puppytreats

I checked the website for tickets for tonight and only a handful of $99+ tickets seem to remain, but the fourth ring is not open. How likely is it that the fourth ring will open or cheaper tickets will become available?

Has it ever been any other way?

Part is one of my very favorites, but even Bolle has trouble lifting her. I never saw their SL, but have seen him with her in Ratmansky's Shostakovich piece last year, and held my breath. I can't imagine Kent in the final scene of "Manon". What has she been like in the past?

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, clearheaded or fuzzy minded, etc. are appropriate categories. Where it gets tricky, I guess, for both critics and reviewers and readers, is that because art and writing about art are personal, attacking them can look like attacking their creators. Writing is difficult. Some people lack skills and can't express accurately, clearly, or interestingly their ideas and feelings. Sometimes distortions or agendas enter. Farrell certainly protected people in her book. Personality may or may not come through, depending on the co-writer or the writer's skills. Therefore, one can separate the writer and the writing, and criticism can apply to one and not the other.

Roberto Bolle danced 10 times last spring, and is only scheduled for 4 shows in June, nothing in May. I wonder how that affects the gala.

I found that really discomfiting. Was she enjoying it and playing along, or was she feeling frightened and being abused? I couldn't see her face well enough to tell how she was acting it. I found that disconcerting as well, especially when the men threw grain in her face. I thought, "why are these men harassing this girl?" I agree. I thought, "WTF?" I would not rehire this director. How would abuse have anything to do with mores? Your description reminds me of Manon being manhandled. I have read both "Manon" and "Lady of the Camelias" and seen both ballets, and the opera and movie of "Lady". After reading the books, which were different from the ballets, I am struggling to understand how the protagonists are considered "alter egos." The books are quite different, and the women are quite different from each other.

Great to read about this--it's the program they are doing this season that I would have most liked to see. If "Episodes" does not include the Graham tennis match, then did it used to have 5 parts, or was a 4th part made to replace her part? I really think "Episodes" (and the entire b&w program) requires more viewing, but I don't know if I have the stamina. Is it on film anywhere?

Puck = Faun?

What was on this account-terminated video?

I agree. My exhaustion is a key reason for lack of attendance. (and my pocketbook).

Hence, as I always assumed, ballet dancers cannot possibly be human beings.

I did not see Watson's talked-about excessive flexibility as significant in this piece, but I have never seen anyone with such articulate feet. The book is disturbing, but the visual performance creates a powerful emotional impact. (I find the author's other writings more disturbing, and even haunting, unfortunately.) Does anyone know anything about the little girl, such as her training? Did anyone see this piece as part of the London season? How did it relate to the other pieces performed with it? Are multiple sets used, or can the set be readily cleaned for the next performance?

Data, numbers, assumptions used in calculations, statistics, and their interpretation, are subject to manipulation, for political or financial purposes. The significance or meaning of lower attendance is open to interpretation and debate. We have seen efforts to charge higher prices and sell fewer seats as an economic model, for example, Fourth Ring NYCB closure. Society also debates the value of widespread, universal, or limited access to items of value (perks, money, arts, knowledge, different levels of healthcare....) so the significance of the amount of people sitting in a chair in a theater remains open to debate, as well. How the numbers will be used seems more significant, sadly.

Well, I would think it would either be Corella, Carreno or Steifel. Since Julie Kent is always desperately in need of a mature partner, I'll guess Carreno but will hope for Corella. Speaking of Kent, are we to assume that she is still fighting the good fight and will continue to perform into the indefinite future? How is she desperately in need of a mature partner? She is always paired with Roberto or Marcello. She seems to have first pick.

Is he related to the Pennsylvania artistic director named Kaiser?

This thread seems to be addressing two separate, but maybe related, issues. One involves the burdens and disadvantages of sponsorship, such as obligations to one's sponsor, the propriety and implications of auctions, the possibility of undue influence, and unsavory consequences of sponsorship. I've commented on this above. I'll add that one questions whether companies can provide (or can be made to have incentive to provide) sufficient protections for dancers. The other issue people are addressing in this thread involves competition and opportunity. The board has discussed different companies that have no rankings, or no star systems. This is misleading. NYCB claims to have no stars, but it has legendary muses, who received different levels of attention. Of course, I do not believe in discrimination. However, the notion that all dancers of equal training have equal skills or fan bases is misleading. I generally do not support a system that does not post casting. I would not want to see certain dancers, even if they are of equal rank. Two dancers can have equal training, but different skills or different interpretations of roles. The adagio expert might appeal to me in a given role more than the dancer known for her allegro skills. A beautiful, young technician may be of equal rank to an older dancer, but the young one may lack life experience and therefore be unable to understand or convey sufficient pathos in a dramatic role. An individual may prefer to help provide opportunity to dramatic, adagio dancers in lieu of acrobatic stars, and therefore, provide a sponsorship for an individual who has those qualities, rather than a fan favorite who receives sufficient attention for huge jumps and spins.

http://www.newyorker.com/online/blogs/books/2013/08/why-teach-english.html Has anyone EVER made a wish to become a used-car salesman in Pennsylvania?

Abatt, was it this company? http://www.youtube.com/watch?v=XJdy1B7MNiM

I bought tickets for the following three shows: (1) Just for Fun: "Jeu de Cartes", "Carnival of Animals", "Four Seasons"; (2) Black and White: "Four Temp.", "Episodes", "Duo Concertant", "Symphony in Three Movements"; and (3) Short Stories: "Sonnambula", "Prodigal", and "Slaughter". Is any other program essential viewing? I really can't wait to see "Sonnambula." I would love to make a ballet about sleep-eating, not just sleep walking.

I saw NYCB perform it on a slippery day, from the Fourth Ring.

A different company sponsored his ABT performances when he first arrived in New York.

After seeing Veronica in "Sleeping Beauty", I am thinking of trekking out to Brooklyn to see her in "Nutcracker." I don't know what the seating is like at BAM. Seats in the front row, way to the side, are available for $65, and seats in the front row of the balcony are available for $40. I have sat all the way to the side in City Center and my view was cut off, but I have not had that experience in other venues. Please advise.

I am trying to decide what to see this Fall. I would like to see "Tempest" and "Sylphides." I have seen "Moor's Pavane" many times recently and can skip it. Does anyone have information on the other pieces to assist in choosing tickets?

Something seems a little off on this...I can't imagine the dancers' union would allow them to perform without compensation. And it seems unreasonable to expect the dancers themselves to recruit a wealthy donor to sponsor them. Perhaps some could do that on their own, but all of them? I tried a little googling to see if anything turned up with these comments, but struck out. To find the quotation, I would have to go back to translate a bunch of articles to English from Italian. This issue stuck with me because I thought it was very burdensome and extreme. I thought maybe words were misquoted, over-emphasized, or taken out of context. I remember he was sponsored, at the time of the quotation, by a company for which he did advertising in Italy, though.

I read an article from a long time ago in which Roberto Bolle said that at ABT, dancers have to find a sponsor and don't get paid. I may be misquoting it, so forgive me if I am wrong. Of course, money buys influence. Presumably, one pays to create opportunities to see a favored dancer dancing. Why is it preferable to deny that and pretend it is not true? However, at the Bolshoi, the implication from press reports seems to be that certain lines have been crossed in this regard. Of course, the auctions are problematic. Particularly in light of the history of this country, how can one put a strong, beautiful human being on an auction block, for "sale", without any sensitivity to the images of the past that arise? One can solicit donations, even for a particular individual;s benefit, without this demeaning, painful process.