diane

That is done in the two German-speaking countries which I know well - Germany and Austria. I am not sure where it really started, but it appears it has to do with the jealousy of evil spirits and was a way of keeping the bad-things away. The evil-spirits would come running/flying when they heard a good-wish; so in order to keep them at bay, one would have to do something, such as spit out three times, turn around three times, knock on wood (three times:-)) or whatever, to raise the protection of the good-wishes. Some people think that the words "toi toi toi" (pronounced toy-toy-toy) come from saying the German name for devil three times, but not the whole name. (Teufel) Who knows for sure? -d-

It has been a very long time.. but I remember making sure my pointe shoes were not going to slip off of my feet in any way, shape or form. Of course, we would have had a "barre" one hour before curtain, and most of us would have been in the theater quite awhile before that, for makeup, etc. etc. Costumes usually got put on shortly before the curtain went up. For me, it turned out to be better to NOT try out something technical shortly before curtain, for if it did not work, then I would get nervous. As has been mentioned, things are not going to get any better right then! Oh, and then there were the normal going-around-and-spitting-over-people's-shoulders types of things going on. :blush: -d-

why not? -d-

mmded, That was really interesting to read your thoughts on these quite different performances! What luck that you were able to see them all. I was especially interested in your thoughts regarding the Stuttgart production, as we saw this on TV several weeks ago, and were - sigh - quite disappointed. Perhaps the piece really does not lend itself to film, or perhaps there were things cut out, or perhaps ... oh, well, we don't get to see much ballet here, so we are perhaps "starved"; but we did miss more _dancing_, as there seemed to be an inordinate amount of "shaking" going on, but not that much else. Granted, when there was more dancing, one really could appreciate the dancers' skills. Those trousers with the nuts were quite something, and I can imagine they need to be repaired often. So, thanks again. -d-

Most of my re-reading has been in the role of parent. Starting at the very beginning, with "Winnie the Pooh", which I remember of course from very young, but really appreciate the humor much more now. ;-) (it was one of the childrens' books which I could read aloud to my kids and I enjoyed it at least as much as they did!) My girls loooved the rhymes and poems, so we got really into those, too; they became favorite "songs" when getting dressed, walking to school, etc. Tolkien's books were a huuuuge favorite with my kids from when they were about six and four. I started with the "Hobbit" and then soon they wanted the "Lord of the Rings", too, which we read three times (all of them) throughout the next years, finishing with the "Silmarilion".... I enjoyed them again, but for different reasons, mostly to do with language. (:-)) (as an aside, I found those books to be the best for my daughters' English skills, as they only hear it from me) Books which I loved as a teen and now cannot seem to get into are the Hesse favorites: Steppenwolf and co. I suppose I could now try to read them in German, as I am pretty fluent in that by now, but something about those kilometer-long sentences scares me. :-O -d-

I like the idea of a ballet - dance-piece to Rolling Stones, but I have a hard time imagining something better than Christopher Bruce's "Rooster" of long-ago. Still, I am very interested to hear reports by people here who saw the Schaufuss production. -d-

It is great reading about people's own recollections of these dancers-from-the-past. Does anyone think there is ever any chance of some of this elusive film footage which is in various public libraries to be put together (or even put ON) a DVD? That would be so cool - for then the rest of us, who live oh-so-far-away (and for whom such far travel is quite expensive and out-of-the-question), could perhaps see more of the wonderful filmed dance from that time! What has to be put into motion to get something like this to happen, does anyone know? -d-

I have often thought about this. I agree with what has been said so far, really. Personally, I enjoy some repitition because then I often can more appreciate what I have seen. In many modern pieces I am always "on edge" because I have not been able to "digest" what I have been shown well enough to really enjoy it before it changes again. It is tiring and - sadly - even tiresome at times, to be bombarded with so many diverse and seemingly unrelated movements. (especially if they are not even aesthetically pleasing to watch, but that is a different subject) Also, it satisfies my desire to see the music danced. (if the music repeats something, for example; or if not, then it helps me to find something in the music to hang on to) I _do_ like it even better if each repitition has a small variation to it. (not always just carbon-copies of the movement/s) That is why, for example, the 32 fouettes are not always that pleasing - for me - to watch. (more similar to circus..) -d-

Thanks for posting that link! I really like backstage and class photos. There is also something about black and white which helps me as the viewer concentrate on the form. -d-

That is very good, "dogs come when called; cats have answering machines" ! We share our apartment with a cat, and I loooooove dogs and cats both. Ideally there would be several of each around all the time. (I grew up with two felines and at least one canine at all times, plus diverse fish, turtles, frogs, a bird...) Someone mentioned that many dancers perhaps kept cats because it was easier in an apartment. That was sure the case for myself. It is why I ended up with a cat - and not a dog - when I was still dancing. A cat tends to fit easier into small places than does a dog. However, I have not given up all hope of having a dog again. -d-

Marko, your link does not seem to work. :-( -d-

Which technique point was that? There are always new things which I find out at the seminars I go to, though not everything is geared toward ballet - but there is so much still to learn... from many areas. -d-

Yes, Ms. Munro is like that. She made dancing seem somehow easier. Everything had a place and a meaning and a feeling. There was nothing superfluous. I never saw her dance onstage, but she must have been lovely. -d-

grace, as far as I know, there are not any huge benefits from joining if you cannot attend the conferences, which I cannot, either. (for the same reasons you mentioned....) I am a member of the German equivalent, and they offer workshops in order to help interested teachers, etc. increase their knowledge of medicine as it applies to dance. Does IADMS offer those, too, in different areas? -d-

Mary Munro?! She was one of my teachers at Rambert - way back when I was there! Funny Face, I'll try to pm you .. maybe you could say "hi" for me to her? -d-

Thank you very much for the explanation! (I've been out of the US for many years; here things are generally different) Another question: are there lots of companies in the Bay Area? -d-

This is really sad..... who makes these decisions? Who decides who is in the board of directors? Are any of these co.s supported by grants, etc.? And if so, who decides who gets what? -d-

Will this film also come out on DVD anytime, do you think? I don't know if it will hit central Europe.... and if it does, probably not anywhere near me. :-( (grumble...) -d-

Volkmar, first of all, congratulations! This sort of thing is very rewarding, and I am happy for you that your first time was a success and a joy for you. Were the kids you worked with dancers, or were they more or less new to this sort of thing? Are you familiar with the film "Rhythm is it", or with the other projects of the Berlin Philharmonic with (mainly) young people - all non-dancers - dancing to classical music? -d-

I believe dancebooks UK has it. http://www.dancebooks.co.uk/homePage.asp -d-

I usually clap loudly, seldom shout bravo, and sometimes stamp my feet, which is what is done here. The simultaneous clapping is quite common in Germany, too; I had no idea it was considered Russian. When I was dancing, I was pleased if people clapped loudly and long, and any bravos or whatever was also great. I agree with Gina Ness that booing or anything like that is not on. And, anyway, usually it was not the dancers' "fault" for whatever went wrong with a production. So, unless those responsible come onstage, I feel it best to withhold a negative response. (editing to add: and even then I am a bit conservative and tend to give them all the benefit of the doubt) -d-

Probably "yes" to both questions, bart. There is hope for companies which can find alternative - and long-lasting! - financial help. As far as I can tell, it is not much of a tradition here, to give to cultural institutions. And, when the funding from the state gets flimsy, the first to be "rationalised away" are usually the dancers. It happens all the time. -d-

Yes, it was taken out of the state-theater. Most cities here - as of about 100,000 or so - have a theater which is supported heavily (90%, I believe) by the state/city. Many of these theaters have, in addition to an acting-dept., opera and orchestra, also a dance company. In the olden days these were nearly all ballet companies. Some with as few as 16 dancers, and some with considerably more. There are many reasons why a city/state decides to cut back on their subsidies of the theater (and other things - libraries, swimming-pools, schools), and one of them is too little audience for certain things. (politicians rarely go to the theater themselves; they often only look at the bottom line...) What exactly happened in Frankfurt is subject to discussion, and depends rather on what you think of Forsythe and his work. The co. was not there all the time; they did a lot of touring. When they were there, I do not believe it was always a huge success with the Frankfurters, who were paying the main amount of subsidies with their taxes. -sigh- It is often the way. So, now Frankfurt pays a bit and Dresden pays a bit in order to keep the Forsythe company going with less dancers and probably less money altogether. The co. will perform in both cities, as well as, I assume, going on tour. -d-

Happy Holidays from here, too. Wishing all of you peace, happiness, hope and good health. -d-

Thank you very much!! -d-