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Sr. Lukas

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About Sr. Lukas

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    production designer
  • City**
    Santa Barbara
  • State (US only)**, Country (Outside US only)**
  1. Hello Mlle Gina, Bless you for your grace in letting me pass as excused for having missed that real life "thread" when meeting M. Wilde. His impact upon your life and art is clearly dear and impressive to witness, vicariously and from this distance in time. Thank you for sharing. I now choose to believe that M. Wilde was quite rightly dismissing the event and perhaps not just me alone with the sandwich thing. It was done so well by him that though I missed the full humour at the moment, the theatrical meter as he employed it ensured that I remembered it alone from the rest of the evening's p
  2. Thank You Mlle. Gina, Mssr Paul, What a delightful and warming thread of pictorial and personal memories. I have no doubt that we are all treasuring these and those that ensue from our own branches of associated memories. Mssr Wilde seems alive and vibrant because of the vitality of his works and living that has been shared. A fine tribute. A shame to me that none of this was evident at our meeting. When we met, Mssr Wilde did not mention Raoul Pause. Sad, that lost moment. Raoul Pause was a master of danse,and the joy of danse, that I knew from a company aeons past. The name will float to
  3. Thank you for the welcome greeting. While Santa B is the county, my home is up in tiny Montecito's hill country. I rarely go to Santa Barbara or see ballet anymore, and the last I remember of Ballet in Santa Barbara was one of those please donate thingy's where I was introduced to someone named Tamara, the family name escapes me now, who was directing something and a fellow who was introduced as her then visiting choreographer but who intimated oddly that he was committed to making sandwiches commercially. I remain hopeful this was an in-joke that still escapes me but is remembered. His name
  4. Hello Mlle Gina Ness, What a genuinely remakable and gracious person are you to have such an arresting history and to be willing to share all. Thank you so for the informations. I now have new avenues of research from yourself and from another named Richka who was also very gracious and informed. This fellow Sven Norrlander becomes at least slightly more interesting. At the outset he was a mere aside to my research on Walter Gore and Paula Hinton. Then came the bit about his work on Summerspace with Cunningham, and that work at, I think, the London Contemporary and then the bits about Theatr
  5. Thank You, Richka I will now try these leads that you have shared. The charge that Norrlander was a master criminal secret ballet-stager is a major hoot, and worth writing up on its own. These charges should cause him to stand up from wherever he is now hiding to respond, and then i will interview him. Another responder has shared that Sven Norlander appears exceptionally in at least three dance films, one of which is Danses Concertantes, suggest another lead, rather more difficult to search out. That you have and share so willingly such deep love for and understanding of dance and dancers i
  6. I am lucky enough to have seen Winter's Night, Victim, Eaters of Darkness and two other of Walter Gore's works on films held by Batsheva Rothschild. There was a friend of Batsheva's visiting that evening some 35-40 years past, and she revealed that two of Gore's works that the Bat company was to stage would be staged by someone other than Walter Gore or Paua Hinton; a Sven Norrlander who was coming from Hong Kong at the Cmtesse de Hoechst's. Now that I am trying to assemble a writing on Walter Gore I run again and again into the Sven N name. I find he had worked all over the planet and staged
  7. We continue all to be surely saddened by Georg Zoritch's passing. I danced with ballets russes as an awfully young man and remember mr Zoritch's elegantly distant support of all of us newbies. He, and oddly the recipient of the blow, was the only one to suggest the humour in my first appearance as one of the shah's harim guards in Scheherezade. The lady dancers did not want to rehearse with us much but the in and outs as shown by Vadim Sulima were serpentine as we proceeded to weild our large wooden scimitars as they ran over dusty couches and pillows in vain escape attempts. I, of course, bon
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