Sr. Lukas

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 proceedings and folks for these perhaps thirty years. Did you also, perhaps, know or work with Raoul Pause?

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 the top soonest, I trust. I remember the work of the concept "Plastique" danse, at his peculiar studios in Oakland that I visited that were filled to the brim with students of all levels sharing. Here it is, the company..Pavley et Oukrainsky Ballet. Knew I could bring it forth without peering through dust. I also remember Ballet Celeste, or so I believe. The Directress, Mmme Lanova had been with one of the evocations of the Ballet Russe and was there when I did the bonking bit. I saw the Ballet Celeste Company in Monterey, California, when I was at the language school. There was surely some relationship to the services that she enjoyed, I believe, because the company breakfasted and dined with us at the school's mess.

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 was, I seem to believe, a Mark Wild. This was a bit ago.

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 Theatro Colon and New Zealand and Lund and a travelogue of theatres worldwide. Many people have worked some of these venues, to be sure, but there just seems something special here. And then the suggestion that he may have been an arch criminal, as a secret ballet stager, put a new colour and humour on it. Now I have, from you, a sweet bit about him early on. What a story this might be, or not. The goodest part, so far, has been the dearness of people such as yourself; sharing the knowing so graciously. Thank you so.

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 is deeply heartening and a treasure.

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 any number of different choreographer's works for them in ballet and modern form. Now I want to find out about this type of person who is trusted to stage others works. Is Norlander out there and willing to talk or has anyone else have anything to share about Norrlander or other artists who have enjoyed this kind of meritous trust? Thanks in advance of hearing from you.

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, bonked away and hit not only the first, but third and fifth girls on the noggin. Light taps, to be sure, and possibly more painful to my spirit than the recipients wigs. One who bellowed "Hey Ya Watchit" later became Bat-Girl on the telly and we worked together without a bonk between us. Mr. Zoritch, as a marvellous slave, let out a hoot, that calmed the moment. I am now writing about another Dance Great, Walter Gore, who has passed and whose work's have evaporated for some unknowable reason. A name that I encounter there in research is Svens Norrlander, Norrlander apparently worked with Mr. Gore in a number of countries, staging Gore's and other choreographers works for them. This level of trust is remarkable as is the fact that he apparently had some sort of licensure from them to, update is not what I really want to say but which must do, make changes. His term in trade was "I know what he meant here", that apparently was always supported later on by the choreographers. This is surely trust. The reason I am bringing this up is that I can find so little about Svens Norrlander(or Sven Norlander) in his early formative years. Does anyone from Padova, Madrid, Lisbon, Munich, Australia, Israel, Buenos Aires, Santiago, San Francisco, New Zealand, New York, Montreal, Winnipeg, places where I have confirmed he has worked or who knows where else that I can confirm he appeared, have anything to share? I would like to consider writing on this fellow's and any other such trusted interpretor's interesting history. There is at least one film of him dancing in a Dances Concertantes with a Ms N. Robinson that I have seen and have a still from. The choreographer is unknown as is the company, but the work is exquisite from both. There are as well stills from what appears to be a Graham work. Is there more out there? One wonders, there may be a fellowship of such trusted staging interpretors that would be fun to discover and write up. Thanks Friends Thanks folks.