Jump to content

Ballet Foot

  • Content Count

  • Joined

  • Last visited

About Ballet Foot

  • Rank

Registration Profile Information

  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    former dancer studied w/George Zoritch & other BR members. Also, studied w Leon Fokine, Barbara Fallis & Mme Pereslavic in NYC. Represented State of Ohio for the Arts.
  • City**
  • State (US only)**, Country (Outside US only)**
  1. I am not certain that The Kennedy Center has much control over either the repetoire or the cast. I remember several years ago when Bolshoi was scheduled to perform a certain ballet, & then changed their schedule at last moment. This caused much consternation, especially among the season ticket holders. Of course, recent contract negotiations might have taken this unfortunate situation into consideration.
  2. I have only gone to Exhibit four times! I did an overview twice, & have been focusing on different aspects on subsequent visits...the latest being in conjunction with the lecture on specifics of the BRusse costumes The focus was on the fabrics & the influences of Diaghilev's stage costumes on Parisian high couture of the era, & visa versa. It is amazing what the eye sees when once made aware; patterns etc. I never thought to look at back of costumes. There was no skimping during that era ; even the insides of the costumes were interestingly made. Also, curator pointed out blue makeup around collar of one of Nijinsky's costumes (on exhibit), which was a result of his putting blue make-up all over his body for "Dieu Bleu". The detail on this costume is exquisite. There are some avant garde costumes as well by Coco Chanel & others. Picasso even signed one of the backdrops, being especially impressed. One of the corps costumes was flammable....rather hazardous for dancers, since they were using pyrotechnics. Many were made of flannel. Much of the collection is from Sotheby's auction in 1980's of Serge Lifar's artifacts. I imagine there are many more items still out there in vintage dancers estates.
  3. You are so right about adhering to union contracts, Sandik. I remember when I worked for one of the networks in NYC, we were interviewing Alicia Alonso in conjunction with her performances at the Met with her company. We wanted to insert some rehearsal footage etc.. Fortunately, our union people knew their people & were able to come to some understanding without endless red tape & paperwork. I must confess that it didn't feel as if I were working that day or the next morning in the green room. I was on cloud nine.
  4. Happy Mother's Day one day late. A special thank you to all of our mothers, who exposed us at an early age to the lovely world of ballet, and for nurturing our love for same. You have given us an invaluable gift. We love the Papas, too.
  5. As Angelica & Marge's mothers did, so did mine. Every weekend we went to a concert or ballet. Many times travelling out of my home town to do so. The first ballet I remember vividly was Alicia Alonso dancing "Giselle" with ABT. I was smitten. My mother also bought me all the music of the different ballets, so even if I didn't remember the steps exactly, I would make up my own. Incidentally, coming full circle, I saw Alicia Alonso's last performance at The Met in "Giselle" with Jorge Esquival.
  6. Thank you, Terez. Being a dancer is part of who you are.....no matter what happens in life. Once part of the "Terpsichore Tribe", always a member. The love for ballet never dies, even though at times it has to play "2nd fiddle"....sorry for mixing metaphors...or should I have said, "dance in the corps".
  7. Wecomee to this very informative site. I can well understand your apprehension of returning to the ballet world. I was forced out of a career as a result of a severe injury on stage. It took me a very long time to adjust to life w/o dancing. It was quite difficult to even attend a performance without tears. I so very much loved ballet for itself, and not just me in in it. However, Now I can attend performances etc & enjoy them. Still, there is an occasional twinge to wish for the good old days, or dream of what might have been. I am gratiful that I had the opportunity to be a part of such a wonderful art. Glad you are now a part of our group of addicted balletomanes.
  8. Thank you everyone...I am absolved from my indulgences, my conscience is clear, and I can go through the rest of Lent guilt free. Let's resolve tp give and not just give up something this Lent.
  9. Happy Hearts Day to you all, as well. Why coudn't Lent have started next week, so we, who gave up chocolate, could partake without guilt? Hope everyone has a day full of love and kindness. I know we all wish this especially for Sergei Filin and his family.
  10. Thank you, Helene. Interesting footage, inspite of not so stellar camera work. Heart-warming that a dancer of his calibre is already thinking of the next generation of dancers to help them in their budding/future careers.
  11. Indeed, Barbara Fallis was a great teacher.....always gracious and constructive in her criticism. Incidentally, she could bourree across floor "sur le pointe" without pointe shoes. Inspiring! Back to subject at hand, there is a publication of the 1970's, ANNA PAVLOVA by Oleg Kerensky, that has some inteesting observations of both Pavlova and Karsavina in "Chopiniana". Also, includes history and evolution of this ballet. Surprisingly, I found this book in public library in Washington, DC.
  12. This may be too much "inside the pointe shoe" information, so to speak,but Barbara Fallis was one of the very best teachers to help strengthen the feet of us who have those high insteps. We did exercises to strengthen the toes and part of foot between toes & front of arch. This prevented/alleviated "sitting on pointe" and provided the necessary support for the body. Fortunately, probably as a result of her teaching, I never sustained an injury. Also, I know that the earlier ballerinas use to darn the end of their pointe shoes which gave them more balance.
  13. Thank you so much Natialie & Everyone....a must see & put in "futures" ticker file. Perhaps, we "Ballet Alerters" who will be in D.C. at that time could get together. A belated Happy New Year to all
  14. I might suggest that you contact the Alumni Association of University of Arizona. They may have updated info. on you friend's whereabouts. Also, the Dance Dept may be an easier way to find the video for which you are looking. I would assume they have cataloged the student/professor performances for thieir archives. Thank you for the additional info re LaLa. Actually, I studied/perfomred w/Mr. Zoritch in Texas in summers, as well as else where. He use to take me w/him to the summer serminars, riding in his gray Jaguar convertible at 90mph. If I can be of help to you, pls. don't hesitate to contact me. through this site's member rooster. Would be delightful to exchange stories.
  15. I called the Box Office.....tickets still available for rehearsal. Perhaps, some patrons donated tickets back to Kennedy Center due to personal scheduling conflicts. Yes, one must be nimble of foot to get the best seating (I knew my ballet training would once again come in handy). I have experienced some rather comical situations in this regard. I wondered if I were @ K-Mart or The Kennedy Center.
  • Create New...