a few words to the wise
Posted 13 July 2002 - 01:31 PM
She was very aware of which writers on BA like her and which don't--she referred to this board as "addictive" and mentioned that a number of company members read it religiously. Truthfully it started me thinking about what I may have said over the past year.
I know that Alexandra has said a number of times that many people in the ballet world do read this board, but having this conversation really brought it to reality for me. Somehow I thought that we were writing somewhat in a vacuum--for each other--but not for anyone else's eyes.
I only say this to remind everyone that it is nice to be important, but it is more important to be nice--and let's say what we need to say and let those chips fall--but let's also remember that there are human beings who see what is being said about them--and I think we can try to say things in a constructive and positive way.
I haven't reneged on my pledge to try to write short reviews of as many performances as I possibly can. I always forget how busy this short season is, and how quickly I become caught up. I am meeting BW tonight and tomorrow I'll have time to post some impressions of the past three days.
Posted 13 July 2002 - 01:33 PM
Posted 14 July 2002 - 02:56 AM
A definite double-edged sword compliment!
Posted 14 July 2002 - 04:04 AM
Posted 14 July 2002 - 09:15 AM
I hope we are all aware that these posts are NOT private conversations -- put a post it note up on your screen, if you need to. "What I write is being read, right now, by people I don't know." Or whatever it takes. BUT HOWEVER, MOREOVER AND NEVERTHELESS, I hope people will not freeze at this thought. I think it is possible to write about Dancer Y, even if you've been told that Dancer Y checks this board every hour, along with her entire extended family, three of whom live in your building. One can say, "I was disappointed in Dancer Y," or "I wondered why Dancer Y had been cast, as she doesn't seem to have the technique for the role," or something north of "Good grief, why on earth is Dancer Y even on stage, with that crooked nose, those bow legs and sway back? My dog dances better."
Somewhere in between silence and insults lies Net Heaven I think most of us hit that happy median most of the time, and if we do, then being confronted by someone who reads us won't be a problem.
To the dancers who read this board, I hope you'll remember that if someone doesn't like one of your performances, it doesn't mean they don't like YOU.
Posted 14 July 2002 - 01:25 PM
Posted 14 July 2002 - 04:24 PM
Posted 07 August 2002 - 05:26 PM
Posted 18 August 2002 - 11:08 AM
There's so much to be said for learning endurance, becoming seasoned, getting polished like a stone by the sea...
One of the paradoxes re: notices in the press is that whilst the negative critiques hurt, they can force one to grow. But worshipful praises can lead to an inflated sense of self, distance from other company members and sometimes sloppy "resting on my laurels" work. Not to mention the "getting knocked off the pedestal" syndrome certain critics love to apply down the line on an off night.
In fact, if you ask me which is more treacherous: lacerating criticism or euphoric overpraise, I'm not sure which is harder to endure.
Strange, isn't it?
Posted 20 August 2002 - 08:23 AM
I have seen dancers who were totally unsuited to a role but who were clearly trying hard. Perhaps it was a role that particular dancer had always dreamed of doing and was being given an opportunity or perhaps the dancer had been miscast or was the only one available to do the role. I'm sure a critic who is trying to be fair can find *something* of value in the performance. I do know that there are dancers whom I do not like to watch - that doesn't make them bad people who need to be ripped apart in the press.
I also abhor critics who make snide remarks sort of "behind the door" - such as the one made by a well-known critic about a Kirov ballerina when she was referred to (in a cattily-phrased manner) as one of the "senior ballerinas" - the implication, in the context in which it was written, was that the dancer was past her prime. The object (again given the context at the time) was to make the ballerina in question look bad compaired to the critic's favored dancer (who earlier in the day had given a simply dreadful performance). In other words, in order to make the "favored" dancer look good, the critic had to 'put down' the less-favored dancer.
Posted 27 August 2002 - 04:09 PM
Posted 28 October 2002 - 06:19 AM
Posted 07 August 2003 - 09:56 AM
Posted 06 February 2005 - 06:55 AM
So to all of the current dancers who are giving themselves to the art and to those who have come before.
Dance on. I've got your back!
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