What's going on in "Agon"
Posted 11 January 2003 - 03:29 PM
I didn't mean to imply that Agon was "about" LeClercq's illness -- but I think it's possible that the passivity/movement idea could have come from it. It's not that the pas de deux was intended for LeClercq.
Grace, good to see you again -- thanks for the history. It's interesting how this happens, isn't it? The waltz had a very different beginning, and the tango may well be a stately dance in 100 years.
Interesting how time smoothes the edges off of living things -- art, that is -- as well as stones!
Posted 11 January 2003 - 03:32 PM
Interestingly, and I can't recall the source for this, but I know that an opinion expressed was that had Leclercq been able she would have been in Agon, but in the second pas de trois - Melissa Hayden's role rather than Adams'.
Posted 11 January 2003 - 03:59 PM
Posted 11 January 2003 - 04:04 PM
i was thinking more along the lines that you both go on to put forward - just that 'something seen' went into the psyche (balanchine's)...and came out in another form.
Posted 11 January 2003 - 04:06 PM
Posted 11 January 2003 - 05:23 PM
. . . several people I interviewed mentioned Balanchine's fascination with Mitchell's and Adam's skin color. It was less a race issue with him than almost a design one, the patterns produced by white and black skin together fascinated him.
(I intend no implication that Adams herself held racist views.)
Posted 11 January 2003 - 05:32 PM
Posted 11 January 2003 - 05:48 PM
Mel, by the "opening" of the pas de deux, do you mean the entree up until the point where the dancers pose in pointe tendue back and the music pauses?
Posted 12 January 2003 - 02:37 AM
Posted 28 April 2010 - 10:15 PM
Carbro, a sarabande is in 3/4, very slow. Prokofiev's "dance of the Knights" (in Lavrovsky's version, the "pillow dance") is a march in 2/2.
Or are you thinking of Juliet's dance with Paris? THAT one is a slow dance in triple metre.
Posted 28 April 2010 - 10:45 PM
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