Stecyk

National Public Radio NPR has a six minute podcast and transcript:

Hallberg Talks About Joining The Bolshoi Ballet

Another article, this time from The Wall Street Journal

ABT Dancer Defects (subscription might be necessary)

The artistic director of the Bolshoi Ballet, Sergei Fillin, said in a statement: "Mr. Hallberg received his training in the United States and Paris Opera Ballet School. He possesses all the best qualities of classical dancer—perfect technique refined manners and outstanding acting abilities."

Despite the new home base, Mr. Hallberg, a native of South Dakota, will continue to dance with ABT. He is expected to appear in "The Nutcracker" this winter at the Brooklyn Academy of Music, as well as on tour and at the company's annual Metropolitan Opera House season in the spring. He joined ABT as a member of the corps de ballet in 2001 and became Principal in 2005.

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)

David Hallberg, a principal dancer with American Ballet Theater, is becoming the first American star to enlist permanently with the fabled Bolshoi Ballet of Moscow. Mr. Hallberg, 29, who was born in Rapid City, S. D., will hold the coveted status of premier, the Bolshoi term for principal dancer.

“Personally I feel a sense of responsibility as an American,” Mr. Hallberg said on Tuesday, adding that he was proud to join such a historic company. “I will be bringing something different to the company but I will also be respecting their traditions as well.” He said he was aware of the unique responsibility entailed in being a first. “There will be people watching,” he said. “I have to do it justice.”

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

Writers form themselves into the pyramid we see in all areas of human talent and creativity. At the bottom are the bad ones. Above them is a group which is slightly smaller but still large and welcoming; these are the competent writers. They may also be found on the staff of your local newspaper, on the racks at your local bookstore, and at poetry readings on Open Mike Night. These are the folks who somehow understand that although a lesbian may be angry, her breasts will remain breasts.

The next level is much smaller. These are the really good writers. Above them--above almost all of us--are the Shakespeares, the Faulkners, the Yeatses, Shaws, and Eudora Weltys. They are geniuses, divine accidents, gifted in a way which is beyond our ability to understand, let alone attain. Shit, most geniuses aren't able to understand themselves, and many lead miserable lives, realizing (at least on some level) that they are nothing but fortunate freaks, the intellectual version of runway models who just happen to be born with the right cheekbones and with breasts which fit the image of an age.

I am approaching the heart of this book with two theses, both simple. The first is that good writing consists of mastering the fundamentals (vocabulary, grammar, and the elements of style) and then filling up the third level of your toolbox with the right instruments. The second is that while it is impossible to make a competent writer out of a bad writer, and while it is equally impossible to make a great writer out of a good one, it is possible, with lots of hard work, dedication, and timely help, to make a good writer out of a merely competent one.

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

Alberta Ballet presents the National Ballet of Canada's 60th Anniversary Tour, Emergence & Other Works, through today at the

Jubilee Auditorium. Ticket info: Albertaballet.com

Rating 4-1/2 out of a possible 5 (edited for clarity)

If it were a flight - which it was, imaginatively speaking - you'd be inclined to say the National Ballet of Canada 60th anniversary show unveiled on Thursday at the Jubilee took off strongly and landed beautifully.

Or you could put it the other way around - and if you did, you'd have to say the landing was very strong, indeed.

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

With their airy interiors and attractive lighting, Apple's stores project a carefree and casual atmosphere. Yet Apple keeps a tight lid on how they operate. Employees are ordered to not discuss rumors about products, technicians are forbidden from prematurely acknowledging widespread glitches and anyone caught writing about the Cupertino, Calif., company on the Internet is fired, according to current and former employees.

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.

Bodytorque.Muses to be streamed live on BigPond Sunday 29 May at 3pm On Sunday 29 May, 3pm go to http://bigpondvideo.com. The live broadcast will be available to all internet users, and the content will later be available to view as video on demand.

Kind Regards,

Jeffrey Guiborat

Customer Service Assistant

The Australian Ballet

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:

Thank you for your interest in the Australian Ballet for 2011. At this point we still do not have the direct link to where the live stream will be available. Once we do have that link, it will be available on our website. I will send it through to you as well, once we know the details. Thank you again, and I apologise for the delay in 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

Alberta Ballet opens the ballet tonight in the Jubilee. For dancer Galien Johnston it's bittersweet as she is retiring from the company this season.

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

Telstra - a principal sponsor of the Australian Ballet company - is to stream live to the Internet the final performance of the company's ballet: Bodytorque.Muses from Sydney Theatre on 29 May.

The live broadcast will be available to all Internet users worldwide at www.bigpondvideo.com and will later be available to view as video on demand.

Very Positive News...

May 3, 2011, 12:43 pm

City Ballet Reaches Accord With Dancers

By ROBIN POGREBIN

The New York Times

Dancers with the New York City Ballet voted 63-1 on Tuesday to accept a contract after contentious negotiations over issues like overtime and salary. “I’m pretty excited,” said Devin Alberda, a member of the company’s corps de ballet who serves on the dancers’ six-member negotiating committee. “I don’t think we got everything we wanted, but we made a lot of progress in terms of our work conditions.”

Here is Sarah Lane appearing on ABC's 20/20.

ABC Video: Natalie Portman's Dance Double Speaks Out

Worthwhile viewing.

I thought I read $4000 a week. Anyone know for sure?

Totally agree that Lane should be given more at ABT

Re pay, see second quote in the post before yours (post 30):

And yes, you are correct.

I'm not sure if you're referring to an actual or hypothetical situation (I have no fashion sense whatsoever, so I'm not familiar with the fashion industry), but I think it would largely depend on the situation. I'm going to venture out on a limb and say no - it likely would not affect fashionistas. However, depending on what the comments were (say if they were racist, derogatory, vulgar, politically insensitive, morally outrageous, etc), there may be a little bit of fallout (say if some fashionistas started a boycott or something).

What I meant about audience turnout not being affected by one dancer's comment was meant as a comparison to pro athletes and their comments. In sports, the winners are not predetermined. If an athlete alleges that referee Bob is fixing games, what is the point of going to watch Bob call fouls and goaltending when there are none? The situation is different in ballet (and arts). There's no "endpoint", so to speak - you're there to watch the process and the story (or lack of story, as the case may be). Even if dancer Joe alleges that his AD was biased and picks favorites, would that affect the production itself? The only examples I can think of where a dancer's comment may hurt audience turnout would be either a) blatantly offensive comments (like the categories I stated above) or b) dancer states that the production (choreography, music selection, dancing, costumes, whatever) are hideous and that no one should waste his/her time coming to see the ballet.

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.

Ms. Lane was paid $4000 / day for her double work, for a 6 week period, during her break from the ABT season. I am sure it helped soothe the pain and pay the rent.

How Much Did Dance Double Sarah Lane Earn for ‘Black Swan’? Wall Street Journal 28 March 2011

Lane said via email a few minutes ago that she earned “$4000 per week before taxes so after taxes it was about $2000 plus a little overtime.”

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

I know that some people are getting very defensive about “Black Swan” and my role in it, but back-stabbing is not my purpose when people ask me about the legitimacy of the dance shots in the movie. I only care to speak the truth. The truth is that no one, not Natalie Portman, or even myself can come anywhere close to the level of a professional ballerina in a year and a half. Period.

That doesn’t mean that I don’t admire Natalie and her acting. She is so talented and can inspire people, as well, with her own art form. She did an amazing job portraying her character in “Black Swan.” (Though the movie wasn’t a completely realistic reflection of ballet or dancers.)

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.

Through the discussions of Grand-Maître, Borne and Vallone, my most important learning was just to enjoy the beauty of the ballet. Grand-Maître encouraged the audience to superimpose our own life experiences onto the ballet because there was no definitive or correct interpretation. He further commented that these ballets are meant to soothe the soul, especially in these turbulent and troubling times. And Jean made one last remark where he quoted Balanchine's comment, "See the music, hear the dance."

I loved Serenade. There is so much to appreciate with the dance patterns and technical pointe work. The cool blues dresses together with the dancers' light movement created stunning imagery. I was amazed at watching how effortless the dancers moved through their dance. Of course, the easier it looks likely implies that it is extraordinarily difficult to achieve.

And to respond to cubanmiamiboy, Hayna Gutierrez played a pivotal role in Vigil of Angels, the second ballet that evening.

I'm sorry but I really don't see your point, and drawing parallels between Alberda & Galliano is a tad specious.

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.

AS to the last request (see above emphasising on my part) I'll do my best, but maybe it's time to be a tad less precious, I assumed that anyone reading my response would know it was my emphasising a point I wanted to respond to.

You know what they say about assuming. Besides, it is proper practice when altering someone's quote to indicate any and all changes.