puppytreats

What is the relationship between these two ballets?

I just finished watching a Mats Ek choreographed version of "Giselle" and my heart broke for Albrecht and still aches. It is too bad that the quality of the video was so poor and I could not see many details; otherwise, I am sure the impact would have been greater. Regardless, it does not matter whether Albrecht was a cad or not. Still, I am unsure whether rebirth is a gift or punishment here.

First, thank you so much for this post. I have been obsessed with this topic for months. I have wondered whether Albrecht visited Giselle's grave in Act II as a result of his guilt or his love. I did not believe that he loved her at first, but have come to believe he may have developed or realized a form of love for her after he felt loss and/or remorse. Of course, he felt attraction for her in Act I, but I am unsure whether he felt deep affection. I think the issue is not just one of being a cad or not, but rather, one of age and maturity, of learning consequences, of evaluating expectations and social limitations, of developing empathy and compassion. I agree with the discussion above regarding class and status. (Prince Siegfried's youthful rejection of his duty to marry, and his treatment of the peasant girls in Act I, informs my interpretation of Albrecht's immaturity, his sense of entitlement, and his view of peasants as playthings.) However, I do not think class alone explains his motivations or conduct. Often people perceive marriage to be a potential prison, and abandon their fiances; this occurs regardless of whether they are entrapped by duties to marry based on class, politics, economics, or parents forcing arranged marriages. In all societies, men with limited intentions, who are selfish or young or who have not thought through the consequences of their actions, have caused pain, madness (how could he do this, why did he say this, did he mean it, is he the person he appeared to be, etc.), and even death of innocent, naive girls whom they have rejected (e.g., through suicide, or giving up, or succumbing to an illness, or dying of a broken heart). The focus on class to the exclusion of other factors makes sense primarily in a political setting (e.g., the Soviet era interpretations, or historical analyses), and it certainly explains the conduct here, but human emotions, behavior, impulses, and other motivations can produce this result even when class differences are absent. Last week, I posted in another forum that Alistair Macauley, when reviewing the recent Kirov/Mariinsky production of "Giselle" at the Kennedy Center, wrote that the company performed a production in which Bathilde returned in Act II in the 1970s. Maybe a video recording of this exists. I think to consider Bathilde "nice" is a bit facile. She also must consider class issues, and her social and economic realities. She may not have loved Albrecht, or expected him to be faithful. If she did not marry him, after his dalliance, she may not have any other options, as well. (The willis are abandoned brides, so maybe those left at the altar become unmarriable.) She has to evaluate her own survival. If she forgave him, this may have been due to love (which may include an ability and willingness to forgive), maturity, expectations (was she told by her mother that men cheat or that the noble take what they want from the peasantry?), understanding his position (she was moved by Giselle's beauty and innocence enough to give her something of value), or learning to adjust her expectations in light of her recognition of his love or his nature. She may think that what he has to offer her in marriage is enough, however limited it may be. She may also return to him with an intention to have revenge and force him to live up to his promise and live in a loveless marriage, or with an intention to force a marriage to save her socially or economically, or an intention to live as previously expected, as a wife in a court of concubines. I find it believable that Giselle could forgive him, and that she could hope that he goes on to live a fulfilling life without crippling guilt and remorse, and therefore, she may take steps to intervene to prevent his death and/or return him to Bathilde. This is an unconditional, generous love. Many women, who think Albrecht is a cad with limitations as a human being and undeserving of redemption, might not forgive him, but then, why would they value and adore a romantic ballet that tells a story of enduring love that survives death? For those who believe Albrecht is a limited character, who is a cad incapable of growth, are you saying this great tale of love involves only a selfless Giselle's love? Or are you saying that he has learned his lesson, and discovered his love after her death, and therefore, love can survive? Recently, I posted about a "Giselle" production being shown in Canada that describes the ballet as one about revenge. Does anyone understand the story to be about revenge? Myrtha and her willis seek revenge and death as punishment, but that is not the focus of the drama between the protagonists, so about whom would this refer? This interpretation seems to apply if Giselle saved Albrecht rather than letting him join her in death, to make him live on, to suffer a life of guilt or to live imprisoned in a loveless marriage with an angry, bitter, humiliated, and vengeful Bathilde. I find this hard to believe, but possible. Alternatively, Albrecht's guilt could cause him to go mad, or live a life of suffering, or to lose his carefree, entitled way of living, taking what he wants without regard to consequences. In this way, a sort of justice and revenge could be attained. For this to be a consequence of love and/or mercy would be great irony, and deeply saddening. If he lives a more caring, empathetic, and/or loyal life, as a result, then maybe this would be understandable. Another interpretation I have considered is that Myrtha is the ghost or alter ego of Bathilde, whose bethrothed abandoned her, and humiliated her, and this is why she demands death for faithless, wayward fiances with her army of willis. This is another way the tale could be one of revenge. Giselle rejects this, however, and the young peasant surpasses the benevolent, enlightened noble.

I read today that BBC will broadcast a documentary on a year in the life of the members of the English National Ballet. I also read that Roberto Bolle is presenting a documentary on his Onegin (previously shown, I believe, on Italian TV), and a director's cut of his gala, at a festival. Is there a way to access these types of items from any internet site or other source? I watched two documentaries this week on Ovation regarding Julliard dancers. I saw the Paris Opera Ballet documentary earlier in the year. I am learning a lot from these types of documentaries and would like to find a source for films and other information like this.

I am watching a Mats Ek version of "Giselle." Repeatedly, dancers appear in a standing-seated position, almost squatting, or with their legs forming an upside down "u". Is there a name for this position?

OT: Generally speaking, Canada is not culturally enlightened. There happen to be two provincial educational channels, British Columbia's and the Franco-Ontario one, which have a weekly slot, dedicated to classical music, and where ballet gets an airing from time to time. (The Anglo-Ontario network pays no attention to the arts, but it does a fair job with everything else.) Today they are what PBS used to be, and certainly BC's Knowledge Network actively seeks the financial support of its viewers. But neither network can afford to produce its own arts content apart from a few shorts. However, the Canadian Broadcasting Corporation is a proof that a massive government subsidy guarantees nothing. What the CBC spends its money on these days is Coronation Street imports, several painful sitcoms, Hockey Night in Canada, a late-night chat show hosted by a former VJ and absolutely no arts programming. This, evidently, is what the public wants. It pains me to see PBS gradually going down the same route, because in the CBC's case it's been a road of no return. Very many thanks for informing me/us of the state of arts programming in Canada etc. This is very sad if that is truly the trend. I seem to remember at least 3 or 4 Canadian-produced ballet documentaries (2 dancer or company bios, and a few performance films) made in the last couple of years getting broadcast or theatrical viewings. (Though of course not seen much here yet) And at least some cinema chain up there is showing 'live' HD broadcasts of the RB et.al. in theaters, whereas here it is only MET broadcasts of operas (and then in only limited theaters and limited runs) and nothing else. I also think there were 1 or 2 multi-part doc series about ballet (sorry, can't remember the title(s)--I think maybe one word, but maybe not. Also don't know if they were produced by CBC or others, or how long ago; I don't think more than 10 yrs ago?) and was much encouraged by their existance and consequently evidence of both network/producers' and audience interest... I guess this is no longer the case. The last multi-part documentary series about ballet that I can remember broadcast in the USA was the one with Margot Fonteyn 30+ years ago. Have there been any since that I missed? (I don't mean one-offs such as PBS American Masters) Either way, there is a dearth of classical arts programming on television in the US, and if PBS is still the only broadcast distributor of such programming in the USA, it's demise would be even more of a blow. On cable, in NYC, we have some middle of the night broadcasts on a CUNY-related channel regarding old films of the arts, including ballet, and we also enjoy the Ovation channel. We have to pay for these channels, though, and cannot always stay awake for these shows. We have seen documentaries, such as the recent Paris Opera Ballet piece, on public television in the past year.

Perhaps "Maple Leaf Rag" is indestructible, but yes, if they're going to do actual violence to the work it might have been better to commission a nice little capriccio from a choreographer who was up for the challenge. Sad to say, it would probably cost less than the flowers for the tables. An article in a local UES paper yesterday said that the piece is a parody. So, isn't this really fitting?

Please recommend a version of "Don Q" to see (either to purchase or to view at the NYPL). I have not seen this ballet before and have read much about it.

She's in slide 17 in the slideshow below, too. The whole set is nice. http://www.vanityfair.com/culture/features/2009/08/dancers-portfolio200908#slide=1

Interesting link: http://www.huffingtonpost.com/debra-levine/george-balanchines-funny-_b_821168.html

Mea culpa. I was not referring to newspaper and magazine reviews of books when I mentioned literary criticism in my earlier post, but I now realize that I did not give ample or sufficient thought to my remarks about the value of literary criticism. When I wrote my comment, I was remembering hours spent in the library stacks, reading books of criticism to explain classical literature, and obtaining historical context to help me understand the subject of the criticism. I forgot about the weekly reviews of current fiction contained in the papers, which I enjoy reading just to get a taste of a book (but not the reviewer's outlook), and I also did not recall, for example, my feelings about Prof. H. Bloom (I guess I respond negatively to harsh or opinionated critics at times).

Is criticism in this art form really important or taken at face value? As I have stated elsewhere, I am a novice. Therefore, please forgive my simple questions, which do not come from a place of knowledge or experience. I am trying to learn by reading these board and asking questions. However, I have read a lot of commentary on these boards, and I find a great reliance on critics to justify unnecessary nastiness and hostility. (For example, I recently read the discussions on several different fora regarding Alina Somova, in which members supported their positions by pointing to percentages of negative and positive reviews of the dancer. This trust in the media seemed almost naive to me. In any event, I cannot understand the angry commentary, as I cannot imagine any dancer would deserve being called an "abomination," even if she were promoted, as suggested, based on popularity, politics, physical appearance, or a perceived ability to sell tickets to popular audiences. I have seen her performance on a dvd of a gala in which she performed, and I was not inspired, but venom did not spring forth from my tongue, either.) I offer a comparison that I am sure many of the readers of this board will look down upon, but my experience in this connection forms the basis of my lack of trust in reviews and my cynicism. This experience underlies my present question, so I am willing to open myself up to condescending comments for the sake of my inquiry. In the arena of popular musical forms, rather than "high art," I have a great wealth of knowledge regarding a certain rock band, having seen hundreds of concerts over several decades, having listened to hundreds of recordings repeatedly, and having read virtually all that was written about the musicians at issue. From a base of real knowledge and experience, I can report that the reviews of recordings and concerts by this band by critics in influencial newspapers and magazines have been, more often than not, based on erroneous factual information, as well as prejudice, self-regard, and self-righteousness. The critics almost seemed to want to achieve superiority and notoriety by disrespecting and discounting the popular musicians, without regarding to factual history, critical validity, or veracity. Therefore, I have always been suspicious of media critics. Literary criticism offers insight, background, and a deeper understanding of works of fiction. I am not sure I understand criticism by reviewers of dance or the reliance on it by members of this board. Thank you for any insight.

How does one have the emotional fortitude to watch Giselle so many times in a single week? I cannot make it through the dvd without taking a break. I am in tears simply thinking about it, and I have a pain in my heart. I rarely can get through Act 2 in a single sitting.

Today's links has the following post: "Posted Today, 01:19 PM Emily Blunt talks about getting in shape to play a ballet dancer in "The Adjustment Bureau." ... 'I looked like an aerobics teacher. My shoulders puffed out, my back looked like there was a barrel of snakes in it and I had an eight-pack.'" In the article, or in an article in Dance Magazine referred to therein, the actress discusses getting in shape and learning to dance over the course of a month. Articles about "Black Swan" discuss the year that Nicole Portman took to get in shape and learn to dance. Both women were very thin prior to the movie, but went on special diets for their roles. I am curious about the physical training and timing differences. Does anyone have any insight?

[Admin Note: This topic was originally posted on the Pacific Northwest Ballet forum[/url] Can you give some advice on where are the good places to sit for a ballet at the Met and how to best obtain tickets?

I also think politics played a crucial role in the fame of the Russian defectors.

Despite the alleged reputation as a "charmer," his treatment of the reporter, as described in that article, indicated an inability to cultivate the press and a lack of respect or charm. For someone in his position, cultivating the press would seem to be almost as important as developing favorable relationships with donors. Sometimes I think reporters write articles in such a lazy manner that they are worthless. They seem to be written based on press releases, with buzz words from the press releases incorporated into articles. The subject of the article is always described as "beautiful" or "handsome" regardless of looks; no statement is subjected to any analysis; conclusions are drawn without any review of facts; key facts are ignored for the sake of the slant of the article; and facts are not validated. This particular article was a poor rehash of the publicity that preceded the movie release.

From the link you provided to Knowledge Network: "Features two of the greatest young dancers from the Royal Ballet peforming this classic romantic ballet. A tale of innocence and redemption, it moves between the human and supernatural worlds as Giselle comes back from the dead to prey on the man who betrayed her." Usually, the interpretation discusses eternal love, not revenge.

Can you tell us a little about the lifts and the pointe work? Thank you.

My interest in ballet was amplified by watching the movie, "Limelight." Does anyone know anything about the ballerina in that movie?

I was told this was broadcast on RAI but is not available on DVD. I have seen clips on youtube. How can I see the whole thing?

I review the criticism with an open mind, and an attempt to release any prejudices I may have, and then take a second look at the subject dvd or film. I try to suspend my judgment and observe the claims of the negative reviewer. I am an observer and an analytical person and should be able to witness the criticized activity if it were genuine. That does not preclude legitimate observations that certain expressions or placements or decisions, which are open to discussion and ripe for opinion. My conclusion regarding the oft-repeated mantras that conflict with my own observations is that the criticism is not genuine, but rather, amounts to negativism, displays of jealousy, or efforts to promote one artist at the expense of another. (This is a typical sales tactic, used even when selling sophisticated professional services and investments). By way of example, Bolle is criticized as cold or inexpressive. However, he has the most expressive eyes, mouth, hands, and feet; he responses (where possible) to partners' emotions and actions with a range of emotions, from teasing, to joy, to celebration, to remorse, to sadness, to loss, to a search for solace, to an evaluation of duty and a rebellion against duty, to suffering over the deliberation processes. I think often his initial love is unexplained, other than as a function of beauty, but I believe that results from the story book, not the character. Nevertheless, I have preferred specific pieces of work by other dancers using superior moves (e.g., higher leaps) and expressions in certain instances. In sum, the prejudice and jealousy derived from his physical beauty must be acknowledged in evaluating the validity of criticism, and beauty (including a beautifully developed body created through hard work, in large part) should give rise to praise, not criticism.

Will I start to bore you (or violate the rules) if every day I say, "Thank you" for yet another great piece of information and new opportunity?

Did you watch the discussion that was available on the DVD, which explained how this version differed from the original? Was your question not answered in that discussion, i.e., is it more technical?