puppytreats

Kultur Video put out a Canadian TV gala on VHS called "A Tribute to Pavlova" hosted by Leslie Caron. Classic pas de deux and oddities danced by Anne Marie DeAngelo, Ron Reagan Jr. (!), Jolinda Menendez, Frank Augustyn, Marianna Tcherkassky, the handsome and tragic Patrick Bissell, Valentina Kozlova and a young Amanda McKerrow are interspersed with Caron discussing Pavlova's life and career illustrated with historical film and photos. It included scenes from "The Dumb Girl of Portici" - including a bit of Pavlova doing a sort of tarantella dance on a rocky beach with a tambourine. So I guess a few reels of the film have survived... Faux Pas Ron Reagan Jr. had surprising facility with lifts (although needed a lot of additional work in other areas). What was his training and professional experience? Aurora in this tape had the most tapered points I can currently recall seeing. Are shoes made in a special way to create this effect, or do some people really have feet shaped like this?

I watched "Balanchine Essay: Arabesque" yesterday, which featured Suki Shorer and Merrill Ashley. They seemed to imply that an arabesque formed a V, which seemed to me to be the counterpart of the Willis arms. I think of when a director uses a clipboard and clips it, in a cutting action, to mark the scene. The effect of this is emphasized in the sissone. Although, the arabesque in "4 Ts" (I think) sometimes looks like doors or gates being pushed to swing open. Suki and Merrill also emphasized standing straight on the supporting hip, vertically, with the other hip open. Does this differ from classical arabesque? I thought the hips were square, facing front, even with the chest pushed forward in a classical pose. In the extra scenes to "Sylphide", Aurelie Dupont talks about being coached to lean forward in her Romantic arabesque, which was different from her normal training.

Alas, the price on jstor is $22.00 (U.S.) for a PDF file. You might check to see if your local library has databases that you can access on their computers for full text articles. Many libraries have subscriptions. Of course, you might not care enough to do this. Just wanted to throw an idea out if you did really, really want to access it. Yes, Birdsall, great suggestion. That's how I access it, through Toronto Public Library. It's fantastic to have this free resource to in-depth scholarly discussions. People forget about libraries and think they are dying, but they are busier than ever! And, yes, one of the great things is access to databases with full text articles to journals past and present. online

Don't libraries sometimes have problems with Mark Twain?

Ricky Ricardo: Check! I just listened to a Jenifer Lopez record this weekend and it is filled with the phrase "My N__'s...."

My sister has been reading this series, also very slowly, but has been frustrated with the sheer size of the books (she's a reader-in-bed, and like the Gottlieb "Reading Dance," they are awkward to hold up. Her solution, with the older books, is to buy used copies and cut them down the spine into more manageable pieces. I cringed at first, to see a book sliced up like that, but she's mending them when she's done. My mother used to read gigantic nonfiction books and then give them to me. I rarely read them because I could not hold them in bed, or carry them on a train. She kept her books, and everything else, in pristine condition. All my books are bent, worn, and stained. Thank you for making me think about her. I am reading Gelsey Kirkland's book, having put Nancy Goldner's book aside for the moment. I have learned so much about dance performance, artistry, dance history, and creativity from Gelsey's book, which is very well written. Too bad all I heard about it before was that it was about "anorexia, drug use, and bad sex with Misha." I am supplementing my reading with lessons by video, too. This weekend, in addition to reading Gelsey's book, I watched, "Bringing Balanchine Back", "The Dream", "Children of Theatre Street" and "Choreography by Balanchine." I am awed by Herman Cornejo and Wendy Whelan. I also saw Bolshoi's old production of "R&J". Are all of these productions so dark?

At least say a word for the students who are pimped out, seemingly. We have seen articles here about that give rise to inferences about that.

A few years ago I had the opportunity to work with a group of university students from an eastern European nation (not Russia) on "intercultural communication." These students were very fluent in English, but wanted to improve so they would be competitive in getting jobs with big companies in western Europe, including U.S. multi-nationals. They were very well-versed in American history, including the history of slavery and Native Americans, but it was entirely "book-learning" and they had had almost no contact themselves with African-Americans. At most, they had met a few international students from Africa studying at their home university. I was surprised that they had been taught that it is always unacceptable to refer to someone as "black." No, I explained, it is sometimes okay to refer to "white people" and "black people," although that's not preferred and is somewhat informal. I decided I had better make sure they understand that one word is always unacceptable, the N-word. I told them I never said it myself, but I thought I'd better this one time to be sure they knew what I meant. I literally choked saying it, as I'm so trained to never say it in any circumstance. I was relieved that most already knew they should never use the N-word. I venture to say it is even more complex. Age and degree of integration and interaction make a difference, too, as does context. What if they came to the U.S. and interacted with people who used or listened to music or saw a current movie that used that word freely? Would they understand that, or misinterpret your categorical statement? Within a given ethnic group, cultural jokes may be made, often with people laughing at themselves. Outside of the group, negative reactions may result, depending on the parties' relationship and intention.

I think a difference exists between studying and commenting on views during a particular period of history, artistic commentary, and entertainment. One does not seek to deny the existence and effect of cultural, political, societal and economic views during a period in history, and how art reflected these views. However, one also does not wish to perpetuate harmful viewpoints in subsequent time periods, and certainly, not for the purpose of frivolous pursuits and pleasures. How one addresses these concerns requires careful, delicate, and intelligent consideration.

The library card catalogue description reads as follows: "Filmed live at the world-famous Bolshoi Theatre in Moscow, the Russian influence has enriched the deep, pathetic dilemma of a country girl forced to destroy the man she loves." I have not seen the video and seek comments of those who have.

Why?

Who said, "Fat girls with dirty feet?"

This is my problem with the fourth ring.

Has anyone ever worked with ticket brokers? I really did not want to buy a thousand dollars worth of tickets without casting info.

MRR - Your essays are always so detailed. You have great patience and ability to translate an unspoken art into words. I missed Gilbert's performance. You write that she did not kow she was mad. I am curious - can you really say she did not know she was mad, or was she portraying someone struggling to figure out if she was mad? Was she struggling to assess her reality and the truth of what was told to her, comparing words with actions, life's prior lessons with her discovery of how things really were? For example, was she trying to figure out if Albrecht really loved her, in light of his statements to her, his interactions with her, his behavior with her friends, the rules of society in which she lived? Was she questioning if he loved her even if he hurt her, or could not be with her based on societal constraints, or if he also loved someone else? Ruminating on these thoughts could drive someone mad. Analyzing all of these interactions and contradictions could create intense, maddening, seemingly intolerable pain and sadness, as well.

He is tall and broad shouldered. Natalia recommended poaching Ibot. Saiz would be the right size for a lot of the tall dancers at ABT. For Hilarion, I enjoyed Christophe Duquenne's interpretation.

Oh yes, Michael, talk about "extraordinary!" I've been attending performances of Giselle since before most of you were born (probably), and last night's Giselle was one of the most extraordinary I've ever seen. Working backwards, the ensemble work was breathtaking in its uniformity, speed, accuracy, and sheer beauty, a Greek chorus commenting as one on the protagonists. The peasant pas de deux was charmingly danced by Charline Giezendanner and Fabien Revillion, and those pirouettes from a kneeling position were spot on. It seemed as if there was more dancing in Act I than I've seen in previous performances, which was a plus. On the part of the principals, Act II was breathtaking. Aurelie Dupont went from being a rather sophisticated peasant in Act I to being sheer gossamer in Act II. Mathieu Ganio was a deeply contrite Albrecht and a fine partner. His entrechat six towards the end of Act I seemed to rise to heaven. Emilie Cozette was an impervious Myrtha. The one thing I missed was the speed of the bourrees that dancers at ABT seem to achieve. But I think this was a stylistic difference in that I'm sure she could have done them because POB can dance FAST. And oh, those Wilis! What is most striking to me about this company is the clarity of execution. You can "read" every step and no one takes short cuts. Two Giselles to go today. Will I remember each one in its singularity or will they combine in a single blur of magnificence? I'll take it either way. Fabien received and deserved a wonderful reception in the two performances I saw.

Osta's mad scene really made sense. Her Giselle is a physically and mentally fragile, young girl, who lives a bit in her own world from the beginning, talking to herself and figuring things out in life. Her breakdown involves her retreat into her memory and inner world, which she has already revealed to us, in part. She demonstrates herself analyzing what happened and trying to figure out the truth and meaning of what she experienced, observed, and was told. Her efforts to escape her pain are touching and dramatic. I may be wrong, but I don't think she performed the entire whirling dervish choreography last night. Sometimes, lifting and removing binoculars, I miss part of the action. Le Riche changed some of the choreography, too. His modifications created interest, even if the audience missed what was omitted. After last night, I highly recommend seeing husband and wife dance teams. Le Riche displayed great tenderness and love for Osta, and lifted her to such incredible heights. He was so proud and happy for her during her bows. I have seen similar, genuine emotion and chivalric, deferential, and protective behavior when Irina and Maxim are together at ABT. I really enjoyed the Willis from the fourth wing. Myrtha truly looked like she was suspended in the air, flying sideways. In Act 1, the corps looked a bit tired, and not as remarkable as earlier in the week. Peasant pdd was better earlier in the week too, but still wonderful.

I forgot to mention the musicality in this detailed performance. I really saw bodies dance, write, and play the music, from feet to hands.

1. I did not receive the recent or prior City Center brochures. I subscribed to the Met season this year and bought Met tickets the year before I subscribed. Who gets the CC brochures? 2. Do the brochures really say tickets are on sale NOW? CC said they are not on sale. 3. Does anyone have info on the Annandale show?

Thank you to everyone who told me to go. I went. And I saw Aurelie Dupont's feet play the piano. Amazing. Her abilities as a dancer are remarkable. POB displayed so many details not seen before in this ballet. The clarity and details occurred in the dancing, not just the mime. The arms were fluid, the connections between the steps were made apparent, the footwork was crystal clear. Even the bending of the foot from flat to arched on point was slowly and clearly articulated. The batterie astounded. Pirouettes were speedy and tight. References to phrases and connections between acts one and two became more understandable. The peasant dances became more integral to the flow, and to the story, and the parallel to the willis made more sense. Much has been said about the movement and geometries of the willis, and it was all true. I am glad I did not miss it. An interesting addition was the brief tableau. As I watched, I thought about how much I love ABT, but that POB was a true ballet company. The characterizations and interpretations differed from other presentations. For the first time, I understood and sympathized with Hilarion - thank you, gracious and sweet Christophe Duquenne. His was a loving, not a gruff, Hilarion. Emilie Cozette looked like Glinda, the good witch of the North, without the sugar. She dispelled her justice calmly, keeping neat order in her domain. Lovely Mathieu Ganio, a wonderful dancer, portrayed Albrecht in a very randy manner, as a true seducer. I have never seen this before. I have never before understood why playbills described the story with the word "unrequited", but I saw this portrayed in this interpretation. His appeal to Myrtha seemed so self-focused, and Giselle's protection became a true gift. (A similar playful characteristic, with a lack of awareness of potential consequence, informs the performances of Mathieu and Aurelie in "Sylphide"). This performance fed my eyes, ears, and mind. However, I did not feel this "Giselle" in my heart. I did not leave broken-hearted, haunted, torn, or questioning, like I normally do. I have been obsessed with "Giselle", seeking answers to its mysteries, for years. The POB interpretation of "Giselle" differed sharply in this regard. I am glad to have seen both types of "Giselle" - the one that informs the mind, and the one that touches the heart.

abatt, So does that mean we don't get to see Roberto and Svetlana in Ashton's M&A or SL or Bayadere or Giselle or ...?

Does Malakhov still dance?

The entrechats on the diagonal in "Blanc" were amazing, as were the locked ankle bourees. I loved seeing willis, shades, and swans all in one ballet. Aurelie's exploration and development of her power in "Bolero" was spectacular. I wish I had seen Le Riche, too. I am reminded of "Apollo" or the third act of "Sylvia", although neither protagonist becomes a snake charmer. That would lead us full circle to the shades again. Miliosr - Her upper arms are cut like no woman I have ever seen, and the arc of her ribs is complete. Fourth ring aficianados, please explain the appeal. I want to see faces!

I'm currently intoxicated with the scent, in a sublime way that is... nuff said...back to reality. The scent fills NYC, intoxicating us, as well.