BryMar1995

I need information, please. I am seeking dance festivals in Europe similar to Jacob's Pillow or American Dance Festival, where classes with quality teachers happen daily, and there are performances or workshops by professional artists in the evenings or weekends. I am especially interested in contemporary ballet/dance. I want to attend as an educator for faculty development. Can anyone suggest something worthwhile and interesting? Thanks! Rick McCullough

I also really enjoyed Adrienne Sharp's "White Swan/Black Swan." Very engaging read and rang very true.

Duncan Noble, ballet master, mentor, friend, and beloved teacher at North Carolina School of the Arts, passed away early this morning at Baptist Memorial Hospital in Winston-Salem, NC. There were complications after a recent heart surgery from which he was unable to recover. We loved him so much. He was a great and inspirational teacher. He was an elegant and generous man. Always dignified, his classes gave us strength and his teaching gave us a love for classicism. At the moment I do not know about any arrangements for funeral or memorial services but I will post news as I receive it. We mourn his passing, but celebrate his life and the gift of dance he gave to his students. Rick

I think there's plenty of "technique" involved in a Fokine ballet (like Petrouchka, for example). It's just more subtle and less obvious than high legs, big jumps and multiple turns. Virtuoso techinique is only part of the palette a dance artist has to choose from in order to fulfill a role and move an audience. Rick

I think there's plenty of "technique" involved in a Fokine ballet (like Petrouchka, for example). It's just more subtle and less obvious than high legs, big jumps and multiple turns. Virtuoso techinique is only part of the palette a dance artist has to choose from in order to fulfill a role and move an audience. Rick

I always thought of Tudor as an American choreographer although his nationality was British. Perhaps it is because the core of his repertory was performed in the US, some of it made in the US using American themes, and performed by American dancers. I also feel that Balanchine's repertory was determined by the type of dancers he developed and choreographed upon. (Imagine if Balanchine had stayed in Paris after Ballet Russes, or South America!) When I danced in Holland at NDT I felt that Kylian's work was American because 50% of the company were Americans. Forsythe's work looks so right on American dancers. I guess what I'm saying is that American dancers and American vision determine American ballet. Anyway, to take that a step further, I feel that the old Joffrey Ballet of New York (1967- until the move to Chicago) personified for me American ballet. American dancers, American director, American repertory, American vision. Rick

I always thought of Tudor as an American choreographer although his nationality was British. Perhaps it is because the core of his repertory was performed in the US, some of it made in the US using American themes, and performed by American dancers. I also feel that Balanchine's repertory was determined by the type of dancers he developed and choreographed upon. (Imagine if Balanchine had stayed in Paris after Ballet Russes, or South America!) When I danced in Holland at NDT I felt that Kylian's work was American because 50% of the company were Americans. Forsythe's work looks so right on American dancers. I guess what I'm saying is that American dancers and American vision determine American ballet. Anyway, to take that a step further, I feel that the old Joffrey Ballet of New York (1967- until the move to Chicago) personified for me American ballet. American dancers, American director, American repertory, American vision. Rick

Kate, I meant that the dancers relish having new work created on them, especially for them. I know I did. The PBS special was a tough show to pull off, exhausting even, but I thought the company looked magnificent (with the exception of Wendy Whelan who, despite her strong dancing, looked thin to the point of being ill). A Diamond Project season would indeed be tiring, but perhaps no more that when Balanchine did his Ravel season, or any season when he was feeling prolific. I agree with Patricia and Leigh, that there are some choreographers whose style just may not fit well with NYCB. Eifman's theater dance and Preljocaj's modernism may not be what the company was trained for - too much of a departure from neoclassic formalism (although interesting challenges for both developing and mature artists in the company). Morris might be excellent as a formalist, except the ballet he documented on A&E for Royal Winnipeg seemed so darned flippant that I got the impression that he doesn't care about ballet at all, disdains it even. But he loves the paycheck ballet companies can deliver. Van Manen could probably do the company justice if he has inspiraton for a work. I love Forsythe's work on the company. Peter Martins combs the globe for choreographers to do this project. They are the best he can find. What does that leave us to suplement the Balanchine/Robbins repertory? Ashton or MacMillan at NYCB? Fokine's Chopanianna or Kirov productions of Swan Lake? Neurmeir or Cranko repertory in State Theater? Makes one think. Rick

Oh, let it live! The dancers seem to relish it, and there is a certain ballet public that wants to see what's new. Plus NYCB must continue to develop its repertory. What are the alternatives after all? NYCB is, in my opinion, a contemporary ballet company. While remaining firmly rooted in its superb technical base and exraordinary Balanchine repertory, it must still try to move forward. I thought Peter Martins explained that very convincingly on the Live from Lincoln Center broadcast. (What an exciting evening! And what a stupendous company!) The Diamond Project is a courageous and visionary endeavor. Even if you don't agree with everything you see, it still deserves our support. Rick

I remember seeing Gary Chryst as The Profiteer in The Green Table. At first I thought his feet were not flexible and his head too large. By the end of the performance I had forgotten all about his physique. His artistry was so powerful that I was compelled to see beyond the superficial issue of bodily proportions. He was such a master of his body, his focus, his musicality, his phrasing - all I remember was being so pulled into what he was doing and believing completely in his portrayal. It was his performance that night that taught me to look at dancers in a different way. The kind of instrument an artist has does matter, but it matters more if they know how to use it, even if it's not ideal. Rick

Yes, Leigh, it would be great to have some answers to those questions handy, because the art is under a lot of pressure, even under attack, as being anachronistic, stagnant and oppressive. Why do I have to constantly apologize for my art? It is what it is! We can also ask if those who work in classical ballet will be able to or even feel compelled to make ballet harmonius to the current paradigm (Politically Correct ballet, what would that be? Does anyone do it now?) Or is classic ballet unable to bend and flow with the times? What will the direction be for ballet in the 21st century? Evolution, revolution. or oblivion? Ballet has always had its reformers, Noverre, Fokine, Balanchine, Tudor, and DeMille. Can ballet be reformed to be more PC? Does it need to be? With the exception of Forsythe's radical revisionism, reform attempts always seems to lead to a hybid/fusion of ballet/modern. Some feel that these options are inadequate or usuitable. I wonder sometimes if ballet is and easy target for today's PC witch hunts. Does Opera, Theater, Music or the plastic and visual arts get the same knocking? Does it depend on what lens we are taught to look at art through? Having worked in a modern dance university environment, I know that a lot of misiformation about ballet is being spread as knowledge. It comes out mainly as Modern = good, Ballet = bad. Rick

Yes, Leigh, it would be great to have some answers to those questions handy, because the art is under a lot of pressure, even under attack, as being anachronistic, stagnant and oppressive. Why do I have to constantly apologize for my art? It is what it is! We can also ask if those who work in classical ballet will be able to or even feel compelled to make ballet harmonius to the current paradigm (Politically Correct ballet, what would that be? Does anyone do it now?) Or is classic ballet unable to bend and flow with the times? What will the direction be for ballet in the 21st century? Evolution, revolution. or oblivion? Ballet has always had its reformers, Noverre, Fokine, Balanchine, Tudor, and DeMille. Can ballet be reformed to be more PC? Does it need to be? With the exception of Forsythe's radical revisionism, reform attempts always seems to lead to a hybid/fusion of ballet/modern. Some feel that these options are inadequate or usuitable. I wonder sometimes if ballet is and easy target for today's PC witch hunts. Does Opera, Theater, Music or the plastic and visual arts get the same knocking? Does it depend on what lens we are taught to look at art through? Having worked in a modern dance university environment, I know that a lot of misiformation about ballet is being spread as knowledge. It comes out mainly as Modern = good, Ballet = bad. Rick

I adore the Balanchine and Robbins legacy, but I would hate NYCB to become simply a museum. The institution has too much vibrancy and talent and LIFE. The director of any company has a responsibility to the future as well as the past. Rick

I adore the Balanchine and Robbins legacy, but I would hate NYCB to become simply a museum. The institution has too much vibrancy and talent and LIFE. The director of any company has a responsibility to the future as well as the past. Rick

I thought that Homans overemphasized the Russian emigre influence in making NYCB what it was and is. If Balanchine was the heart of the company, then the dancers, nearly all American, were and are the blood, muscle and bones. To picture NYCB as a transplanted Russian company is a real stretch. I think it's important that the company try to find a new direction, and new repertory. That's as it should be. Life goes on. Martins seems intent on preserving and creating for the Balanchine dancer. But the Balanchine legacy is just too immense. The work is too great. I wonder if the Balanchine rep is treated with maybe too great a respect in restaging at home - that ithe original intent gets stifled in the desire to preserve it as perfectly as possible. Ballets become mechanical and do lose their heart when treated this way (re--staging of works of Tudor come to mind). I agree that I've seen Balanchine works performed with great artistry outside of State Theater, and maybe that's as it should be as well. I don't think the Balanchine rep will die if it resides with others outside of New York for awhile. And when Martins, Farrell and Hayden and Villella are gone, what then? Rick

I thought that Homans overemphasized the Russian emigre influence in making NYCB what it was and is. If Balanchine was the heart of the company, then the dancers, nearly all American, were and are the blood, muscle and bones. To picture NYCB as a transplanted Russian company is a real stretch. I think it's important that the company try to find a new direction, and new repertory. That's as it should be. Life goes on. Martins seems intent on preserving and creating for the Balanchine dancer. But the Balanchine legacy is just too immense. The work is too great. I wonder if the Balanchine rep is treated with maybe too great a respect in restaging at home - that ithe original intent gets stifled in the desire to preserve it as perfectly as possible. Ballets become mechanical and do lose their heart when treated this way (re--staging of works of Tudor come to mind). I agree that I've seen Balanchine works performed with great artistry outside of State Theater, and maybe that's as it should be as well. I don't think the Balanchine rep will die if it resides with others outside of New York for awhile. And when Martins, Farrell and Hayden and Villella are gone, what then? Rick

White Swan, Black Swan (Ramdom House, 2001), by Adrienne Sharp is a collection of inter-related stories about dancers and being in dance culture. When I first picked it from the bookstore shelf I thought it would be terrible or tacky, but I was hooked from the first sentence. I had to buy it. The author is credited with having studied at Harkness House for Ballet Arts, but her book flap bio doesn't credit her with having danced in any companies. Nevertheless, she does write fiction about dancers with an insider's view. Although the stories are for the most part fiction, all the characters and events ring true to my experience, and are based on or taken from people I seem to know or have known. Several of the stories use Godunov, Ashton, Fonteyn and Nureyev as focal points, and Adrienne Sharp takes the liberty of saying out loud what most people in the dance community only whispered about. Her literary candor is both courageous and enlightening. Her stories sometimes have a sharp edge, but they are also genuinely moving and sympathetic. Mainly, she just tells some the truths about being a dancer, and she does it with skill, inspiration, and compassion. The book was harshly (and in my opinion, unfairly) criticized in a "Dance Magazine" review. It's true that the work is for mature readers, and it does show dance culture from its most hopeful to its most desperate. But it also reveals the very human side of being a dancer, and she includes everyone, from the stars and the heroes we look up to right over to the lowliest dancer in the corps de ballet. Rick

White Swan, Black Swan (Ramdom House, 2001), by Adrienne Sharp is a collection of inter-related stories about dancers and being in dance culture. When I first picked it from the bookstore shelf I thought it would be terrible or tacky, but I was hooked from the first sentence. I had to buy it. The author is credited with having studied at Harkness House for Ballet Arts, but her book flap bio doesn't credit her with having danced in any companies. Nevertheless, she does write fiction about dancers with an insider's view. Although the stories are for the most part fiction, all the characters and events ring true to my experience, and are based on or taken from people I seem to know or have known. Several of the stories use Godunov, Ashton, Fonteyn and Nureyev as focal points, and Adrienne Sharp takes the liberty of saying out loud what most people in the dance community only whispered about. Her literary candor is both courageous and enlightening. Her stories sometimes have a sharp edge, but they are also genuinely moving and sympathetic. Mainly, she just tells some the truths about being a dancer, and she does it with skill, inspiration, and compassion. The book was harshly (and in my opinion, unfairly) criticized in a "Dance Magazine" review. It's true that the work is for mature readers, and it does show dance culture from its most hopeful to its most desperate. But it also reveals the very human side of being a dancer, and she includes everyone, from the stars and the heroes we look up to right over to the lowliest dancer in the corps de ballet. Rick

I've seen only one ballet by Christopher Wheeldon - "Corybantic Ecstacies" when it was performed by Boston Ballet this season. I was excited and curious to see what the fuss was about. He's very young, but has Peter Martins and the New York press behind him. That kind of support doesn't hurt, but it also sets one up for big expectations. I enjoyed the Bernstein score, a violin serenade that I had not heard before. I find the classical work of Leonard Bernstein pretty interesting for the most part, but difficult to choreograph to. I thought Wheeldon did a pretty good job grasping the music. All in all though, I left the theater a bit let down. I found ithe ballet to be somewhat sophomoric and fussy. The Greek theme was so literal as to be almost comic, and the final bacchanal ran out of steam before the end. While the set design was very simply powerful and theatrical, the costumes were almost silly, especially during Echo and Narcissus, and in the Dionysia finale. In general I found the dance to be overchoreographed. So many movement ideas were presented that the clarity I find neccesary for classical ballet became obscured. Some of the group partnering sections were difficult to the point that they could rarely be performed in unison. The highlight was the lovely but extended pas de deux, danced by a very attractive and strong principal couple. (Larissa Ponomarenko and Paul Thrussel that evening). Also the mercuric Hermes section was well made and extremely well danced, yet disappointingly brief (kudos to Pollyanna Ribierto and Jose Martin). Nevertheless, I felt like Wheeldon is an an artist in search of a personal style, not completely in command of his craft, and still lacking enough original creative invention to really catch my interest. After the show I talked to some of the dancers. They explained that "Corybantic Ecstacies" had been restaged by a ballet mistress and that Wheeldon came down later to put his touches on it. After seeing a run through his remarks were something to the effect of "I don't make 'em like that now!" I took that to mean that he felt his work had matured since this early effort. Therefore I am still eager to see more of his work to get a better feel for this young choreographer. In all fairness I must say that maybe my remarks are a bit of sour grapes. I know choreographers (myself included) whose work I think are on a par with what I saw of Wheeldon, yet they do not get the opportunities or recognition that fall so readily to the latest fair haired boy or girl of NY City Ballet. So, maybe I was looking at this work through a lens that distorts and detracts from work that others find to be genuinely worthwhile. So, my apologies to Christpher Wheeldon, whom I have never met, for being critical of this one work, and for grousing about him having great opportunities while others might not. I look to like, and, like so many others, crave and hunger for excellent experiences when attending the ballet, and for the creative artists who can provide them. Rick

I love to shout and applaud loudly when a performance warrants it. I learned bravo, brava, bravi at the arts school I attended when I was a student because of the music and opera concerts on campus, and by hanging out with my colleagues who were singers. We were educated to know the difference, just as Septime is educating those children who attend Washington Ballet's children's show. But does one have to be conversant in Italian or French to be a repectable ballet or opera fan? I think it certainly helps, but cheering in Italian may be a behavior that makes ballet a little scary or inaccessible to public who may be new to ballet (Not to mention the matter of incorrect usage of a wonderful language). I often whistle my approval when I like a performance (more to add to the clamour and general commotion during possitive ovations, and not, in the European sense, to show disrespect, dirision or disapproval. Some European audiences will stomp their feet, or clap in unison to show approval). I will sometimes shout out the performer's name when they take their bow (MARGOT!!! or RUDY!!) And when really excited, nothing suffices like a whoop or YOW! My assumption being that, the greater the volume of the general response, the more the performers will be aware of the audience approval. While I run the risk of appearing gauche, I wonder if there are means of showing approval in the theater other than applauding, that are uniquely American, and are even remotely acceptable. Do people need a course in ballet appreciation before going to the theater, or should I (and others) relax and be comfortable with our boisterous American cultural style? Rick:)

I love to shout and applaud loudly when a performance warrants it. I learned bravo, brava, bravi at the arts school I attended when I was a student because of the music and opera concerts on campus, and by hanging out with my colleagues who were singers. We were educated to know the difference, just as Septime is educating those children who attend Washington Ballet's children's show. But does one have to be conversant in Italian or French to be a repectable ballet or opera fan? I think it certainly helps, but cheering in Italian may be a behavior that makes ballet a little scary or inaccessible to public who may be new to ballet (Not to mention the matter of incorrect usage of a wonderful language). I often whistle my approval when I like a performance (more to add to the clamour and general commotion during possitive ovations, and not, in the European sense, to show disrespect, dirision or disapproval. Some European audiences will stomp their feet, or clap in unison to show approval). I will sometimes shout out the performer's name when they take their bow (MARGOT!!! or RUDY!!) And when really excited, nothing suffices like a whoop or YOW! My assumption being that, the greater the volume of the general response, the more the performers will be aware of the audience approval. While I run the risk of appearing gauche, I wonder if there are means of showing approval in the theater other than applauding, that are uniquely American, and are even remotely acceptable. Do people need a course in ballet appreciation before going to the theater, or should I (and others) relax and be comfortable with our boisterous American cultural style? Rick:)

Somehow I feel that "personality" isn't quite the right word. I feel as if that implies that a performer is or should be trying to draw attention to him or herself by smiling at the audience, being artificially coy, flirting or showing off. (When a dancers asks me, "Should I be smiling at the audience here? I always lose it, and have to count to 10. My weakness). "Persona" works better for me. To me that means how an artist is present in the dance. Technique, or maybe pyrotechnique, is certainly a component, as a dancer needs ability and confidence to wrap their artistry around a given role. Physical beauty is a plus but not always. Musicality, timeing and phrasing, spontanaeity, abandon, introspection, mystery, sensitivity, joy, openess, generousity, honesty and humility are traits that draw me to a dancer. Some of these traits can and should be taught in technique class. Some other traits we can support and encourage when training or coaching dancers. Some of these traits are simply (or maybe not so simply) part of what makes an individual unique and interesting as an artist. But if a dancer is trying to make the dance serve them by trying too hard to make the audience notice them, I usually hide behind my program - can't watch it. If they are overindulgent with physical ability or artificial expression, I am turned right off. On the other hand, if the dancer is serving the dance with skill, focus, joy, honesty, and generousity, I am more compelled. They reach me by drawing me in to them. I am no longer simply watching a dancer, I connect to a very special person. I am filled up with their dancing, and am grateful for their gift to me. That is artistry. I often felt that the directive "Don't act! Just do the steps!" (Paraphrased here, I'm sure, and usually given for abstract ballets that are about, among other things, music and structure) is misleading or misunderstood (my opinion, of course, and not intended to offend). It means for me rather "Cut the histrionics! Listen to the music. Dance how you feel, and with everything you've got. But most of all, be yourself when you dance - as honestly and as openly as you can!" Rick

Somehow I feel that "personality" isn't quite the right word. I feel as if that implies that a performer is or should be trying to draw attention to him or herself by smiling at the audience, being artificially coy, flirting or showing off. (When a dancers asks me, "Should I be smiling at the audience here? I always lose it, and have to count to 10. My weakness). "Persona" works better for me. To me that means how an artist is present in the dance. Technique, or maybe pyrotechnique, is certainly a component, as a dancer needs ability and confidence to wrap their artistry around a given role. Physical beauty is a plus but not always. Musicality, timeing and phrasing, spontanaeity, abandon, introspection, mystery, sensitivity, joy, openess, generousity, honesty and humility are traits that draw me to a dancer. Some of these traits can and should be taught in technique class. Some other traits we can support and encourage when training or coaching dancers. Some of these traits are simply (or maybe not so simply) part of what makes an individual unique and interesting as an artist. But if a dancer is trying to make the dance serve them by trying too hard to make the audience notice them, I usually hide behind my program - can't watch it. If they are overindulgent with physical ability or artificial expression, I am turned right off. On the other hand, if the dancer is serving the dance with skill, focus, joy, honesty, and generousity, I am more compelled. They reach me by drawing me in to them. I am no longer simply watching a dancer, I connect to a very special person. I am filled up with their dancing, and am grateful for their gift to me. That is artistry. I often felt that the directive "Don't act! Just do the steps!" (Paraphrased here, I'm sure, and usually given for abstract ballets that are about, among other things, music and structure) is misleading or misunderstood (my opinion, of course, and not intended to offend). It means for me rather "Cut the histrionics! Listen to the music. Dance how you feel, and with everything you've got. But most of all, be yourself when you dance - as honestly and as openly as you can!" Rick

When I was still a student I attended a performance with a teacher whom I admired. At the end of a performance my teacher lept up and very loudly expressed an opinion of displeasure by booing. I must say I was embarassed and shocked, but also kind of caught up by the theatricality of the gesture. Later, reading about reactions to premieres of Rite of Spring and Afternoon of a Faun , I was taken by the whole idea of scandal at the ballet, and the heated discussion that followed a performance about which there were passionate differences of opinions. It sort of added more spice to the glamour of the world of ballet. I could never bring myself to Boo at my fellow performers, although I've witnessed performances that I really disagreed with. Usually if I don't like what I'm seeing, I cover my face with my program or close my eyes and listen to the music or take a nap. The worst I can bring myself to do is simply withhold my applause. The only time I was upset enough to Boo was not when I was in the audience but rather onstage. We had just finished performing a rather experimental Forsythe work in Holland somewhere. During the ovation there was a lot of commotion and a lot of booing. I felt compelled to boo right back and shake my fist at the angry patrons. The adrenaline rush was exilerating, even if my behavior was questionable. Rick McCullough

When I was still a student I attended a performance with a teacher whom I admired. At the end of a performance my teacher lept up and very loudly expressed an opinion of displeasure by booing. I must say I was embarassed and shocked, but also kind of caught up by the theatricality of the gesture. Later, reading about reactions to premieres of Rite of Spring and Afternoon of a Faun , I was taken by the whole idea of scandal at the ballet, and the heated discussion that followed a performance about which there were passionate differences of opinions. It sort of added more spice to the glamour of the world of ballet. I could never bring myself to Boo at my fellow performers, although I've witnessed performances that I really disagreed with. Usually if I don't like what I'm seeing, I cover my face with my program or close my eyes and listen to the music or take a nap. The worst I can bring myself to do is simply withhold my applause. The only time I was upset enough to Boo was not when I was in the audience but rather onstage. We had just finished performing a rather experimental Forsythe work in Holland somewhere. During the ovation there was a lot of commotion and a lot of booing. I felt compelled to boo right back and shake my fist at the angry patrons. The adrenaline rush was exilerating, even if my behavior was questionable. Rick McCullough