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sandik

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About sandik

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    Diamonds Circle

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    writer
  • City**
    Seattle
  • State (US only)**, Country (Outside US only)**
    WA

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  1. I think it took longer to come back from her hip troubles than she anticipated. I'm very sorry to see her leave. Like others here, I first saw her as a speedy technician, but she's really added to her interpretive skills since she's been back -- she's been a pleasure to watch.
  2. Temps de fleche is a form of a leap, that is, a air moment that takes off one leg and lands on the other.
  3. I agree that Plot Point is not a traditional ballet, but it is a fascinating piece of movement theater, and well worth seeing.
  4. I remember when Singing in the Rain was first produced, there was a lot of discussion about the technical aspects of the show. And then they took it on tour, so it had to be waterproof and mobile. I don't know details, but I'm willing to believe it's technically possible. Performer safety is another thing.
  5. Miles Pertl included about 15 minutes of serious mist effects in his recent Shades of Gray for Pacific Northwest Ballet. There were a couple of sliding injuries in the process, and he modified some of the choreography to keep things safer, but it is possible. And honestly, it was a stunning effect. I'm told it's a lot like the mister that you find in the produce section of the grocery store.
  6. At some point someone is going to do a big study of these foundations and trusts, and see how they've affected the various repertories. I wait for this with great interest.
  7. She is a super smart person, and is willing to take risks when the goal is right. The studios have become incredible centers for the dance community in NYC. Really hoping she can pull this one off as well.
  8. Looking forward to seeing this at the end of the month.
  9. Well, there was rain in the Broadway version of Singing in the Rain. It's become something that people can do, but it does up the hazard.
  10. With Grant gone, who holds the rights to the ballet?
  11. Oh, that does sound prime -- wish I could be there!
  12. I don't know that Ashton had a chance to see the Ballet Suedois -- Doug Fullington might know. I saw Moses Pendleton's version of Relache for the Joffrey years ago and enjoyed it, but I don't think they were considering it a reconstruction. Wow -- that letter from Noguchi opens up all kinds of imagined opportunities!
  13. Stephen Petronio's company (featured in When the Dancer Dances) has a couple of Cunningham works in their repertory right now -- while Petronio doesn't feel that his own choreography resembles Cunningham's, he does believe that Cunningham forged a pathway for modern dance that created the Judson Church cohort, and made space for innovation in the field when many of the "classic" modern choreographers had become stagnant. It is hard to imagine what current modern dance practice would be like without Cunningham's blazing examples. I agree that, while they are phenomenally well-trained, the Ailey company is not the natural fit for this work -- in general, they are too attached to dance as emotional expression or narrative. People sometimes think that ballet companies would be a more natural fit since both techniques seem to share an alert uprightness, and an acceptance of dance as an absolute, abstract art, but I think that does both traditions a disservice.
  14. Hello to you! I'm based up in Seattle, and get down to Portland every so often to see extra dance (most recently Caleb Teicher's fantastic show at PSU). Did you see Oregon Ballet Theater's autumn show? (with the revival of Dennis Spaight's Scheherezade) I was very sorry to miss it.
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