Ballet Competitions.....art versus Technique/math
Posted 13 October 2002 - 07:05 PM
Posted 13 October 2002 - 07:26 PM
Posted 19 November 2002 - 03:31 AM
You may not be familiar with the music trade, but in such contests, people are expected to strut their Pagannini stuff - Rachmaninov, Liszt, anything, so long as it's contorted.
This is the first time in many a year that anyone has won a major international competition, by simply playing "easy" works, properly.
You are no doubt very professional in your work, and know that there is no such thing as "easy" in art. It is harder to excute a simple enchaînement freely, musically, with elegance and taste, than to fire off a bit from Le Corsaire, where all the public will notice is "how many" or "how high".
Read the interview with Pescia, it's quite instructive. He wanted to impose a certain concept, and he did.
If you are entering competitions to try to get into a top company, I suppose one might see the point. If you are already well on the way to where you want to be, you might want to concentrate your firepower on more important things.
One should bear in mind that a Jury is not Mount Olympos. The jurors are not Gods. They are just ordinary men, who have somehow or other become "a success", and who will often prove to be as susceptible to mercantile, show-biz considerations as any shop-keeper. There are exceptions, BUT....
Where has the competition frenzy taken us ?
It has taken us to the point that there are people today - including the ladies - who can turn ten, even fifteen pirouettes.
There are girls who toss off the 32, with doubles and triples. I'm not, in theory, against that - why not, for fun, occasionally. But, overall, where has that got us ? What have we proven with it ? It's been done before - in the circus.
Posted 20 November 2002 - 02:07 PM
Posted 20 November 2002 - 06:20 PM
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