sandik

If you're in a place where you get Canadian television, try following their coverage -- they often show a broader range of events.

My partner saw footage of the orchestral rehearsal (and that tug on your heart Olympic theme) -- they almost filled Tianamen Square, which is enough to make you cry right there.

Very succinct, and seems to be quite true. And this, I think, comes close to the part of this discussion that focusses on neo-classicism. As much as I appreciate considering the modernist and constructivist aspects of Balanchine's choreography, I think that neo-classicism is his approach to the technique, to the dancing itself. And that, frankly more than topic, score or scenic design, is what makes him American. Yes, I believe that if he'd spent most of his working life in Denmark or in France (or in Russia for that matter) the work would look quite different. Balanchine was highly pragmatic -- he worked with what he had in front of him. And while he didn't have a wealth of highly trained dancers at that crucial part of his career, he had people who were desperate to move through space. So he made dances that let them do just that. And to add to the cringe-fest, I have two words. Alma Mater!

This made me giggle and twitch -- when I was in high school I was quite sick for a few months and did most of my work from home. My English class was reading Jude the Obscure, and the copy I had was one of those bargain school editions with two books bound in the same cover. Jude was paired with Pride and Prejudice, and for me Hardy just couldn't compete. I tried and failed so often with Jude that I finally had someone bring me a copy of the Cliff Notes and I forced myself to read each chapter of the Notes and then of the text, and find every dreary point the Notes brought up. I read Ivanhoe when I was in junior high school (lots of free time) and liked it a great deal, but I've always been tickled by the comment from one of Vonnegut's characters: "Wuffo I gotta read no Ivanhoe? Wuffo?"

Does anyone here know anything about dance events tied to the summer Olympics?

Thanks so much for the links! Seeing 'through' the rear of the stage in the Fancy Free rehearsals to the trees in the background -- loopy!

What Alexandra said -- there are still many people working in modern dance who feel they must define their work by what it is not -- ballet.

I'd vote for black cherry, if we get a preference.

Oh, I am so there! What flavor is the jello?

Re Bourne -- context counts in language, and for Edward Scissorhands, Bourne is working in the musical theater tradition, where almost any substantial dance is called a ballet (deMille's Dream Ballet in Oklahoma includes much more vernacular movement than academic ballet, but it's a musical and musicals have ballets) And I have fewer objections to calling his work ballet than in the other term people are tossing around -- "dansicle." Even though he doesn't really use the grammar and vocabulary of ballet, he makes so many references to extant works that I think it's unrealistic to look at his work without considering that tradition. I understand that there have been a few times that people didn't realize, when they bought tickets to his Swan Lake, that they were not seeing the Petipa/Ivanov work, but that is the fault of the presenter, not Bourne. I haven't had the chance to see some of his earlier works, but I do like what I've seen so far. Re parody -- don't forget Tudor's Gala Performance!

Ah, good news about Korbes -- I'm looking forward to seeing her again. I don't know anything about Vail casting, but you can look at their very spiffy program book online here

Wow -- I've never seen this one!

I'm curious to know more about the new work -- his "Almost Mozart" for Oregon Ballet Theater is an excellent piece.

The company just announced a set of lecture-demonstration programs for the autumn, among them what looks like a repeat of Doug Fullington's excellent "Balanchine's Petipa" from last season -- some of the best time I spent watching dance all year. From the press release: TWYLA THARP Thursday, September 18 5:30 pm, McCaw Hall Choreographer Twyla Tharp will discuss her new works for PNB, with excerpts performed onstage by Company dancers. Ms. Tharp will also field questions from the audience. This special event is FREE for full season subscribers; subscribers may purchase additional tickets for $15; general admission $20. BALANCHINE’S PETIPA Wednesday, October 1 5:30 pm, Studio C, The Phelps Center, 301 Mercer St. Education Programs Manager Doug Fullington will discuss the influence of Balanchine’s Russian training on his choreography, with a particular focus on pas de deux and corps de ballet choreography. Excerpts from PNB’s 2008-2009 repertory, as well as works by Marius Petipa, will be performed by Company dancers and students from Pacific Northwest Ballet School. Tickets to this special event are $20. BALLET 101 Saturday, October 4 2:00 pm, The Phelps Center, 301 Mercer St. Robert Greskovic, acclaimed dancer writer for the Wall Street Journal, will participate in this seminar on ballet basics, drawing from his popular book, Ballet 101: A complete guide to learning and loving the ballet. Tickets to this special event are $20.

Here in Seattle we've named buildings and parts of buildings after donors for many years, and the process can verge on the ridiculous. When the local opera house (which used to be called the Opera House) was renovated, the McCaw family (cell phones) gave what is becoming called a 'naming gift' so that the hall itself would be named after their mother Marion Oliver McCaw. Which would, if we really followed through on the acronym, make it MOM Hall. Inside the theater, the main auditorium is named after another donor, the small lecture hall named after a donor and a donating company, each of three lobbies named after different donors, a couple meeting rooms ditto, and the plaza outside named after yet another. If you can't afford to give on that scale, you can donate a smaller amount and have your name on a seat (or seats) in the auditorium. And on the bottom of a pillar in the main lobby, underneath many other names, is a small plaque recognizing the citizens of Seattle, who are still paying for the bonds that financed a big chunk of the project. And yet, they missed a significant opportunity. One of the big improvements that came with the remodel was the addition of almost twice as many women's toilets. Previously, you really had to plan your liquids if you were at an event in the hall -- there were nowhere near enough toilets to actually serve the number of women in the hall. I know this sounds a bit silly, but it was a real difficulty. I was at the press conference where they revealed the new designs , and "more women's toilets" was every other slide in the power point presentation. And yet, they didn't offer a naming opportunity for bathroom stallls. The gods know my sister and I would have been first in line (after rushing out of the auditorium to get in line time and again), but somehow that didn't get in the budget. On the flip side, though, an anonymous group of donors got together here and bought the naming rights to the museum's outdoor sculpture park, with the understanding that it would keep the name it started with, the Olympic Sculpture Park, named after the mountain range you can see in the distance. Sometimes people get it right.

Oh ouch! Many thanks for the explanation!

Thanks so much for the links -- I'm scampering over to watch!

In a recent review of the English National Ballet, the critic referred to something called an MOT test "Harald Lander's 1948 ballet Etudes is like an MOT test. If a company can get through it, they're probably in pretty good shape. If they can sail through it with brio and distinction, as English National Ballet do under the directorship of Wayne Eagling, then they have every reason to feel on top of the world." I'm not familiar enough with Brit culture to recognized the acronym -- can someone here explain?

Oh, will you be seeing this? If so, please post after the show -- I'll miss her dancing.

Well, it certainly beats mowing lawns or working as a lifeguard for a summer gig!

Oh, I agree -- I just thought it was twisty that she'd tapped people who were on their way elsewhere.

sad news, so travels fast.

This is part of the company's regular season at McCaw Hall in Seattle -- they generally do two different programs in the autumn (aka before Nutcracker) and this is the opener, at the end of September. Peter Boal has added several of her works to the PNB repertory since he became artistic director, but this will be the first time that she's choreographed on the group. According to Boal (during a post-show Q&A session) she originally was hoping to work with Noelani Pantastico and Casey Herd, before they announced their departures.

Well, now Twyla Tharp is making three new works for the September rep show (alongside their production of her Nine Sinatra Songs) -- that's going to be a pretty intense experience...

Oh, this is one of my favorite games! Right now I'm yearning for a production of Jooss' Green Table at Pacific Northwest Ballet. Jonathan Poretta as the Profiteer (those white-gloved hands!), Carrie Imler or Ariana Lallone as the Partisan, Louise Nadeau in her frail mode as the Mother, Noelani Pantastico as the Young Woman, Jeff Stanton as the Standard Bearer, and Olivier Wevers as Death (alternating with Bakkthurel Bold)