puppytreats

Simon,

Please explain what you mean by this statement: "The steps of ballet are academically set, it's the way they're put together with the music that distinguishes each individual choreographer."

For example, I have seen many versions of the Act III pdd from "Swan Lake", all credited to the same choreographer with similarities but major differences. This has led to confusion for me.

I attended Wednesday's matinee and it was magical. Once I get my thoughts together (either later today or tomorrow) I'll post a detailed review. I don't know how many entrechats David Hallberg danced, but they seemed to go on forever.

On other note, a playdate between Mr. B and Mr. Puppytreats is an inspired idea. Seriously, I don't know if my husband would be annoyed that I've been posting about him. But he never reads Ballet Talk, so I don't have to worry about that.

Everything you said about him was positive! It doesn't sound like you are in trouble :>

This link was posted on BT for Dancers in response to a question about the "use of ballet". It struck me as relevant to your thoughts, hunterman0953. It is an excerpt from a welcome address given to parents of incoming students at The Boston Conservatory on September 1, 2004, by Dr. Karl Paulnack, director of the Music Division.

What follows is part of the talk I will give to this year's freshman class when I welcome them a few days from now. The responsibility I will charge your sons and daughters with is this:

"If we were a medical school, and you were here as a med student practicing appendectomies, you'd take your work very seriously because you would imagine that some night at two AM someone is going to waltz into your emergency room and you're going to have to save their life. Well, my friends, someday at 8 PM someone is going to walk into your concert hall and bring you a mind that is confused, a heart that is overwhelmed, a soul that is weary. Whether they go out whole again will depend partly on how well you do your craft.

You're not here to become an entertainer, and you don't have to sell yourself. The truth is you don't have anything to sell; being a musician isn't about dispensing a product, like selling used cars. I'm not an entertainer; I'm a lot closer to a paramedic, a firefighter, a rescue worker. You're here to become a sort of therapist for the human soul, a spiritual version of a chiropractor, physical therapist, someone who works with our insides to see if they get things to line up, to see if we can come into harmony with ourselves and be healthy and happy and well.

Frankly, ladies and gentlemen, I expect you not only to master music; I expect you to save the planet. If there is a future wave of wellness on this planet, of harmony, of peace, of an end to war, of mutual understanding, of equality, of fairness, I don't expect it will come from a government, a military force or a corporation. I no longer even expect it to come from the religions of the world, which together seem to have brought us as much war as they have peace. If there is a future of peace for humankind, if there is to be an understanding of how these invisible, internal things should fit together, I expect it will come from the artists, because that's what we do.

This is very beautiful, insightful, and inspirational. G-d speaks to us in many ways. I have always felt He speaks to the heart through music. I have worshipped G-d with stadiums full of people at rock concerts. I have learned even more about Him through ballet, and other forms of art, which convey ideas and feelings in a visual manner. Being in and audience and sharing the experience of theater promotes unity and understanding, and as the author states, advances the cause of peace. (I imagine that nationalistic or ethnocentric art can be used to promote divisions and advance the cause of war, too).

I really love my husband a lot (we've been married for almost 24 years)but the one time we went to see Giselle at the ballet together, he did not act like Mr. Puppytreats. He kept fidgeting in his seat and asking when they were going to talk. I really thought someone was going to hit him. I thought it was going to be me. But after that we agreed that if I wanted to go to a ballet at night, he would drive me and not go to the ballet. He would go to a movie instead. And that's exactly what happened. This year he's driving me to see the Semionova/Hallberg Swan Lake. We'll go out to dinner, walk around a bit, then I'll go to the ballet and he'll go to his movie. So come to think of it it's all worked out. Mr. Boresta (John) doesn't have to be like Mr. Puppytreats. Though I will admit it would be nice to have him next to me at the ballet every once in a while.

I think we need to arrange a playdate for Mr. B and Mr. P. LOL

17 in the audience - well, the mind boggles. But taken into consideration that most horrible hour, it was not bad. But it all stands to perfect reason. Those screenings are in real time, we are so close to Moscow here, just a couple of hours by air. DD saw her movie starting at 5 p.m. which means that they were actually starting their performance at 7 p.m. in Moscow. So that means that if we were to see a performance from the Met here, it would be at an impossible hour. Cant work it out in my head, but somewhere in the house we have a clock that shows all the time differences in the world, must check that. By the way, it is 2 a.m. here right now

I saw it in NYC at 11 a.m. EST in a full theatre (discussed in my post on another forum). Many had to wait for returned tickets to get in, as noted in the Times article.

More episodes of "Mr. and Mrs. Puppytreats at the Ballet" .... PLEASE.

P.S. That's how we expand the ballet fan base:

(1) get them into the theater;

(2) pick a the best performance available;

(3) let them watch without telling them what to looko for (unless asked).

With all the empty seats discussed on these boards, I can't see why school children are not let in for educational purposes for free.

Mr. Puppytreats drove me into Manhattan to see "Coppelia" in the cinema this weekend, too. He deserves a lot of extra puppy treats.

I am neither erudite nor educated enough to offer an insightful review, but I can attest to the continuing power of ballet, generally, and "Giselle", in particular, as illustrated by the following transcript of my conversation with my very tolerant significant other of nearly 20 years.

Mr. Puppytreats: Before performance: "You can give my ticket to someone else if you want [please]. I don't mind. [i'd rather stay home and watch the Mets or hockey finals if they are on tv.] I mean, why do they have to wear those outfits?"

Puppytreats: "Please join me. I will enjoy it more if you are there. You will understand my interest better if you see it. Thank you so much for the tickets. I am so excited." [Jumping up and down with glee.]

Mr. Puppytreats: "OK, but I'll take my earphones and ipod with me into the theater."

Puppytreats: "The music is very nice. You'll like it."

Mr. Puppytreats: At intermission: "The band [sic] is so good. I did not need to turn my ipod on at all. Also, the lady in red [bathilde, performed by Leann Underwood] is so beautiful. It was worth coming here just to see her."

Puppytreats: At intermission: "Thank you. Thank you. Thank you."

Mr. Puppytreats: During Act II: "How on earth does she do that? She is amazing" [as Giselle bourees.]

Puppytreats: Before curtain calls: "Thank you, thank you, thank you, thank you, thank you."

Mr. Puppytreats: "It was really good."

Mr. Puppytreats: During curtain calls: "Why does she get to be 'The Decider?'" [as Michele Wiles, who performed the part of Myrta, bows.]

Puppytreats: "Because she is the Queen of the Wilis."

Mr. Puppytreats: During curtain calls: "She's a hottie; I'm taking a picture of her" [as Paloma Herrera graciously picks up a bouquet of white roses thrown by the man sitting two seats away from us.]

Mr. Puppytreats: As we leave the theater: "The band was great. And the dancing was so well done. I couldn't read the small lettering in the program, but you didn't need to - you could understand it all just from watching the ballet. It was so emotional. Dancers are really great atheletes. And that woman in red is such a cutie."

Puppytreats: "I am afraid that I let out an audible gasp when the ballet started. Did you hear me?"

Mr. Puppytreats: "Oh, yes, I heard you. But don't worry, several others in the audience did the same thing."

Puppytreats: During the entire walk to the car: "Thank you. Thank you. Thank you. Thank you. Thank you" [leaping, jumping, skipping].

Mr. Puppytreats: "Why didn't you tell me there were puppies in that show?"

Puppytreats: "None of the versions I've seen [on tape] have ever had puppies. Or the two children."

Mr. Puppytreats: "No, there were four children. See, I was watching the whole thing."

Puppytreats: "Did Roberto Bolle have a bandage wrapped around his leg under his tights. Do you think he is injured? His dancing was not affected, but I thought I saw a bandage."

Mr. Puppytreats: "Oh, I didn't look at that. Why do they have to wear those outfits? And who was that character who looked like he came from the movie "Shrek"? [Hilarion]

Puppytreats: "I know the costumes need improvement. I think they spend money on the stars, not the costumes. But you liked it?"

Mr. Puppytreats: "Yes, I'll go again."

----

I had the following observations:

Misty Copeland danced in the peasant pdd. She is more beautiful in person than in her photographs. She looks like someone poised to go to the next level. I was very impressed. Her partner looked tired and did not match her level of competence on that day.

Zhong-Jing Fang as Zulma and Stella Abrera [according to the program] as Moyna displayed a vivid and effective contrast. Ms. Fang held her face in an icy, numb stare, and she showed a demonstrably deferential attitude toward her queen. Contrarily, Ms. Abrera's eyes were sad and pained. One can imagine either one of these emotions in a wili.

The face of Michele Wiles, as Myrta, looked imperious, angry, sometimes frightening, and gratified in her vengeance. Ms. Wile's arms and hands are incredibly elegant and graceful (as are those of Mr. Bolle.) She has very long fingers that she points artfully, and her hand positions are beautiful. I could not tell if she was trying to suggest that the lower half of her body was being held down, earthbound, making her angry and vengeful. When she had to leave at 4 a.m., she was visibly perturbed, not just powerless and departing.

Paloma Herrera conveyed so much emotion in her dancing of the part of Giselle. During Act I, she was so innocent, and less flirtatious than other interpretations I have seen. She moved into her own world in the mad scene, and was unreachable, just as she was unreachable during the beginning and end of Act II. In Act II, she portrayed such love for Albrecht that I literally felt the emotion inside of my heart. Usually, I just feel the heartbreak, but I felt more than aching in Ms. Herrera's portrayal. The love was continuing and generous, especially as she wrapped her arms around Albrecht from behind. I got the impression that she and Albrecht met briefly in a dream world in Act II, which I never felt before.

Gennadi Saveliev danced the part of Hilarion with admirable skill.

Roberto Bolle mesmerized. He focused on Ms. Herrera intently. During Act I, he threw her in the air and caught her before letting her down, like one throws a baby. (I have not seen these types of throw lifts before). During Act II, he lifted her as if she were air, without any effort. The audience was enraptured by his solos. His failed grasps for Giselle were heartbreaking. I do not think I took a breath or blinked whenever he was on the stage.

I have an extra 3rd row ticket for ABT's Monday night performance of "Giselle." Contact me if you are interested.

I can't wait for tomorrow's performance! I have an extra third row ticket for tomorrow night (I got front row!). Contact me if interested.

The HD live presentation by Ballet in Cinema of the Bolshoi's "Coppelia" today was sold out. I had to wait with a line of other spectators to get into the theater.

Osipova was a revelation. She flies with no apparent effort. She is so light on her feet, yet so very strong. She has a beautiful line, without distortion.

Her partner performed well in his solo in Act III. I was disappointed in his partnering and his acting. I could not see why Swanilda wouldn't want to abandon him to the doll. He had no appeal as the fiance.

The girls who entered the workshop with Swanilda were fun to watch. The dancers performing the role of the hours in Act III did well. I appreciated the dancing of two of the variations in Act III - by the woman in the white dress with the black flowers, and by the woman who danced to the snippet from Delibes's "Sylvia" in the multicolored dress. I could not identify their characters. Can anyone identify them from my description?

I do not think the choreography followed the program notes. Did the doctor return to sue for damages and was he placated in Act III? I do not recall seeing this.

Is it common to refer to a composer's prior work in a subsequent work? I was surprised to hear the theme from "Sylvia."

I thought the hairpieces and wigs were poorly done, surprisingly. I expected them to be much nicer.

Did the camera angle or the transmission distort the dancers' bodies? I have always thought, in pictures and on DVDs, that the Bolshoi dancers were very thin, but they appeared strangely thick, particularly in their calves, on the movie screen.

Osipova received the largest bouquet I have ever seen, and she deserved it!

" and there is more awareness of the Broadway half-price ticket booth perhaps than of discounts on ballet tickets..."

Discounts on ballet tickets?

"I fervently hope Mr. McKenzie doesn't think empty seats are simply a matter of disinterest."

- I fear this is how many will interpret the situation. Probably government funding is affected by this, too.

Why do NYCB and ABT compete during the same season?

Marga,

Thanks! I don't know how anyone could confuse a LongIsland accent for anything else (I have done my stints in the Bronx, LI, and Queens), but I think the prior two generations, from Da Bronx and Brooklyn, have had the most influence on my speech patterns. Comparing the words, "four" and "water", as spoken by my AZ relatives and me, has always been endlessly amusing.

4mrdncr,

I write with my left hand but cut with my right. I can't wait to find out how I will pirouette (but I am far from that point, still).

You can go to the Metropolitan Opera's website and see that the mixed bill indeed is not selling well. It's mystifying: three famous choreographers presenting new ballets with great dancers in the middle of ballet season in New York. I don't pay much attention to advertising, but is ABT's PR department perhaps to blame?

Just thinking out loud here . . . is it the PR department's fault or is ABT's leadership trying to push something that the vast majority of the Met audience (as compared to the Fall City Center audience) just doesn't want???

At any rate, given this state of affairs I can't see anything wrong with Macauley devoting several paragraphs to a discussion about ABT's programming.

This is precisely what drives me up and over the wall about him. He very clearly wants more of the mixed bills at the Met even though much testimony exists to the fact that these bills don't sell. (He even admitted as much in print several years ago when he reviewed an Ashton/Balanchine double-feature.) How much of a bath does he think ABT can take with these non-selling mixed bills? (This is a rhetorical question, of course!)

I wish I could go to see ABT and NYCB, but who has the time or money? I think a lot of people fall into the same category.

I am addressing this topic because just watched this program today. I agree with most of the comments already posted about it. I have a few comments and questions.

1. Malakov:

I have not yet seen "Le Corsaire." Do all dancer land on a deep plie or is this unusual to Malakov?

My Russian pup has the same nickname (diff. sp.) as Malakov. Extra puppy treats tonight!

2. Carreno:

This was the second interview I have seen with him, and I am so impressed by his dancing, as well as how sweet he is.

3. Stiefel:

Was Gillian Murphy the woman with straight hair on the red carpet with him? If it was her, she looked terrific.

I was very embarassed by the marketing of the four dancers, generally, and Stiefel, in particular. When I saw "Center Stage," I disliked his character, but told myself that the movie was a piece of fiction. Of course, I enjoyed his dancing. However, this program tried to portray him like his movie character. I felt like I was watching the "Simpsons" cartoon episode, in which a producer is casting the "bad, cool boy" character for a four piece boy band. The marketing was heavy handed and insulting. (See below)

4. Corella:

He was on Sesame Street -- that is so much better p.r., and so much more cool. I can't help it - I love Cookie Monster and Oscar.

Corella's dancing is delightful. Just looking at his eyes could evoke tears.

His Russian dance as a child was remarkable.

Is there a left and right handedness in turning? I believe Corella's spins were in a different direction than the other dancers.

5. McKenzie:

I could not understand why his shirt was unbuttoned so far down, but then I read the comments above. The loud music, the title, the harley doo-rag, all left me needing a shower. Is something like that ever effective?

6. Alonso:

The photograph of her, in her youth, was the most beautiful aspect of the program. Her eyes were stunning.

I enjoyed her evident pride in Correno.

7. Morris:

Critics in newspapers always feel the need to comment on MM's lack of beauty as well as his oddness. I was, therefore, surprised to see how nice his eyes were, as well as how down to earth he seemed.

8. D'Amboise:

When I looked at the screen, I saw a prince. When I turned away, I heard the voices of my great uncles and cousins from Brooklyn and the Bronx. Then, Morris remarked that dancers should dance, not speak. Was he really speaking to those of us who were born in the Outer Boroughs, and not his remarkable four dancers? I still cannot shake this accent, so maybe I should have been given dance lessons from my youth...

In sum, I enjoyed the movie, and learned a lot, but not enough. I feel so greedy, but I want more.

"I don't know the Robert Bolle book (though I like one picture of him which runs against the grain and shows that his teeth aren't perfect)"

-Yes, Quiggin, it is one of his greatest charms.

It looks as if Bruce Weber was not interested at all in the Finlay/Love shoot- was rushed or the Art Director was doing the set-ups and there were far too many costumes and props and prior ideas. He's a good photographer - influenced nicely by Horst and Herbert List. Great to see he's still shooting traditional b&w film (Is that Tri X printed on the edges of proof sheet?).

Didn't BW shoot Chase before, or am I remembering someone else?

I think he is a good photographer and generally does not trivialize, even if, at times, he does not ennoble (sorry, I did not copy the reference above). He can create noble images. Many of his images are very moving. I think a photo that is beautiful or interesting, or that showcases a beautiful or interesting subject, is not trivial merely because it is not significant. And sometimes things are appropriately trivial and light-hearted.

Sometimes, he seems disorganized, particularly in his collections. For example, why were the photos of the gymnast included at the beginning of the book about RB? Maybe he was in the middle of a panning a sequence of athletes in tights, or running through a series of linked thoughts, like Robert Altman (see other thread of today). I don't know if he is making a statement by his lack of editing (which could be the interpretation) or if the editor made an error. However, I found it took away from the whole.

As a matter of fact . . . yes.

I own the Bolle book and the photos in that are light years better than the ones of Finlay and Love in Paris Vogue. (Some of this may be the fault of the sittings editor for the Vogue shoot. The styling is odd -- Chase Finlay wearing glittery capes???)

Can one make bad art out of perfection? I think the subject matter of the book is, visually, infinitely more interesting and capable of effective styling and studies in different settings. To me, CF has a single look, and certainly is not appropriate for the story Vogue is trying to portray.

Has anyone seen Irlan Silva in ABT II? He is the subject of a terrific documentary following his trajectory from the slums of Rio de Janeiro to the Prix de Lausanne, to winning at Youth America Grand Prix, to the JKO School, to ABT II. He is a gorgeous dancer, exquisite line, handsome, fluent in classical and contemporary dance. I hereby predict that he will rise through the ranks to become an ABT principal from within. The documentary is entitled "Only When I Dance." You can get it from Netflix, even via instant download, and I encourage everyone reading this thread to check it out.

Thank you for the reco. I have been looking for instant streaming ballet movies on Netflix. I did not see this one when I searched.

P.S. It just occurred to me to wonder whether my life, at this precise living moment, has a plot?? Maybe I'm just waiting for something to happen.

I like that. ^^

Now I want to see this film.

One thing that has often bothered me with "dance films" is that they have too much of a "plot", whereas all I want to do is watch the dancers.

Definitely - to each his own!

-d-

Sometimes dance movies seem like the plot is an excuse to showcase the dances. The plots are artificial and silly. I am bored by this formula. I watch the movies to see and learn about the dances, but would like to care about the characters, and learn about the dancers or the lives of dancers.

What I learned from this movie was that dancers drink beer a lot, which I really doubt. Mr. A advised, "Fish, brocoli, salad," which is what my trainer says, but I am a vegetarian, so how will I ever get the dancer's body? I am left bereft. Maybe this is why I was so negative about the movie.

I presume that parents subsidized the main character's home, because a cocktail waitress/dancer could not afford that lifestyle. Or did I miss something?

From the linked discussions, I fear that no one seemed to like the swing dance, but I loved it. It really reminded me of pleasant times during my childhood - the feeling of being free, of floating, of being suspended, which I believe dance can evoke, but which was amplified by the swing.

This doesn't exactly qualify as writing but . . .

Bruce Weber photographed Chase Finlay (of New York City Ballet) and Laura Love (of Los Angeles Ballet) for a 16 page photo feature in the April issue of Paris Vogue [Gisele cover]. The photos are only OK . . . it's not Weber's best work.

Yes, and BW photographed Roberto Bolle for German Vogue. What do you consider his best work? His book of RB? LOL :>

"Altman often does not go where an audience would expect. His film making point of view is more as an observer rather than as a craftsman who carefully leads his audience thru the story and the character's emotions. One either likes that or one doesn't."

His point of view was clear, but made me feel like an uninvited voyeur. Why was I looking at these snapshots? Was I permitted or invited to do so? Why should I care about the people in the series of photographs? If an observer is so distant from his or her subjects, what generates the observer's interest?

I agree that Altman's films are consistent in form and style but inconsistent in result.

My studies in ballet continued this week with more reading and a viewing of "The Company." My significant other has been mystified but moderately amused by my recent focus on the ballet. He has been supportive -- buying me tickets, planning to take me to (and sit through) the ABT performance of "Giselle" next Monday, driving me to see the NYCB Balanchine celebrations (he sat that one out in the car), admiring my leotard and tights, and twice attending an art exhibit related to the ballet. However, he also mockingly dances to my DVDs and begs me to turn off the poor White Swan at night. Nevertheless, I did not hear any of his typical snores during the entire first hour of viewing of "The Company", and the next morning, he remarked that choreographers must be geniuses. He actively admired the dance sequences. This certainly amounts to strong evidence of the power of ballet.

I was not really moved or enlightened in any significant way by this movie (other than by the reaction described above.) I do not know if that resulted from the lack of character development, the absence of any compelling character, or the style of directing. Indeed, I felt like I watched this movie many times before, in other settings, because it followed the director's typical approach. The ready ability to replace the individual was a disturbing lesson, but it was not developed enough. Maybe subtlety was the point, but I am not sure. As presented, this lesson did not produce much empathy or pain. The injured simply did not seem to suffer much, which I thought was unrealistic. I am sure this would be devastating. The movie seemed more interested in displaying broad brush strokes and playing up the camp in such characters. I hope I am not being too critical or hurtful in making this remark.

I admired most of the dancing. I would love to be able to perform the dance in the suspended sling/swing and would like to know more about it.

I would appreciate commentary particularly regarding the dances in the movie.

I had another great ballet weekend. I watched "Turning Point" and "Center Stage" on Netflix and the UStream broadcast of the ABT at the Guggenheim on "Works and Progress."

"Turning Point":

I remember falling in love with Misha Baryshnikov as a child when I first saw this movie (so very long ago!) Seeing his work again, many years later, I am astonished by his combination of technical brilliance and grace. Many dancers known for their technique or pyrotechnical feats now do not have the same grace or beauty. I was most impressed by the speed of his turns and the diagonal jumps. Does any current dancer boast the same combination of jump height, speed, and grace?

I thought Leslie Brown was lovely. Her big eyes made the casting perfect. I enjoyed her dancing. However, her quick rise to prominence in the plot was somewhat suspect, although understandable for the purpose of the movie.

I tried to notice the dancers in the classes and on stage, but had difficulty identifying them, which I was only able to do after reading the credits. Maybe another viewing is necessary.

I enjoyed being able to understand the ballets being performed and discussed in the movie and comprehend their role or significance in the plot. I suppose all my study recently has had some benefits in this regard. Thank you to board members for this.

Anne Bancroft was amazing, as usual. I think Shirley McClaine is great, but has performed her best in other movies.

The old, Russian ballet coach was a gem. She was a delight to watch.

"Center Stage":

I was surprised by how much I liked this movie. Of course, it contained many cliches, but was not entirely derivative, like most dance movies.

Julie Kent seemed to have a strong accent. I did not expect this. She delivered the best line in the film, and her delivery was perfect and comical.

Eric Stieffel's jumps and turns were fabulous. I wish his gymnastics were connected by more graceful sections; that would suit my personal taste better (see above regarding Misha). His character was not likeable and his lines were embarrassing. Nevertheless, I am sure performing in a bad boy role in the movie helped his career.

Are ballet students really not permitted to take dance classes elsewhere? In the movie, a student took a forbidden jazz class at Broadway Dance.

"Works and Progress":

This program was a gift. The glimpse into the coaching and character development was so informative, and helped quench my burning curiosity in this regard.

Susan Jaffe, as ballet mistress, corrected Sarah Lane in a demonstration of a rehearsal. Can someone explain the difference in the role of a coach and ballet mistress in this regard?

I was very impressed by Rachel Moore. I am curious to learn why her friend told her, so long ago, that she should not go to law school to pursue a career as a first amendment lawyer, because jobs were not available at that time. I also commend her work advocating for jobs for dancers based on their work ethic and traits.

The dancing by ABT II was impressive. Seeing the difference between the school kids, the ABT II dancers, and the company dancers answered many questions about the need for continuing, almost endless education, practice, and development.

Marga,

Does Adelphi have a dance research library with video tapes of performances? Is it open to the public?

My sister has a degree from AU, although not in dance - would she be able to access a library as an alumna?

The campus of AU is very beautiful. You must have enjoyed your time there.