30.77%

  2. Yes, if it's done well. (14 votes [53.85%])

    Percentage of vote: 53.85%

  3. It depends. (4 votes [15.38%])

    Percentage of vote: 15.38%

  4. No! (0 votes [0.00%])

    Percentage of vote: 0.00%

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#31 Alexandra

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Posted 13 July 2002 - 04:05 PM

Welcome, John-Michael. I see you're a Noverre man :) (He tried very hard to make ballet be seen as the "equal" to opera by developing the dramatic side.)

I'm glad to hear you stood up to those who think ballet is devoid of intellectual interest. I hope you weren't too bruised in those battles :)

#32 Nanatchka

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Posted 14 July 2002 - 05:39 AM

Going way up to a post by Leigh Witchel in re "Mime needs interpretation." With great respect, I differ. I think what mime needs is translation. It has specific meaning, literal meaning. It isn't subject to alternate interpretations. The danger is that an audience won't have a clue what is going onProgram notes are a really great help, provided people read them. (Bayadere could have used supertitles.)They should be called "libretti." Opera goers read libretti to see what the singers are singing--okay, you don't have too, sometimes the music just carries the day, but the acutal meaning certainly enhances the experience. It was never the maker's intent (mime ballet passages or opera) for the audience to intuit meaning. To me, interpretation comes more into play with so-called abstract dances. Or with the overall "reading" of a story.

#33 tempusfugit

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Posted 28 July 2002 - 12:03 PM

what a marvelous discussion.:( Alexandra's observations about "Amager" , the unfamiliarity of mime, Noverre; Katharine Kanter's on specialization and the (non-imitative)nature of danced mime; Manhattnik's on Anianashvili's exquisite mime in Swan Lake... To pursue a bit further Katharine Kanter's observations (and Kirsten Ralov's quote)....
I myself was a gymnast and see a parallel in the abolition of figures in figure skating (!!!!!!!!) and compulsory exercises in gymnastics. it's the dreadful "jumping up and down" view of any "athletic" endeavor-- okay, enough of this, where's the good stuff? LOL. I watched the compulsories from the Barcelona Olympics on a cable special, the "triplecast", and saw every competitor's exercises. it was astounding. every strength and weakness, everything the gymnasts strenuously eschewed in their optional routines becauses it wasn't their favorite thing to do, was transparently obvious. amplitude, fluidity, flexibility (or lack of same) were under Klieg lights. Perhaps that's why compulsories and figures had to go? I sincerely hope mime never suffers a similarly ludicrous fate.


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