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keguri

Member
  • Content Count

    30
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About keguri

  • Rank
    Member
  • Birthday 03/13/1972

Registration Profile Information

  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    adult ballet student, avid balletgoer
  • City**
    seoul
  • State (US only)**, Country (Outside US only)**
    korea
  1. It was rush hour on a Friday, and raining heavily. The taxi ride took forever. When I arrived at the ticket booth with only half an hour to spare, the lady behind the counter insisted that I give her the reservation number. Since I had bought the tickets nearly two months ago, this number was buried beneath hundreds of other text messages on my cell phone. I gave her my name, my telephone number, my date of birth, even my resident ID number. To no avail. Apparently "foreigners" need to have the reservation number. When I finally found the reservation number and received the tickets, there was
  2. I'm just wondering if anyway has found confirmation of this story in other, more recognized news sources (i.e. outside of the blog-o-sphere.) Nothing came up when I searched the news on Google. Or is there a way to confirm the existence of the application. I don't want to get my blood pressure up if this isn't true --- but if it is, how terrible...
  3. Well, you are correct in that many people enjoy simpler interests and pleasures, but one has to be inclined to say it depends on the milieu you inhabit whether it is in the UK or Europe. I find the nouveau riche snobisme of the French unpalatable and the German and Austrian snobistisch unbearable in their appreciation of their own arts and would be loathed for the UK to adopt their cultural attitudes. People from almost every walk of life in the UK today attend arts events in greater numbers than at any other period of the past. It is too easy to generalise about the cultural activities of
  4. ...if not public health... Sadly, it is all too clear where and when the government will spend money: wars to fight regimes we once supported, prisons for those who we have failed to educate, bailouts to save industries from their malfeasance --- not to mention all the industry subsidies and pork. I guess when a country has lost a deeper sense of some kind of universal will, it can only find the political will to back "emergency actions." Everything else is done by political extortion. What we need is a positive, rather than reactive and negative, sense of the public good. But this is mo
  5. Having lived in both Europe (in Freiburg, Germany for 1.5 years, as also Vienna) and America, and also Asia I feel that there is some truth to this. When I was in Germany as a student I had many friends that had an active and seemingly profound love for Classical music and opera. They would participate in informal choir groups, play music together, and even organize small gatherings where they would listen to demanding operas (Tristan and Isolde, Moses and Aaron), in their entirely. I felt that their love for culture was sincere and not pretentious, and many of them came from rather modest ba
  6. Thank you for these great references. I found a preview of Chappell's book on Google books, and it looks very interesting.
  7. Thank you for this wonderful and moving description of Kitten and Lopez's farewell. For me, Calvin Kitten and Fritz are inseparable, and it is sad to think that he is retiring, since he was such a striking presence in the performances of the Joffrey that I saw. When I was in Chicago, I saw the Joffrey's Nutcracker many times, and was never bored. It is really one of the best out there, I think. The NYCB left me sort of disappointed, not because of the quality of the dancing, but because it seemed a bit like the ballet version of the gigantic rigid stuffed animals at the flagship FAO Schwarz St
  8. I think I should be able to find a copy of this: I tried the two largest university libraries in Seoul, but then I remembered that the women's university near where I live has a strong dance program --- and indeed they have it. I think I might have read David Michael Levin's essay on Balanchine in What is Dance?. (I also met him a few times when I was studying at Northwestern) But I haven't heard of Beiswanger or Hoffman. Thank you for the suggestions!
  9. Thank you. I saw a description of it on the internet. Sounds great!
  10. I was wondering if anyone knew of obscure aesthetic/philosophical treatises on the ballet. I am most interested in works written between the early nineteenth and the mid twentieth century, and which take an unusual aesthetic/philosophical approach. I've looked through the collection "What is Dance?," and there are many interesting essays in it. And I also know of a number of works on dance by post-war French philosophers. But I'm interested above all by writings by somewhat less famous authors that have fallen through the cracks. Examples of what I am looking include the writings by André Levi
  11. I agree completely. I was somewhat misled by the question. "Disaster" and "institutional confinement" seem to be fundamentally opposed concepts, since institutions are often created in order to contain a perceived disaster or threat (drugs, epidemic diseases, crime, "wrong" political beliefs, sexual deviance, racial contamination, mental illness...) by isolating it from the general population. Disasters, in this sense, exist when there is not yet an institution to manage them, or where the existing institutions have failed. There certainly are examples of large-scale musical compositions crea
  12. I see your point, but the difference does not seem so clear cut. Certainly there is a difference between a work of art created in a institution (hospital, prison, etc) , and one created about an institution, but this is because institutions, almost by definition, depend for their operation on drawing distinctions between those who have been institutionalized, those who work for the institution, and those on the outside. But in the case of a world war, or the threat of nuclear annihilation, how can one differentiate between those who are "within the event" and those "outside it"? Especially gi
  13. A very interesting question! Offhand, I thought of "The Clowns" by Arpino of the Joffrey Ballet, which, first performed in 1968, deals with nuclear war. I also remember reading about a short and somber dance by Nijinsky to protest the first world war.
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