cubanmiamiboy Posted August 16, 2012 Share Posted August 16, 2012 Another gift from Nick Wallace. http://www.youtube.com/watch?v=HK1S9U7ddTg&list=UUE2E47z60O23-Z0Dd6zJKjA&index=10&feature=plcp Link to comment
Paul Parish Posted August 17, 2012 Share Posted August 17, 2012 Very FAST!! It looks liike the fact that Alonso could SEE, she made part of the dance -- she keeps looking at him, as if to make sure he's real -- and sometimes hte head position is not hte one we're familiar with, since she's turned her head to see him...... Of course, there are many htings in here we're not used to -- no supported jumps into the piques at the end is hte only thing I really miss, but even that is ok given the integrity this interpretation possesses. Wonderful. Thanks for posting htis, Christian. Lovely. Link to comment
cubanmiamiboy Posted August 17, 2012 Author Share Posted August 17, 2012 Very FAST!! It looks liike the fact that Alonso could SEE, she made part of the dance -- she keeps looking at him, as if to make sure he's real -- and sometimes hte head position is not hte one we're familiar with, since she's turned her head to see him...... Of course, there are many htings in here we're not used to -- no supported jumps into the piques at the end is hte only thing I really miss, but even that is ok given the integrity this interpretation possesses. Wonderful. Thanks for posting htis, Christian. Lovely. My pleasure, Paul. There's a very interesting interview of Alonso in which she recollects and compares some of her Albrechts-(Dolin, Youskevitch, Eglevsky and Bruhn), and the way her role as a ballerina played in relationship with her partner's technique and experience. I remember she said that she said that about Giselle she felt that she was being completely conducted by Dolin but in the same, exchangeable way with Youskevitch and Bruhn, and that it wasn't until she reached 40 that she started feeling in charge of the partnership in the ballet. Interesting indeed. Link to comment
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