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Posts posted by lmspear

  1. 6 hours ago, ECat said:

    This article is so important and I wish I had access to this type of knowledge when I was training in ballet.  At that time there was no internet and only reviews in the newspaper and movies such as The Turning Point and Dancers.  My fears surrounding food, body image, etc. were very isolated and I felt alone.  It would have been very helpful to know that other dancers, professional dancers have the same fears and that every body is shaped differently.

    Competing with the Sylph by L. M. Vincent, MD came out in 1979 and received a lot of attention at the time.


    Unfortunately it doesn't seem to  have had lasting impact.

  2. The Bolshoi used to program a performance called "Highlights." Here's a link to a review of one of these performances, https://www.google.com/url?sa=t&source=web&rct=j&url=https://www.nytimes.com/1987/07/06/arts/ballet-the-bolshoi-in-highlights-programs.html&ved=2ahUKEwjE7-e12OfuAhUKwVkKHYubAi4QFjAFegQICBAB&usg=AOvVaw0k9wq1NGLYLju1ovWoFJwH.  

    The unending stream of gala pieces was sandwiched between Act I of "Romeo and Juliet" and Act I of "Spartacus." There was no attempt to create a plot or even a theme to tie the works together dramatically.

  3. When JLo started singing the first thought I had was, "Is she going to include the verses about trespassing and the relief office?" I was totally disappointed that the last verses of "This Land is Your Land" were omitted. I can't stand the mindset that recognition of a bad situation in your country equals hatred of it. I know the decision was probably made for reasons of time, but it would have been so much more effective to hear all of "This Land" instead of the attempt to hide the end by making it medley.

  4. 12 hours ago, pherank said:

    I wonder how much those platform stages cost to rent? Can't be too inexpensive, and then there's the licensing fees to secure the outdoor space for a certain period.

    Luckily, the stage is located on the Kaatsbaan campus.  

  5. 1 hour ago, laurel said:

     I believe she was, literally, floating

    I had the same response when I saw her dance the fairy godmother at the Kennedy Center.  It was during the pre ball transformation scene.   The stage floor appeared to disappear from view and she serenely worked her magic.

  6. On 5/7/2020 at 2:04 PM, Helene said:

    Not streaming, but on demand, there have been a number of interviews happening.

    Here NYCB's and Final Bow for Yellowface co-founder Georgia Pazcoguin interviews PNB Principal Dancer William Lin-Yee in a video reunion: they were students together at SAB.   They discuss a wide range of issues centering around cultural upbringing and being cast in yellowface roles.


    Final Bow for Yellowface is doing an interview a day for the month of May.  Today's guest was Stella Abrera.  She spoke very movingly about the upended plans for her last season at the Met.


  7. Dying Swan marathon


    This fundraising event, organized by Misty Copeland and Joseph Phillips, features a multitude of dancers from Sarah Mearns to Precious Adams, benefits dance related relief funds.

    Here is the full description from the Go Fund Me page.  I had trouble formatting the copied text.


    Swans For Relief 

    In these unpredictable times, ballet companies - like many organizations - are fighting to survive.  

    Ballet companies are largely dependent on revenue from performances to pay their dancers and fund their operations, but we are now confronting the uncertainty of when we will return to the stage and once again fill performance venues. Some estimates are that large gatherings like concerts and performances will not be able to resume for another 18-24 months. The live performance aspect of what we do means so much to us, and this time away from the stage has proven difficult as performing not only provides us with a means to live, but it also is what keeps us feeling alive.   

    Consequently, many dancers are unable to depend on paychecks and are facing the hardship of paying rent and/or buying food and other necessities.   

    We are coming together to help fellow dancers who are struggling financially. The 32 ballerinas featured in this special video performance represent ballet companies from around the world, including the US, Australia, the UK, South Africa, Norway, Russia, Cuba, France, the Philippines, Canada, Austria, Mexico, Denmark, and China.    

    For us, the idea of 32 beautiful and strong women from different walks of life coming together to speak the common language of dance felt so unifying and empowering in these uncertain times.    

    We know that everyone’s circumstances are different, especially in these precarious times, but we would be so grateful to those who are able to donate, no matter the amount. If you are not able to donate, please consider sharing the link to this fundraiser so that it might reach more people who are able to give and share in turn. The arts are vital in bringing people together and helping us process the human condition, and in these very unusual times it is dancers who can truly use the support.    

    Thanks to seed funding from K Period Media,  funds raised will be distributed to each dancer’s company’s COVID-19 relief fund, or other arts/dance-based relief funds in the event that a company is not set up to receive donations. Distribution of funds will be administered through our partner, Entertainment Industry Foundation (EIF), a registered 501(c)(3) non-profit organization that serves as a gateway to giving for the entertainment industry, creating and supporting groundbreaking campaigns that raise awareness and funds for issues that affect millions of people around the world. EIF has the capacity to distribute multiple grants globally and provide the due diligence and reporting necessary for the many dancers, ballet companies and countries involved in Swans for Relief.   

    We thank you and hope to see you all again when it's safe for us to come together.   

    Misty Copeland and Joseph Phillips   

    Below are the featured ballerinas and their respective companies:  

      •Stella Abrera 

    American Ballet Theatre, USA  

     •Precious Adams 

    English National Ballet, England   

    •Nathalia Arja 

    Miami City Ballet, USA   

    •Isabella Boylston 

    American Ballet Theatre, USA   

    •Skylar Brandt 

    American Ballet Theatre, USA   

    •Misty Copeland 

    American Ballet Theatre, USA   

    •Monike Cristina 

    Joburg Ballet, South Africa   

    •Ashley Ellis 

    Boston Ballet, USA   

    •Greta Elizonda 

    Nacional de Danza Mexico, Mexico   

    •Nikisha Fogo 

    Vienna State Ballet, Austria  

     •Angelica Generosa 

    Pacific Northwest Ballet, USA   

    •Sarah Hay 

    Freelance Ballerina, USA  

     •Francesca Hayward 

    The Royal Ballet, England   

    •Robyn Hendricks 

    The Australian Ballet, Australia   

    •Whitney Jensen 

    The Norwegian National Ballet, Norway  

     •Yuriko Kajiya 

    Houston Ballet, USA   

    •Maria Khoreva 

    Mariinsky Theatre, Russia 

    •Ako Kondo 

    The Australian Ballet, Australia 

    •Misa Kuranaga 

    San Francisco Ballet, USA   

    •Stephanie Kurlow 

    Freelance Hijabi Ballerina, Australia    

    •Sara Mearns 

    New York City Ballet, USA   

    •Ginett Moncho 

    Ballet Nacional de Cuba, Cuba   

    •Katherine Ochoa 

    Ballet Nacional de Cuba, Cuba   

    •Hannah O'Neill 

    Paris Opera Ballet, France   

    •Denise Parungao 

    Ballet Philippines, Philippines  

     •Tiler Peck 

    New York City Ballet, USA   

    •Tina Pereira 

    The National Ballet of Canada, Canada   

    •Ida Praetorius 

    The Royal Danish Ballet, Denmark   

    •Jemima Reyes 

    Ballet Philippines, Philippines   

    •Ingrid Silva 

    Dance Theatre of Harlem, USA   

    •Bianca Teixeira 

    San Francisco Ballet, USA   

    •Xu Yan 

    The National Ballet of China, China   

    Le Cygne (The Swan) with music by Camille Saint-Saëns, performed by cellist Wade Davis (USA)   

  8. 15 minutes ago, Quiggin said:

    Not well but maybe certain parts like the Firebird may indeed have size requirements – Alicia Markova who originated the role was tiny, a hummingbird firebird. Not sure if this is the exact part Kathryn Morgan was doing. 

    My Ballet Russe reading is stuck in my long term memory.  Tamara Karsavina was the first Firebird.  Alicia Markova was the title bird in The Nightingale and Maria Tallchief was Balanchine's first Firebird.  Didn't von Aroldingen also dance Firebird after Kirkland?

  9. 1 hour ago, pherank said:

    . . . what the heck is Titania's 'cavalier'? A choreographic deus ex machina? Oh, never mind.

    I was wondering that myself one day, having only seen the word in a ballet context, I went to the dictionary to see if I could draw a connection between the word and it's function.  I remember reading man-at-arms as the first definition of cavalier and concluded that Titania's cavalier was her bodyguard. It made sense to me..🤔

  10. 3 hours ago, Emma said:

    Hurlin does have an extensive presence in traditional dance media . . .

    That spotlight has been finding Hurlin at least since she originated the role of young Clara in the Ratmansky Nutcracker.  Her picture and name were in every piece of ABT's publicity material for the production and the resulting press coverage.  From Alastair Macaulay's review in the "paper of record."

    Yet amid several superb interpretations on Thursday, none surpassed those of the two central children. Young Catherine Hurlin’s partly angry, partly vulnerable, never picture-perfect Clara exemplifies the individuality of Mr. Ratmansky’s approach.

    Catherine Hurlin and Tyler Maloney as Clara and her Nutcracker as children.

    Catherine Hurlin and Tyler Maloney as Clara and her Nutcracker as children.


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