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About kylara7

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    fan, dancer, balletgoer
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  1. Congratulations! I'm bookmarking for tomorrow's reading
  2. I appreciate your post-performance thoughts and impressions, Dreamer, especially as you saw such a range of Auroras...I'm envious! Your descriptions of them filled in my impressions of Rausch, Biasucci, and Generosa from what I've been able to glean from PNB's video clips and rehearsal streams. What a wonderful ballet buffet
  3. Honestly, I feel that it’s a better season than I expected, given the last couple…I’m very interested in the new Pite, Etudes/Piano Concerto/Petite Mort, and Marguerite and Armand. I could do without yet another round of Chroma and Romeo and Juliet, personally. I’d love to see Balanchine’s Chaconne, but not not in that program. Giselle I could take or leave at this point. I’m glad that Nutcracker is the one and only “kid and family” show. My feelings about the questionable nepotism situation and the Binet work are well documented in other threads, and unfortunately, this announcement further leaves a bad taste. I don’t like the past work, I have zero interest in seeing more, and I wish we could see other talented young choreographers instead of a continual force-fed diet of bland Binet. In my opinion, this season comes off as overly contrived to “sell” us on more of the same, i.e., 1. Pairing another Binet piece with Balanchine (a known draw) 2. A “new” Swan Lake (another pretty safe bet/known draw). I have so many (rhetorical) questions and so many reservations. Is it “new” or is it a revival/reboot of the Bruhn choreography? Unclear. It’s allegedly a big deal that Kain is “directing” it; but what does that *mean* in terns of what hands-on role(s) she will have in this creation (other than as the artistic director, obviously)? Is she co-creating/staging/choreographing/managing the day-to-day creative process in the studio (has she created/staged/choreographed before)? Is she simply commissioning it? Christopher Stowell is also listed as a co-creator…as a stager, a choreographer, a dramaturg? Unclear. How much is “new”? How much is Bruhn’s work? So whose work IS this going to be in the end? Who will get the credit if it’s a success? Who will get the blame if it isn’t? Further rhetorically, I keep wondering…If the hometown hero is such a major leaguer, why does he have to be propped up with all-stars and handlers? Why so much effort to lob slow underhand pitches when it’s his turn at the plate?
  4. I wish I could have seen a performance...thank you to all for your descriptions and impressions! I watched several of the online clips and the rehearsal stream, and it strikes me that PNB seems to have quite a wealth of highly talented and very different dancers and that Peter Boal is encouraging a healthy working atmosphere with room for individual development. Personally, I like the different "looks" and the athleticism of the dancers.
  5. miliosr, Thank you so much for your program notes on this performance. I'm late to the party, but I was down with a winter virus last week and finally watched Iolanta/The Nutcracker whilst recovering. I have to admit that I fast-forwarded through much of Iolanta because I was much more interested in the dancing, but I enjoyed this version of The Nutcracker more than I expected to. Maybe part of it is just a welcome change of pace from yet another traditional Nutcracker--and far enough into the calendar from the Christmas holidays--but I was intrigued by the staging and the choreography, odd as it was in places. I especially enjoyed Arthur Pita's interpretation of the family party scene, which I usually find to be rather dull. The social dances and interplay between characters had me imagining all sort of back stories and family dramas. I adored the surreal/creepy doll scene by Lock...I couldn't look away. I swear that I have had dreams like that...not really nightmares but rather unsettling and vaguely menacing. The nuclear winter scene, the stagecraft of the forest scene, the waltz of the flowers/pas de deux with the characters of different ages...so much creativity and different interpretations, with enough classical technique for my personal tastes and the lovely score to tie it together. I will definitely watch many more times to pick up details.
  6. I just listened to this and found her explanation interesting, that (for some students) jazz training might give the dancer "permission" to take on the learning of turns and jumps while one is young and fearless (and maybe not yet too caught up in self-editing and perfectionism) and that later on, ballet training/technique can be layered onto that base to build the full package with all the finesse, so to speak. They also mentioned Tiler Peck as an example of a "jazzerina".
  7. Her dress IS beautiful. I adore the colour (so pretty on her!) and the tea length. :)
  8. It's lovely to see former National Ballet of Canada dancers Emma Hawes and Francesco Gabriele Frola getting on so well at ENB They have both been dancing principal roles (as has Jurgita Dronina) in the great rep there (e.g., Manon, Cinderella, Swan Lake, so far). This photo of them for Cinderella is gorgeous!
  9. Agreed...gorgeous photos and what looks like a lovely program. Another company I would love to see in person :) Some day...
  10. PNB's segment was lovely. I'm so glad I was able to see this. Their livestreams are always so well produced, and the lighting in that big studio certainly helps :)
  11. I admit that I'm curious. Although I quite like the original West Side Story, it is a bit dated now. And the story (Romeo and Juliet, societal conflicts) is evergreen, so a modern take that appeals to younger audiences seems like a good bet, artistically and financially. Justin Peck seems like a good pick for this job, in my opinion :)
  12. That link doesn't seem to be clickable. Maybe there is another policy somewhere (offline) and what appears on the those links is copy/paste from a larger policy document? Either way, it appears that they were "encouraged" to show that they had (or recently installed) these policies. I think NYCB and other companies (e.g., Finnish National Ballet) have also beefed up/added official policies on these matters based on recent events. Of course none of this seems to affect the rather unorthodox "family ties" that are already entrenched at NBoC, as we've discussed here and on other BA threads...
  13. I've only seen Fancy Free on video, and I found the scenes with three men harassing a lone woman on the street to be very unsettling, because I have had that experience, and I cannot separate that out while watching the ballet. I would probably not see it performed live for that reason, although I respect the work and the place it holds in the ballet canon. I try to avoid depictions of sexualized violence in other media as well (TV, movies, etc.). It doesn't ask any "new" questions for me or give me any new perspective that I don't already have in this regard. And now that we have the internet at our fingertips, I have options, such as watching clips of the ballet scenes in the movie Red Sparrow (which is all I was interested in anyway) and skipping the rest :) For the same reason, I have not seen James Kudelka's Swan Lake, which includes a gang rape scene (why?!? I fail to see what this adds to the established and well known storyline). It's just not for me, and I'm ok with that. I won't tell others not to see it, but I will completely ignore any attempts to convince me to see it. I did watch Manon once, but I knew what was coming and had prepared for it/decided that this was an important piece that I wanted to see. But I probably wouldn't see it again, lovely as is. I suspect that each of us are making our own considered choices based on a variety of factors.
  14. I didn't get a chance to watch on Tuesday, but I always look forward to catching up by watching the streams that are available after the actual World Ballet Day. I do find that the YouTube versions are much more "user friendly" and high quality/higher resolution than the Facebook videos. I'm glad to hear that the Australian Ballet and Royal Ballet segments are already available...I know what I'll be doing this weekend :)
  15. One of my first mentors when I was entering the workplace advised that company policies, "rules and regulations" and HR functions were about conflict resolution and not about justice or fairness and that "resolution" usually rests in the eye of the company/leadership. It was helpful advice that I have kept in mind ever since. The judicial system could also be characterized similarly, which is why the results are often unsatisfying or fail to tie up all the loose ends of a given case. The union contract/representation is probably much the same. The union is tasked with resolving conflicts between management and employees, and not serving up truth and justice. Whatever happens with this case, I'm sure it won't answer all of the questions or please everyone. I just hope that NYCB can ride out this turmoil and that the #metoo era marks the beginning of deep cultural change at every level. To borrow words from writer Roxane Gay, "I'm not optimistic, but I am hopeful."
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