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About kathaP

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
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  1. I agree that the cuts are unfortunate, but I find the parts that are there extremely impressive nevertheless. Ulanova's mad scene is just something else. I wish the Myrtha solo was there, the severity of the dancer who portrays her really works for me, I would have liked more of her.
  2. I think what the "Today Show" clip showed is that Macauley's comment came at a time when there was already a media narrative underway that portrayed ballet as potentially dysfunctional, obsessive and unhealthy. The "Black Swan" clips inbetween Ringer's interview highlighted that. Mainstream media usually sensationalizes, simplifies and misrepresents. Ringer did very well, she was calm and not accusatory. Because of course Macauley is entitled to write his reviews as he sees fit. That's what he gets paid for by the New York Times. At the same time, I thought the "too many sugar plums" remark w
  3. Review of Ratmansky's Anna Karenina in the St. Petersburg Times: "Femme fatale"
  4. I just found this little snippet of Simone and Kronstam on youtube. I hope this is the right place to post this? I've never seen either of them dance, so I'm really excited to have discovered this. Simone and Kronstam
  5. Swan Lake and La Bayadere Balanchine's Stravinsky Violin Concerto and Midsummer Night's Dream Ashton's La Fille Mal Gardee, A Month in the Country and The Dream Nijinska's Les Noces Lavrovsky's Romeo and Juliet Fokine's Les Sylphides I have too many favourites and can't bring myself to only choose one or two.
  6. Wasn't there talk some time ago that Burlaka wants to restage Grigorovich's version? I thought I read something along those lines somewhere.
  7. No, the "blaming" was me paraphrasing the article as I understood it. And I do think that her argument is that the Balanchine influence is so overwhelming (in the USA?) that other kinds of styles get pushed to the side. Perhaps they get pushed aside because their great representatives are being neglegected (Ashton, Tudor etc.) and not because Balanchine is ubiquitous and supposedly easy to imitate (which, as you said, isn't really true, or only true on a very superficial level...)?
  8. Thanks for the Dance Magazine link. Very thought-provoking topic. That said, I really stumbled over the AD of Ballet Idaho saying that Tudor has little value as well. Surely the answer can't be to dismiss everything that isn't abstract? If there really are too many people in positions of power who dismiss every ballet that isn't Petipa, High Modernism or "done last week" then I can see how that might be a serious problem. The other responses seemed very thoughtful and measured to me, though. Back to the original Kaufman article...I agree with her analysis of the problems ballet is currently
  9. Oh, that's great news! I was wondering why all her performances were suddenly cancelled. From the little I have seen of her, she's one of my favourites. Her Bride in Nijinska's Les Noces was haunting.
  10. Sorry to drag up an old topic, but I just got the DVD with Maximova and Vasiliev dancing Lavrovsky's version for Christmas. Speaking only as a ballet fan and no sort of expert on anything, I love it. Of course the two leads are divine. But as far as I can see the choreography is beautiful as well, certainly more coherent than MacMillan's (which is the only other version I know). What I noticed is that the choreography for the corps is more detailed and contributes to the "setting" of the narrative while for me the "happy harlots" sequences in the MacMillan piece always seem totally disconnec
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