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About grace

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    Silver Circle

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    Teacher, Writer
  • City**
    Australia (First Joined 1998)
  1. thanks for the responses. since i haven't been back here for about a week, and there are only these two responses, and neither of them from IADMS members, i guess it's reasonable to assume that IADMS members and BT members are not the same people! a teacher friend of mine shared some ballet technique teaching information which was new to me, and important. she picked it up at a seminar of some type, held in melbourne 2 years ago, i believe held in conjunction with the australian ballet school. she said it was an IADMS seminar, but its not listed on the IADMS website, so i think it wasn't quit
  2. i'm just wondering how many ballet talkers - if any - are also members of IADMS? (if you don't know what that is, then the answer is obviously 'not you'! so here's a link, for your info: http://www.iadms.org/ ) i do know, of course, that they are a unique body, and 'do good work', so to speak...BUT: because there are no examples, on the site, of anything you can get from joining - other than attend conferences, which is out of my price range - i can't measure the worth of joining, to myself. i suppose i am most intrigued by their discussion forum. BUT: before their site was re-fashioned, i
  3. getting back to the original question: i am not going to refer to any books here - rather to my memory over years of watching and learning and reading...(and i have danced this, too). i say - and this is just me - that it makes sense, to me, that if she is learning to fly, she would be making attempts to fly. so, the moments where one may be directed to flutter - don't ask me now to recall at WHICH moments! - it makes sense to me to flutter...within reason. and re the prince: my perspective is that it is mostly only the russians who call him Desire; elsewhere he is Florimund (flower of th
  4. EDIT: i'm sorry. i wrote this post without noticing the second page of this thread, which i HAVE now read. ..just so you understand why these comments below seem out of sequence... ----------------------------------------------------------------------------------------- what a fascinatingly informative thread! i'm so glad i looked in, here - just out of idle curiosity. thanks, ismene brown (& others) for a good story well told. solor, re: i sure hope not! and as a notator (benesh), i would imagine this extremely unlikely, even when things ARE old enough to be 'in the public domain
  5. just to say that i looked on AMAZON, and cannot see the book, there - so presumably it is not released in america yet - which you'd think is really a missed opportunity for the publishers, since you (in USA) have seen this ballets russes film which WE have not yet heard about in australia... releasing the two at once would have seemed to make sense to li'l ole me! mind you - it's nice, just for ONCE - to have access to a book BEFORE 'you people'! you "ALWAYS" (said in whiny voice) get stuff first!!! :nopity:
  6. no, kfw - at least not in the sections that i have read. this is what is bothering me.even *I* feel a need to understand - so why didn't SHE?!? (or maybe she DID, but she doesn't explain). i guess we are all different ... and the standards of 1949 were very different to those of today - but i still find it 'mindblowing'... sorry it took me so long to respond. i posted a response and then the computer 'lost' it. then i ran out of patience with my internet connection, which has been giving me problems since recent re-connection.
  7. glad to hear that, atm711. elsewhere at this board, there is a discussion about the ballets russes film. i haven't read it yet, but i notice that, in the book's acknowledgements, baronova writes "on behalf of all my colleagues in Colonel de Basil's Ballet Russe, I extend my immense gratitude to Dayna Goldfine and Dan Geller, for the magnificent documentary they have made on our company and our times Ballets Russes". i always assumed that both the word Ballet and the word Russe should be plural, in the company's title - as the film is titled (in the quote above), but when Baronova refers to
  8. she states in the book that her huband (cecil tennant) required her to give up associating with ballet for 5 years after their marriage - that was what he told her he required of her, if they were to be married. within a page or 2 of describing this ultimatum, one old ballet friend (tamara finch) gets back in touch with her - just married to the actor peter finch. tennant encourages her to invite the finches over. baronova herself says she regarded this as odd. i haven't read further to see how OTHER old friends were dealt with. but i HAVE read the bit that says she started to do barre at
  9. yes. 'birds of paradise'. you are BOTH right. thank you.
  10. having SOOOOOOOOO enjoyed the fonteyn book(daneman), and having unfortunately got to the end of it, a while back...i felt encouraged to try another biography, and have just bought the paperback of Irina Baronova's autoiography, which was relased in australia in time for christmas. with a GORGEOUS cover and dust jacket. i just dipped into it, in more or less the middle, and then near the end, last night. and was a bit staggered to see that the whole book covers her life up to some time in 1967 when her (second) husband, cecil tennant, died. the ensuing 38 years are covered in approximately one
  11. OK, i am very late in getting a copy of this book. and pretty much everything has been said - and said so well - already. but i JUST LOVED IT! and want to say so. i really didn't want the story to end. one thing it did for me, also, is that it took me back to the feelings i had when i was an adoring child looking at her photos and reading about her - and eventually seeing her dance (with nureyev). and i, for one, REALLY wanted to discover the personal side, of someone who just simply was too perfect to be real. i found that standard of behaviour - her standard - held up to me by myself
  12. i've been 'away' (from the internet) for a long time, so i'm going back, reading threads i missed out on...this one caught my eye. it's interesting because of the different ways people have responded. my thoughts on ballets specifically mentioned already: agon: hmm..well..i never thought of it this way, but i certainly could see it now that 'you' say that... bugaku does nothing for me. sleeping beauty...hmm...??? manon &/or mayerling: - definitely not. to me they are definitely sexual - but that is not the same as erotic. as came up on some of the threads about toni bentley's more re
  13. grace

    Fiona Tonkin

    last i heard, tonkin was teaching ballet in new zealand. but that may be out of date...
  14. thanks for your carefully written review, becca. i was interested to hear an audience reaction to david nixon's dangerous liaisons, because i have just reviewed simon dow's dangerous liaisons for west australian ballet. the conscience idea is a fascinating one. dow used voiceovers to read excerpts of the letters, and then follow the story on, onstage. they were deliciously wicked sounding voices, two members of alliance francaise - one male and one female.
  15. surely the daneman book will go into the training? there are plenty of fonteyn videos around still. it sounds like you would really appreciate seeing her technique and performance style for yourself. my own view is that she would not even get into any good ballet SCHOOL these days, let alone a company... what do others think on this?
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