puppytreats
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Posts posted by puppytreats
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1. What did you think about Nancy K. that same year?
2. Why on earth did you have to remind us of the Robyn Byrd show and the awful things seen while changing channels in those days???? I will now have nightmares.
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What does it mean to turn pro at age 9 or 11 as a skater? I did not know young skaters performed in professional ice shows.
What would you consider Oksana's gold medal Olympic performance?
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I hadn't actually considered contemporary ballet,but I take the point about modern costumes, and will pay more attention to this aspect of costuming, as I have recently made an effort to introduce contemporary ballet into my collection.I'm grateful for the pointer. It is however in classical ballet where the real problems are. It's such a crying shame when a superb performance is marred by the distraction of a skirt which refuses to rise and fall as it should. I've just gone off to compare three of the Giselles I have (RB,POB & La Scala among others) and I just can't get past the annoying behaviour of the Royal Ballet's Act II skirts,much as I love the overall performance.Maybe the fabrics are too lightweight, could that be it? The POB do seem to fare better in the costume department. My wife, who is not a huge fan of ballet, commented on the lovely rise and fall of the skirts in the POB La Dame aux camelias. I thereafter became acutely aware of the special talent which some costumiers have and others definitely not. It took me long enough to get past my objection to skirts of any type, especially for major solos, but I can live with it if they don't unnecessarily interfere with what's going on within them. While I often despair at the lack of anything at all to look as in those tedious mass character dances,it is in the sublime moments of such jewels as Giselle Act II when this aspect of ballet is at its most critical, in my view. I appreciate that it is only my view, but I do think it rather sad that a great performance, especially when preserved on disc, is diminished by less than sublime costuming. I won't veer off into tutus, which can be similarly damaging to a performance (in my view) - maybe others might care to have a go at that?
The long skirts in Camille interfere with the execution of the lifts.
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I forgot to mention that "Ballerina" was so inspiring that Mr. PT surprised us with his pirouette attitude jete combination afterward. Quite a treat.
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Slant, While we appreciate your reluctance to impose your opinion on others, we still would like to know your position, particularly since you are a major donor.
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Having looked at websites of so many companies in the past few months, I have to ask why ABT's website is not more exciting and full of video links and other information. I love the library, but have always had trouble navigating it, as well.
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Since I was not a member, having first had my eyes opened during the last year, I think I need a sponsor from BA. :> Help.
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I watched "Ballerina" this weekend. After seeing Lopatkina, I can finally understand the Swan. Thank you, Ulyana.
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As I noted earlier, revenue from performance tickets and fees are flat - not down - so I do not see how this is significantly contributing to the deficit. And from this past season, as an example, although I did not like the new Stroman work, it sold very well - based on my discussions with the company - above their average gate for performances.
So is new choreography contributing to the deficit? Let's look at the facts. Looking at FY '10 financials, you can see areas that have contributed to the deficit:
- Other revenue (besides tickets and performance fees): down $0.8 million
- Corporate donations: down $1.4 million (although individual donations went up)
- Investment income: down $0.4 million
- Ballet production costs: up $1.2 million
- Public support expense: up $0.6 million
These items chiefly contributed to the $3.7 million operating deficit in FY 2010, and probably will contribute to the expected $5 million deficit for FY '11. Those financials are not out yet, as the company is still being audited.
What is public support expense?
- Other revenue (besides tickets and performance fees): down $0.8 million
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I wish someone could find a clip of the Julie Kent shampoo ad.
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I love her hair and her blog.
What kind of shoes are the black ones?
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Helene stated, "The ballet world is competitive, and when a dancer leaves, companies just don't stop and wait for them to return."
No one expected any company to "wait around," but that is not what was described in the above posts. Competitiveness does not require the response provided by Boal, which was suggested on this board (if accurate).
Having a breakdown does not suggest any lack of talent, commitment, work ethic, or artistic merit; it does not indicate a lack of ability to perform or train or be part of a company, either. Maybe if Sy had received sufficient and appropriate support, he would not have undergone the breakdown, or suffered unnecessarily, or he would have been able to recover and appropriately return. Before relying on standard operating procedure, or falling prey to wounded pride and what may be a perception of ingratitude (if that is the case, which I do not know), I believe Mr. Boal should think about what it would be like for him to leave his family at age 16 and be placed, without friends or relatives, in a new country in which the citizens value different things and speak a different language, to be forced to deal with the possibility of having to abandon his inculcated values and adapt to new ideals, to have to choose between competing worlds, to have to learn a completely new art form in a short time period, to be required to obtain simultaneously a high school education in a foreign language, to have to train his body to a superior level, to have to survive adolesense and undergo the transition to young adulthood, to have to compete to become employable in a field with few job opportunities, to have to endure the pressure of competing obligations to family and benefactors, to have to deal with the consequences of fame, and to have the bear the weight of being a declared model of hope for children whose parents have endured genocide and the devastation of their culture, all while under the scrutiny of cameras. That ballet is "competitive and does not wait around" is an overly simplistic response. Does one size really fit all in ballet?
I could not see clearly from the quality of the streamed Netflix movie, but I believe Sy performed his entrechat six without crossing his feet. Is this an alternate method of performing this step?
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I watched the film today on Netflix and felt it was bittersweet, just like being a dancer, the stories portrayed in the ballet, and love itself. I was transfixed by the narrative, as well as the dancing, the instruction, the beautiful dancers, Sy's personality, and Olga's joy and pride.
I expected to read more about Sy's dancing on this board. I thought his extension and feet were beautiful. He is very lovely to look at, as well; Ms. Bass and Mr. Boal (I believe) properly identified his well-proportioned body, and failed to give adequate credit to his overall beauty. Sy's joy is infectious and appealing. However, listening to him describe his sense of not belonging and his experience of displacement, loneliness, isolation, and loss were painful to watch. I felt Sy's dancing offstage, during rehearsal, surpassed his onstage performances, as least in the snippets shown in the movie.
I have to ask whether Ms. Bass put herself in the line of critic's fire by naming herself as director and producer, as well as taking credit for other roles, when she had to be interviewed, filmed onscreen, and discussed as part of the story. She easily could have retained someone else for these positions, even as a proxy. She had to have been aware and been advised that her work would be attacked by critics in some manner as a vanity project, even without regard to the underlying ethical questions involved.
The structure of the film left me with an enduring question: to whom does the title "Lucky" apply? Ms. Bass, or someone discussing her beliefs in the film, indicated that she was trying to serve the world of ballet by bringing Sy to the West. Therefore, the ballet world would be lucky to have a new, spirited, and personable dancer to enjoy and presumably to help the ballet endure. Sy seemed confused, because he seemed to think that he was the one who bore the title of "The Lucky One," but he did not seem to know in what sense he was truly considered "lucky." Was he rescued from any particular evil or doom? He lived in poverty, but a chance to study to become a dancer does not give rise to any guarantee of avoiding poverty. Was he then rescued from relative poverty? Even if he could not get a job as a professional dancer in his country, he might have obtained other types of employment; the film does not provide any information in this regard from which to make an assessment of this issue. Is Sy described as "lucky" simply because he had an opportunity learn Western ballet technique and dance ballet onstage, regardless of the personal cost? This was never his personal goal or desire, so while an American or Western European dancer would be enthralled by the attention and support of Ms. Bass and the school, and be willing to sacrifice for the opportunity, why would being selected to fulfill someone else's dream make him lucky? Was he considered lucky because he was allowed to meet a certain group of people? Will his American education allow him to return home with new opportunities and skills, and was that what made him lucky? If he returns with these skills, will he be an outsider with respect to two societies? The film was opaque and required the viewer to presume too many things. None of these issues was explored. The film became unfocused for me because I could not identify to whom the title applied and the basis for its application. (This sounds harsh, but it is not intended as an attack. I simply was uplifted until the end, and was left saddened and confused; I think it is because of the shifting application of the term "lucky" and the lack of explanation as to why or how it was believed to apply.)
The movie did not portray a fairy-tale of a boy's journey in his attempt to fulfill a passion, if only given the opportunity, nor did it portray a journey from poverty to success. Despite the uplifting tone at the beginning, and the encouraging signs about Sy's journey and success during his instructional period, warnings signs appear toward the end, signaling that ambiguity or disappointment would ensue. Reading these boards made me feel even more unsettled. I think abandoning or punishing Sy, rather than supporting him, as the above posts suggest Peter Boal has done, is an even greater ethical problem than the one for which critics attacked Ms. Bass. I am forced to wonder, without any knowledge, what sort of life struggles and dilemmas Mr. Boal has faced, what sort of support he had, and what his personal motives are.
When I turned to these boards, I was hoping to find out where Sy was dancing so that I could see him perform, or send him a word of support or encouragement, but I was left with a feeling of having been let down by the ballet world. Apparently, more teachers like Olga are needed, and they need to be asserting their power more. I think Ms. Bass has more to say, as well.
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If one were to begin to study ballet based on clips available on youtube, how should one organize and plan his or her viewing?
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Can't/won't buy tickets without the casting. If they can cast the spring season in October, they can cast November in July.
Oh, I almost forgot: there's the escape clause that casts are subject to change but they won't let you exchange your tickets.
This is a ridiculous statement in its tone. You can complain legitimately perhaps about them not exchanging tickets, though if they let people do so on the basis of cast changes it would be a mess for them, but they do not change casts arbitrarily. Cast changes at ABT are almost always due to injury. If you really want to complain about that fine, but it isn't reasonable. They do not engage in arbitrary cast changes (unlike your favorite company) so don't make statements which slyly suggest this is the case.
I am interpreting the quotation to mean that a bait and switch occurred, which would not be something arbitrary, but also would not be due to injury. Who would not be upset by such a thing?
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I watched "Etoiles" yesterday. I enjoyed it almost as much as the more recent documentary about POB that I recently saw. I was curious as to the structure of the POB and the two theatres at which the dancers dance. Also, why are etoiles chosen by the opera, not the AD of the ballet? Is that the same practice everywhere?
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My niece will visit New York this Christmas and wants to see the "Nutcracker." Which New York company offers the best version for a 6 year old who has no ballet experience? I have never been a fan of this ballet, but I am going to give it a second chance for the sake of my niece.
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Doesn't the demand for extra rehearsal time seem punitive, unnecessary, and a manipulation?
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I would too like to see ABT do theater ballet ( dramatic work)...it seems close to its soul and one reason why Ratmansky is a good fit... Would it not be possible to do one act theatrical sketches again? Is it so much easier to raise money for big full evening works? Is there no way to frame an evening of one acts that would appeal to the large donors?
annamicro - Did Italian tv or theater recently have a version of R&J with dialogue?
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How is "Armand and Marguerite" different from "Lady of the Camillas?"
Marguerite and Armand is a one-act ballet by Frederick Ashton for Fonteyn and Nureyev (until a few years ago they were the only ones to ever perform it--now the Royal is back to dancing it as well as Nina Ananiashvili's company). Music is a piano sonata by Liszt. I believe the whole thing is on youtube with both Fonteyn/Nureyev and Sylvie Guillem/Nicholas Le Riche or Massimo Murru, if you wanted to take a look.
Lady of the Camillias is the full length ballet of the story by John Neumeier, that is now performed by ABT to piano music by Chopin. The stories of Manon and Des Grieux are included in this ballet.
Same-ish story, very different presentations!
Helen and ksk04 - Thank you for the explanation. I thought, from the titles, that "The Dream" and "M and A" might be snippets of the originals, such as when a gala program shows the black pdd from "Swan Lake" or "Lady of the Camellias". From your explanations, I understand that the entire stories are told, but in abbreviated forms, to different music (at times), and with different interpretations.
ksk04- I wish I had the time to watch everything on youtube.com!
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How is "The Dream" different from "A Midsummer Night's Dream"? How is "Armand and Marguerite" different from "Lady of the Camillas?"
In general, I have watched some rep-type nights on DVD and not found them fulfilling.
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Canbelto: I love your website, especially your photographs and the rainbow in your picture.
SimonG: You have quite a sense of humor. I am not suggesting anything factual regarding RDB. I lack any ability to offer factual evidence or opinion. However, in theory, I can think of many reasons why someone would do something to please a boss or superior, or out of fear of disapproval and potential loss. I can also think of many reasons a superior or adversary would want to set up an actual or potential opponent, adversary, or someone with inside information. Obtaining information to use in a potential, future extortion or blackmail situation, or for the sake of discrediting a future critic or potential whistleblower, is common. In sexual harassment cases, the defense frequently uses the "nuts or sluts" defense. Allegations, even if false, of drug use could dissuade a feared, potential claimant. Opponents always seek to destroy adversaries, by innuendo or evidence, even if (and I agree with you here) all human beings are fallible and most of what people do on their own time is irrelevant. I even agree with many of your libertarian views about personal freedoms, and that many laws are merely snares and traps used by those seeking to maintain their power. By way of example, look at the recent newspaper assassination of an alleged rape victim. The New York Post has gone so far as to declare the maid, who was allegedly raped by a powerful man, a "hooker" (not "alleged," but an actual, legally proven prostitute.) Of course, even prostitutes can be raped. Apparently, the paper does not fear a defamation lawsuit from an economically weak, immigrant maid. Besides, someone who allegedly lied on an immigration application to obtain protection most certainly lied about being raped, and the accused, who is a powerful politician and financier, never lies, right? Having negative information, whether true or not, can muddy the waters and get a powerful person a get out of jail free card. On the issue of the RDB, the entire issue seems suspicious, drummed up, and irrelevant.
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New pricing worries: Netflix to raise prices. (See link: http://www.huffingtonpost.com/2011/07/12/netflix-price-subscription-plan_n_895779.html). What is a fan to do? I am ready to cancel my subscription. Do any other streaming sites have ballet? (I am not referring to blurry snippets on youtube.com, although I have watched full length ballets in a series of consecutive snippets.) My library has some ballets available for viewing, but not all that I wish to see.
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Can anyone recommend any book or essay discussing beauty, photography, and ballet dancers? I am not looking simply for a book of beautiful pictures of dancers.
Katherine Healy
in Dancers
Posted
MRR, Weren't you a baby at the time, or am I mixing you up with someone else? My impression was that Nancy thought she was (a) superior artistically and (b) superior technically, because of her spiral, which did not impress, and © entitled, well, because of what happened.