sandik

They are not really pas de deux -- they're not long enough or developed enough, but I'm always gobsmacked by the three themes at the beginning of Balanchine's 4Ts. And then there's Sanguinic...

Start tangential rant Don't get me started -- my local PBS station (KCTS, for those who live in the area) did not show the Morris/Mozart Live from Lincoln Center program, and when I called to ask when they might be broadcasting it, was told that they would not. This in Mark Morris' home town. end rant

I agree about the change in attitude regarding injuries, but I think this extends to a better overall understanding of human anatomy. I've been so pleased to see teachers and choreographers work with the specifics of biomechanics, especially the structure of the pelvis and hip joints as they affect turn-out.

Oh, this is so interesting. Personally, I love Les Noces, but can see how it wouldn't suit everyone.

YES! ESP lives! Just last Tuesday I was telling a friend at lunch about that scene and how I couldn't imagine any two tougher divas doing the ultimate of this kind of scene--but that I also thought they must have done umpteen thousand takes and still Hayward couldn't quite get all the amusement out of her face from watching Davis. To wit: Hayward: 'Mother, why do have to make it sound so dirty?' Davis: "You have devoted your life to muddt andt fildth!!!!" "Sculptress! Pagan! Alley cat!" "With you, art and sex go hand in hand." Wow -- I don't know this one (shuffles off to put it on her rental list) Begging the guilty part, I've been slurping up the Food Channel recently (pun mostly intended) and think Alton Brown is a fun, fun guy.

Is anyone going to Vail -- I'd be curious to hear about the festival.

Yes, Paul, that's Renvall. I'm not sure that video is commercially available. It was televised, though, so some may have a home copy. I agree, it does show his talents very well. I think it's available, or it once was. It's a program about Tudor, with some interview footage and a performance of Lilac Garden as well. I love Dark Elegies, and Renvall did a wonderful job with the part.

Well, I could always get you a small bouquet of hay when they do it here. I'm not sure of the details, but I think that Kansas City also has done the 57 version -- the original caller lives (or lived) quite close to the city. Many thanks for the link. I'm looking forward to seeing whatever version we get here.

Your comment about grownup film really strikes a chord with me -- his is one of the most fully formed and mature bodies of work I can think of in almost any art form.

The article in the Vail paper in the links section original version of Square Dance at Vail made me wonder if we're getting both versions of the work here. I've sent around a couple of emails, but does anyone here have any information (of the sort we're supposed to post, that is!)

Somewhere (in that Portrait of Giselle video, perhaps?) Markova says that the story she was originally told was that Hilarion had a red beard, and that's what Giselle was objecting to. Oh ouch!

The engineering explanation is quite sensible, if not as fanciful as the other ideas. (considering that it's almost August, I'm in the mood for silly) And do look at the photo from Mikhail's link -- it's just lovely

About the "look" of the foot in the shoe -- there have been a few global shifts in pointe shoe aesthetics in the field since I've been paying attention -- when I first got involved almost everyone was using a very tapered box with an almost circular point of contact (I have a pretty wide forefoot, and it was difficult to find a shoe that wouldn't make me layer my toes) I wound up seeking out Freeds pretty early -- the box was much more oval than anything I could find in the US at the time, and wider -- much less taper, especially looking at it from the top of the box. I got some funny looks for a while, but (long after I'd stopped working on pointe) that silhouette became a standard one, and now almost all shoes have that look, wherever they come from. I love watching people work their feet, and am always excited by someone who truly rolls up and down (leftover from my early training, where that was a big emphasis), but I know how personal the relationship is between the dancer and her shoes -- I hesitate to call foul.

I'm just doing math with the information from the news article, which may be way off, but yes, the length of the agreement and the price does seem to be unusual.

Bart, thank you for doing all that digging. If my math is correct, it looks like the company has a 46 year agreement with the school for use of the facility, at around $37,000/year. I don't know enough about the financial situation in Sarasota to know how reasonable that is, but the length of the lease alone makes me wonder -- 46 years is a long, long time in the dance world.

Back to the original thread, I saw Paris, je t'aime last month and was very impressed. The format, short films linked by a common theme, worked very well -- the brevity of the individual sections seemed to force the directors towards clarity. Each segment was very intense, probably because they had such a limited amount of time to make their point. [tangentially, there is a new work showcase here in Seattle run by the presenter On the Boards called "12 Minutes Max" the conceit being that no one work can be longer than 12 minutes. In the past they've promoted it by reminding us that, if it turns out we don't like some part of it, it will only last for 12 minutes] The individuality of the sections is quite lovely, but even sweeter is seeing so many actors I've seen before (and many I have not) in these discrete little vignettes. Gena Rowland and Ben Gazarra are particularly wonderful as an older, divorcing couple who are still really mated to each other despite their other relationships, but there really isn't any wasted energy in any of the roles. The film is well worth searching out in the theater, or looking for on DVD when it's released.

This link Florida lawsuit takes you to the public notice about the lawsuit "Florida State University Foundation Inc. vs. Sarasota Ballet of Florida Inc.," but aside from the little note that it's about "contract and indebtedness" there are no details. Does anyone reading here know anything more about the situation?

Good catch! Need to do a little phone-calling. He didn't perform very often this year -- I was wondering...

Oh, this is so very sad. I loved his voice.

And there are several moments in 4Ts with bent knees on pointe, which was the original question, if I remember correctly.

Thanks so much for the detailed description -- I don't know either of these dancers, but now have an inkling of what to look for.

Oh damn, this is so sad. I second everything that Paul said about her -- she was a fabulous ambassador for opera, and for the idea that "high" and "popular" art should mix.

Oh, I writhe in embarrassment -- you are absolutely right. And if we think that Massine is a difficult choreographer to find, Helpmann is almost impossible.

I'm so glad you saw the special duet for Maraval and Nadeau -- I had to be elsewhere, and was so sorry to miss the evening. I didn't get teary at the Barker farewell, I think because we've had the whole year to get used to the idea that she's leaving, but I did thoroughly enjoy both Balanchines. Midsummer was lush and wild, and Agon (with Olivier Wevers, who is dancing particularly well lately) just blew me away.

I hadn't seen this one -- many thanks for the heads-up. I love this score.