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sandik

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Everything posted by sandik

  1. Mariinsky in London 2017

    Very glad to get a look at this!
  2. Fall 2017 Season

    If I had money, and could clone myself, I know where I would be.
  3. Mariinsky in London 2017

    That's my question as well -- is this new choreography, or is he ringing changes on the Bolshoi's current production?
  4. Eliot Feld

    Any one of those accomplishments would deserve the thanks of a grateful dance community, but put together they are the biography of someone who has made significant contributions to the field in his lifetime. While it looks like the bulk of Feld's choreographic work will not last much past the artist himself, I'm thinking that we are already the beneficiaries of his choreographic life, in that he created works that nurtured the dancers of his time, and helped the audience to see the shifting aesthetic. Many of us who live near a company with a resident company have this experience frequently -- while the dances that are being made are not necessarily masterworks, they are part of the body of dance at their time. Or as my sister says when she makes something new for her family, not every dinner is a winner. But I can't help being curious about these works in the past, both on their own merits, and as reinforcement for the developments to come. It's a self-reinforcing system -- dancers are trained to perform the works being performed at the time, and then become the material that choreographers use to make new works. What doesn't always get the same attention is that this also works for audiences. We learn to understand dances by watching dances -- and the dances we watch are the fundamental tools we use to understand other works we see later. I compare the works I see today to the works I saw in the past -- I may think they are "better" or "worse," but I use my early experiences as a landmark.
  5. Eliot Feld

    Elsewhere on Ballet Alert we've been talking about Massine, and wondering why we don't see more of his work in current repertories. I'd like to pose a similar question about someone who is still around -- Eliot Feld. When he emerged at ABT in the 1960s he was considered a boy wonder, when he left the company to form his own ensemble (because ABT didn't give him enough time/space/performances) it got the same kind of attention that Christopher Wheeldon's creation of Morphoses did, and though he's still working through his Ballet Tech program, his repertory doesn't seem to have the traction in the larger community. Who here has seen his work, and where have you seen it? Is it still a significant part of 20th c ballet history, and if so, are we in danger of losing it? I've seen Intermezzo, when it was staged on Pacific Northwest Ballet in 1999, toward the end of Russell and Stowell's tenure. It was stunning then, and I imagine would be stunning now -- is anyone performing it? And other works? Are any being performed outside of his own ensemble?
  6. As far as who does the traveling, I do know that several cities/arts agencies keep track of those numbers, and use them in civic discussions about arts support. In Seattle (my home town) our local opera company has produced Wagner's Ring cycle on a fairly regular basis -- it's an extreme example of an art work that people will travel miles to see, but even leaving it out, the local arts agencies have said that arts tourism generates as much revenue for the city as sports tourism on a regular basis (and sometimes outstrips it). So yes, there are people who are traveling to see dance, but that has a tendency to reinforce the idea that the arts are for those who can afford them -- not the policy I'd like to see supported. I'd have to do some homework to find more concrete numbers.
  7. Why So LIttle Massine?

    And now I'm wondering if there are any contemporary choreographers that people feel have a similar relationship with music?
  8. Eliot Feld

    "Narrator seems to out-Edward R Murrow Ed Murrow." Snark! "Making Dances" is indeed a wonderful film -- one of the best looks at the big names of post-modern dance. That, and the Dance in America documentary "Beyond the Mainstream" (which is very hard to find anywhere -- here's a tiny slice of David Gordon and Valda Setterfield in Chair) are excellent examinations of that time and those artists.
  9. I've been mulling this over, and I had a little epiphany about touring. Back when the big companies were appearing all over, they weren't organizing these tours themselves. There were organizations like Hurok and Columbia that were doing the heavy lifting -- making the connections, booking the theaters, doing the advance promotion. Now, when a company like ABT does tour, I don't know that they have the same relationship with a promoter. I'd have to do some homework, but my intuition is that there is much more direct contact between the company and the local institution. Especially when it's an ongoing relationship, like the Segerstrom in California. Now rather than a long tour with multiple appearances that requires a certain ongoing coordination, it's more like a series of run-outs -- fly here and go home, fly there and go home.
  10. Tangential comment -- your observation here, about coming across something by accident, really pinged something for me -- as more and more library use is mediated by online search engines, the serendipity of finding one thing when you had gone looking for something else seems to be waning. But You Tube does have the equivalent of "finding something further down the shelf" in those links over on the side of the screen...
  11. Eliot Feld

    Oh, I haven't seen this in years -- I didn't realize it was online!
  12. I agree the film is not a substitute for a live performance, but it is an artform on its own -- I'm pleased that it seems to be making some headway in cinema broadcast, especially as television dance programming gets slimmer and slimmer. The Dance Boom was a product of multiple influences. The post WWII cultural programming of the big international companies was certainly one element, but there were several others as well.
  13. Why So LIttle Massine?

    Thanks so much for the links -- as we've all discussed here, it's really difficult to get a handle on Massine's work with so little material available.
  14. Writings on Degas, Jean-Louis Forain, etc.

    Thanks -- bookmarking for later.
  15. Sacramento Ballet

    An interesting move for both parties -- bon chance!
  16. The economics of touring a large ballet company are pretty dire -- I took an hour last night and did a thoroughly unscientific survey of websites, and it looks like the bigger the company, the less likely they are to pick up and go somewhere. Houston went to Germany last spring. Boston, San Francisco, Colorado, Ballet West don't seem to have gone anywhere. Joffrey's website claims that the company has the "largest touring schedule in the country," but they only had three events on their posted schedule (of course, that could get filled in later) Nashville went to the Kennedy Center last spring, and is going to Charleston this coming spring Miami City Ballet shuttles between venues Eugene Ballet (Eugene, OR) is touring a children's show to several venues in the west this year. But the "winner" right now is Aspen/Santa Fe Ballet, who has trips to Tennesee, Indiana, British Columbia, and Louisiana on their schedule. They are essentially a small contemporary ballet company, and since they already shuttle between their two homes, their repertory is chosen to travel well. That likely is a factor in their mobility. I didn't compare schedules of the companies that have been to the Kennedy Center recently for their Ballet Across America program, or to the Joyce for their ballet festivals, but it would only make sense that if a company with limited resources (that is to say, all of them) might have to make a choice between a trip to a prestigious festival like those or a more individual touring schedule.
  17. Hello from Detroit!

    It looks like you've got an event coming up in your community, the Detroit Dance City Festival. From the website, it doesn't seem to be exclusively ballet, but you might check it out anyway, and see the variety in your home town.
  18. Thanks for the link to the NEA history. What they don't necessarily cover is that many of the state and local arts agencies that we depend on today were also founded at the same time, so that there's an interlinked quality to many of the programs they first developed. The Dance Touring Program, one of the first NEA initiatives, worked closely with local agencies and presenters, which meant that the community service part of the project had some really profound affects on dance groups across the country.
  19. Oooh, thanks -- now I have to listen to the score again!
  20. Eliot Feld

    I remember that when PNB did Intermezzo it came with some specific requirements about placement on the program and some other things -- perhaps it's trickier than it seems. But yes, I would have thought that ABT might have done something of Feld's for their anniversary.
  21. In case you haven't seen the clips floating around on Facebook, there's a documentary about the Harkness company in the works. I'm so glad they're doing the interviews before we lose any more people from that part of our shared history. I'm pretty clue-free about who's working on it, and where it might be going -- does anyone here have some information? In the meantime, there's the beginnings of a website (isn't there always nowadays?)
  22. I don't know Seet Dance, but they've been making dance dioramas with Lego -- some of them made it into the Dance Magazine site. Look at the DM site first and see if you can identify the dance.
  23. Eliot Feld

    And people had interesting things to say about Harbinger (to Prokofiev, who is often so dansant)
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