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puppytreats

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
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  1. In defense of Franko, though, Homans opens the door by starting from an autobiographical place. But I actually have to disagree that the criticism here is personal; he's characterizing the writing as nasty/self-indulgent, not the person (he's careful to aim his criticism at the writing throughout, I think). For "unnecessarily harsh and judgmental and personal" I'd look to Macaulay's review of Doug Varone--or any other dance review that launches an ad hominem attack. I don't know how we can separate attitudes in the writing from attitudes of the writer. In my opinion, right or wrong, clear
  2. She is one of my favorite dancers onstage, with technique and skills that surpass many others. She is also very well spoken and makes excellent presentations when discussing her art and her own experiences, such as during her presentation at the Guggenheim.
  3. puppytreats

    Skorik

    Who signed the MT letter today?
  4. Sometimes I think Giselle is a willi and she can fly, as can the sylphs.
  5. vulnerability - any of the dying or tragic heroes -Swan Queen, Giselle, R&J, Tatiana, Marguerite... playfulness - Sylphide, Giselle before madness, Manon ... rebelliousness - Rubies, R&J, Siegfried ...
  6. The Kistler/Zelensky performance was exquisite and truly beautiful. Kistler had so much control, more than in other ballets I have seen her in. Her body looked suited for this ballet. Zelensky partnered her with such elegance and matched her in beauty. Does anyone have recommendations for viewing additional work by Zelensky?
  7. "Their movement becomes 'very water-like, shaky, unusual and serpentine'." This is exactly what I was thinking when I watched Sylvie onstage last night. Every detail was articulated. Her movement was fluid like water, even in the tiny passages between different positions. With her strength, concentration, and mastery, this lasted throughout the piece. I have never seen that in a Forsythe piece. The contrast with her facility in this form and her partner's served to emphasize her remarkable abilities (although I have seen his work on tape in "Giselle" and other story ballets and admired
  8. Sorry to go to scary. Maybe I have just read too many scary cases, and learned too much about the sad abuses of power that people face. It had nothing to do with "Black Swan". I have seen the vulnerable suffer without adequate or any support, or even anyone to stand up for them, and that is why I felt I had to continue to respond when your question and comment became purposely "obtuse". (This is ingrained in post-Holocaust generations.) I prefer to talk about ballet, itself, and so, I am glad to end this line of discussion. At least I didn't ask you any overly broad, difficult questions t
  9. You misunderstand. I was discussing the person in power/director hiring an attorney to protect him from allegations of harassment or other misconduct through any means, including blacklisting via spreading false rumors, threats, and financial incentives; we were not discussing the impoverished victim/dancer hiring counsel to slander the person in power. If you are asking why would an attorney practice slander, I would only suggest that people in power and lawyers they hire engage in negotiations. This may lead them to make all sorts of threats and use money to protect themselves or promote
  10. "A director is absolute authority and power within his or her company." -Within, but I guess my posting regarded the reach or the influence of the director beyond the company. "All they have to do is not cast, promote and totally ignore a dancer and that's it, sometimes it's a passive aggressive means of telling dancers to leave and find another company," -Why, do they lack any respect or courage to be direct? Are they really so weak? "there's no doubt he could have found a company which would have fully appreciated his talents, especially after glasnost when Russians could move around as
  11. I have not performed any research, but is the ballet like other industry where people get blacklisted? Do "vindictive, incompetent directors" (even wrongly vindictive or baselessly vindictive) have the kind of industry-wide influence as in other industries? I can imagine sexual harassment being a big problem in the ballet, and attorneys for the ballet conceivably could have the kind of power to spread false rumors or otherwise exert influence to blacklist people.
  12. What is the name of the step or combination of steps where a dancer places the front foot a foot length in front of the back foot, with the front foot facing out, and then leans on the back foot, with arms apart and hands pointing out, before going into a series of turns? I know this description is not clear, but it seems to be a very common thing, so I think maybe someone can figure out to what I am referring.
  13. I finally finished this book. It provided a good historical background for someone who needed to read a primer on ballet. I agree with much of the criticism discussed in this forum, but as someone just beginning to learn about ballet, I can overlook the book's shortcomings and feel grateful to have been able to learn from it. I am curious regarding instruction about dance history in ballet academies. Are academic, historical courses given in dance schools, or do dancers learn about the history and development of the dance solely by learning about individual dance steps, rehearsals, attendin
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