Stecyk

National Public Radio NPR has a six minute podcast and transcript: Hallberg Talks About Joining The Bolshoi Ballet

I am not sure how to embed YouTubes. Can YouTubes be properly displayed? If so, could a moderator please modify this post and provide some guidance. I used the "media" tags. The YouTube is a short two minute discussion of the SF Ballet at Stern Grove. I like the fans' discussion of why they like ballet. Thought you might enjoy this YouTube too.

Another article, this time from The Wall Street Journal ABT Dancer Defects (subscription might be necessary)

Thank you Helene for your helpful answer. From corresponding with others, I learned that the Alberta Ballet does have a reasonable amount of turnover. I look forward to learning about and watching those who join Alberta Ballet, and similarly following the careers of those who leave.

I thought that once a dancer became a principal, he or she was likely to stay with that ballet for the remainder of his or her career. I am not sure if that thought is generally held true; however, The New York Times reports that David Hallberg is leaving for the Bolshoi Ballet. New York Times: American to Join the Bolshoi Ballet by ALASTAIR MACAULAY and DANIEL J. WAKIN (subscription might be required)

In her discussion, Kain indicated that she got her break when she was nineteen. She was asked to step into Swan Lake because other dancers were injured and there was no budget to bring in another dancer. On Sunday Arts, Sara Mearns, a principal dancer with NYCB, provides a fifteen minute video discussion. To see the video, please follow the link: Sunday Arts - New York City Ballet - Sara Mearns

Thank you Vipa for providing your thoughts. My interpretation with regard to hard work was that to be a a principal dancer, he or she must have everything else and be among the hardest working. And that hard work results because of the desire and passion. Although Kain didn't elaborate on genetics, my own guess is that beneficial genetics are spread over all attributes, from physical traits to intelligence to attitude. When I think of those at the pinacle of their profession and genetics, I am reminded of a Stephen King quote: On Writing: A Memoir of the Craft (I won't provide a url; for those interested, please use the Search Amazon feature at the top) Page 135-136 While King writes about writers, I suspect geniuses in many or most (artistic) professions are similar. That is, those at the very pinnacle of their professions are very few in number. And, some extreme geniuses are genetically fortunate, gifted in a way which is way beyond our ability to understand, let alone attain. I hadn't considered the needs of the company being a determining factor. However, your response makes sense. I had naively hoped that a company would use whomever is necessary, but would recognize and reward those most deserving. If others have more to add, including further commentary from Vipa, I am most interested in reading and learning.

Last Thursday September 17, I attended Canada's National Ballet in Calgary, home of Alberta Ballet. The National Ballet is celebrating its 60th Anniversary by touring Canada. We enjoyed four ballets: the second detail; Other Dances; The Man in Black; and Emergence, all of which were modern ballets. Everyone enjoyed the ballets as evidenced by the standing ovation at the end of the evening. For those interested in a review, please see Bob Clark's article in the Calgary Herald: http://goo.gl/KTeY5 Anniversary ballet tour bookended brilliantly Prior to the ballets, Karen Kain of the National Ballet met with the audience and took their questions. She discussed her career, the National Ballet, and dancers. She indicated that dancers today are much more capable than they were during her generation. There are greater demands placed upon today's dancers. I asked her what she looked for in a principal dancer. She indicated that she looked for intelligence. Principal dancers must be extremely bright. Next, they must possess desire and passion. They always work harder than the others. They must have great timing and musicality as well as have great range and flexibility. And last, principal dancers possess a genetic gift. My question was the last question asked during the pre-dance session. As soon as she responded, the crowd disbanded on its way to find its seating. Leaders in almost any field are usually very bright. Similarly, desire, passion, and a willingness to work harder than most others is also true. For dancers, timing and musicality as well as range and flexibility are naturals. At the principal dancer level, I am not surprised by her genetic gift comment. I'd like to ask those in Ballet Talk to describe a general career for a principal dancer. From looking at the evening's program, it seemed to me that most principal dancers were dancing with the National Ballet for about five to seven years before becoming a principal dancer. Do you agree with Ms. Kain's answer? Would you augment her answer or suggest changes? How long do most principal dancers remain as principal dancers before retiring? Do principal dancers receive any special benefits, aside from receiving more money and better roles? Is there more guidance or mentoring? Are the expectations much more demanding? Are more career or post-dance options explored? And as dancers approach the end of the performance careers, are they usually given a long transition period? That is, do artistic directors usually provide some early guidance that their careers are entering the sunset period? Is there anything else that would be helpful knowing? I look forward to your responses.

As I was reading another article, I thought of this thread. Secrets From Apple's Genius Bar: Full Loyalty, No Negativity Wall Street Journal Online (subscription might be required). 15 June 2011 By YUKARI IWATANI KANE And IAN SHERR [emphasis added]I am not surprised. Apple is famous for keeping a lid on its information and maintaining or elevating its reputation.

I received the following information in an email this morning. -------------------------------------------------------------------------- Bodytorque.Muses will be streamed live from Sydney Theatre on BigPond Sunday 29 May at 3pm AEST This Sunday, the intimate surrounds of Sydney Theatre will host one of Australia’s hottest dance events. Bodytorque.Muses, the eighth instalment of The Australian Ballet’s popular Bodytorque program, will explore the intriguing relationship between artists and their muses. In an exciting first The Australian Ballet, in partnership with our Principal Sponsor Telstra, will live stream a performance of Bodytorque.Muses on Sunday 29 May, 3pm AEST at http://bigpondvideo/ballet. The live broadcast will be available to all internet users around Australia and the world, not just BigPond customers, and the content will later be available to view as video on demand. This is a unique opportunity for you to see five of the country’s emerging choreographers push the boundaries of ballet – no matter where you live! See a sneak peak of our dancers rehearsing this year's works on YouTube If you have any trouble viewing the live stream please see our helpful hints and tips here.

I received an email less than an hour ago. At the Australian Ballet web site are three photographs and a short video on Bodytorque.Muses: http://www.australianballet.com.au/whats_on/event_detail?perfid=1999 Here's a link showing the local time in Australia: http://www.worldtimezone.com/time-australia.htm

I contacted the Australian Ballet to get more information and received this email response: As soon as I receive more information, I will post it here for others.

Two Reviews of Alberta Ballet's Fumbling Towards Ecstasy Sarah McLachlan ballet shimmers in beauty (Globe and Mail) Ballet Review: The Alberta Ballet’s Fumbling Towards Ecstacy (National Post) I thoroughly enjoyed Thursday's performance. Also, here is a brief podcast Fumbling Towards Ecstasy Moderators, feel free to move to links, delete, or leave "as is."

For those wanting to catch a performance from Australia, here's something that might interest you: Telstra to stream The Australian Ballet live to the Internet iTWire By Stuart Corner Thursday, 05 May 2011 11:23

Very Positive News... May 3, 2011, 12:43 pm City Ballet Reaches Accord With Dancers By ROBIN POGREBIN The New York Times

Here is Sarah Lane appearing on ABC's 20/20. ABC Video: Natalie Portman's Dance Double Speaks Out Worthwhile viewing.

Re pay, see second quote in the post before yours (post 30): And yes, you are correct.

We agree GretchenStar that, depending upon the severity of the comments, comments might adversely affect audience turnout. I am sure you and I and others would agree on the extreme cases. It's where the lines are blurred and gray that it becomes more difficult. Thank you for your comment.

How Much Did Dance Double Sarah Lane Earn for ‘Black Swan’? Wall Street Journal 28 March 2011 I don't mean to ruin a really good story with a few cold hard facts, but Ms. Lane did not make off like a bandit. Given her work and her years of dedication, a few well placed kind words acknowledging Ms. Lane's efforts and accomplishments would have gone a long way.

balletmom311, I echo Helene's congratulations. As I indicated in my blog article, I thoroughly loved Serenada. Please pass my appreciation along to your dancing daughter.

Bonnette, I enjoyed Ms. Lane's well written article, so I thought others here would enjoy it too. WSJ has been providing more coverage to dance recently. Given all the negative attention Lane's comments have received in recent days, I am surprised she took the time and effort to respond to the WSJ's request. I am happy, however, that she did. I am glad that you found her article excellent and that it was not behind a subscription wall. Thank you for your comments.

My (Double) Life as a Black Swan Sarah Lane, the dancing double in the movie Black Swan, wrote an excellent essay in the Wall Street Journal. This link might be behind a subscription wall. If it is, try Googling the title, with or without the quotes, "My (Double) Life as a Black Swan". Often from Google, you can bypass the subscription wall. The same applies to NY Times articles as well.

Leigh, thank you for your warm comments. I am looking forward to when I observe and appreciate both the technical aspects as well as the more macro, general movements. As I mentioned in my blog article, I would love the see Serenade several more times. I am sure I would appreciate each successive viewing more than the last. These two ballets, Serenade & Vigil of Angels, served as a great introduction to ballet. As I see more ballets, I am sure that my enjoyment will only increase.

Here's my blog article after having seen the two ballets: Alberta Ballet: Serenade & Vigil of Angels. And to respond to cubanmiamiboy, Hayna Gutierrez played a pivotal role in Vigil of Angels, the second ballet that evening.

This conversation betweeen you and me is boring. So I am not going to continue this conversation much further. If you go back to my initial response, I simply demonstrated that it is possible for others to write or say something and have a dramatic effect on his or her audience or customers. Nothing more, nothing less. You know what they say about assuming. Besides, it is proper practice when altering someone's quote to indicate any and all changes.