Hans

Ok, that makes sense, because I could have sworn I read in an interview with him that he went to Denmark at 15--it's in the book "State of the Arts" which is about California & has interviews with various artists in the state. I'll have to go read it again. Apparently, if he did to go Denmark at that age, it was not to train at the RDB!

I read that Tomasson was trained at the RDB starting at age 15...?

Just wanted to acknowledge Livry with this quote: "[Le Papillon] was also the triumph of the unfortunate Emma Livry, who was to die at the age of twenty only a few months later, on July 26, 1863, from burns sustained during a rehearsal of La Muta di Portici, when her tutu caught fire from a proscenium light. She was a thin, rather plain girl, whose success was due to her technical and artistic gifts alone. The critics wrote of her that 'her steps would have left no imprint on the flowers.' Commenting on her favourite pupil's admirable performance, Taglioni said, 'It is true that I never saw myself dance, but I must have danced like her!' She gave poor Emma a photograph bearing the famous inscription: 'Make the public forget me, but do not forget me yourself.'"

I have a specific question to ask on this thread but would like to leave it open to others as well, to ask how the special effects one hears about in Romantic ballet were done. I think we all know most, if not all, of the La Sylphide tricks, but I want to ask if Marie Taglioni really did stand on a rose in L'Ombre as the lithograph shows, and if so, how did they do it? was the rose made of iron with a little flat platform behind it? The caption of the lithograph in my book implies that she did: "The famous ballerina is captured, in this coloured lithograph by J. Bouvier, dancing the pas de fleurs, in which she gave proof of her extraordinary lightness," but doesn't say for sure. Any takers?

But Princess Florina does that--several times as I recall, and she doesn't ever do main a l'epaule. Maybe we're referring to different versions? I'm thinking of the Sergeyev, in which the "warding off" motion also doesn't occur.

Out of curiosity, what is the current world record for number of people standing en pointe at one time? Is it perhaps the original Nutcracker snow scene with 60 dancers? Or were all 60 never en pointe at once?

They have less flesh and bone but also less muscle, which makes it more difficult to jump and beat. Also, men tend to be taller, and taller people can usually jump higher (there's a physical reason for this, but at the moment I forget exactly what it is). There are plenty of exceptions to the statements above (Sizova can jump like a gazelle) but generally, that's how it goes, I think. This also holds true in partnering--you'd think that the really thin girls would be the easiest to lift, but they're not because they have no muscle with which to jump, thereby aiding the lift. It's the muscular girls (coordination also makes a big difference) who are easier to lift because they can jump by themselves--you just have to augment what they can already do and slow their descent. Ok, I have gone really off-topic here, but I hope it helps . Maybe I should start a new thread?

Shoot! I used to know someone who knew the dancer on that stamp but have lost touch. I think she worked at Capezio in NYC on...is it 54th St.? but may not anymore. I don't know where she danced.

It's not that I couldn't conceive of a danseuse performing more than six beats, but rather that entrechat-huit often gives men trouble, and men usually have stronger jumps than women. Of course, there are plenty of exceptions! I can perform entrechat-huit, but to my knowledge, it isn't in any classical variations. When watching a dancer, the way to tell whether they're doing entrechat-six or -huit is to see whether they land with the same foot front as when they started the jump. If it's different, it's probably entrechat-six; if it's the same, it's probably entrechat-huit.

About Princess Florina, if I recall correctly, the only time her hand is anywhere near her shoulder is during her "listening" ports de bras--because the bluebird is supposed to be teaching her to sing. RS, I'm afraid I don't quite see the logic in placing a bird on her wrist when she just danced a pas de deux with the bluebird and is about to perform a coda with him.

RS, I think Nerina must have done entrechat-six. A few of my teachers used to end class with 32 entrechats sixes, but I don't think even Nijinsky could have performed that many entrechats huits!

RS...what company is on this tape? And who is the ballerina? I have the same tape Silvy does: with Makhalina and Zelensky, and Makhalina does entrechat-six, jeté du coté, piqué forward into attitude derriere croisé. I am just wondering because I have never seen a female dancer perform entrechat-huit in my life and would dearly love to see it done! Mel, I could swear I've seen Minkus' given name written as "Léon." Is that just inaccurate?

Thank you for the link, Alexandra--most informative .

Didn't Tchaikovsky start a Cinderella ballet but never finish it? Or am I thinking of Romeo and Juliet, which turned into the fantasy overture? Mel, do you know if the Schell music survives and/or whether the ballet was notated?

You might consider entitling it "Variation from 'Paquita.'" Simple, but dignified .

I read in Petipa's memoirs that he choreographed a successful Cinderella; I assume it was the one featuring Pierina Legnani. I'd like to see that one, no matter who the composer was! Ideally, I would of course choose Tchaikovsky, but I'd be equally happy with Glazunov or Delibes. I'd find Minkus and Drigo most suitable as well. Did Strauss indeed write a ballet version of "Cinderella?" Has anyone here heard it, and has it been choreographed to?

Okay . Here are the possible answers and the responses that "point" to them: George Balanchine Your choreography is: sleek, modern and innovative Your ballets: are fast and energetic Your sets and costumes: are minimal, if any You are from: Georgia. No, not THAT Georgia, though I do consider myself American... Most interesting thing besides choreography: I marry my muses Home co. mangle choreography? Yes, but who cares? Change one aspect of current performance? Just make new ballets Marius Petipa Choreography is: Formal and perfect Ballets: are the foundation of classicism Sets/costumes: lavish and opulent From: France, but I live in Russia Interesting fact: I accidentally say obscene things in Russian Choreography: It could be worse, at least they're trying Change: I'd remove those acrobatic jesters, especially the ones wearing tutus. Frederick Ashton Choreography is: the epitome of restraint Ballets: Are tricky and idiosyncratic to those unfamiliar with your style Sets/Costumes: Always appropriate (sorry, couldn't think of anything better!) From: England Interesting Fact: Hang out w/ Dior & Fonteyn Choreography: They don't even dance them anymore Change: I'd put back the port de bras Kenneth MacMillan Choreography is: wild and melodramatic Ballets: are dramatic and depressing sets/costumes: nightgowns and poet shirts From: England, but my last name is Scottish Interesting Fact: I'm a KNIGHT! Choreography: They're too restrained Change: More emotion and big swoopy lifts August Bournonville (I thought for sure Alexandra would be him!) Choreography is: delicate and understated Ballets: Are (were) perfectly preserved, at least in your hometown Sets/costumes: prettily modest From: Scandinavia, but father was French Interesting Fact: I make my dancers sew their skirts to keep their legs down Choreography: Hideously Change: Put back the mime Mikhail Fokine Choreography is: eclectic and imaginative Ballets: run the stylistic gamut (was thinking of sylphides, scheherazade, Pavilion, &c) Sets/Costumes: colorful and detailed From: Russia Interesting Fact: Went to school with Pavlova (not quite accurate, but it sounds good I think he was actually teaching by the time Pavlova came through) Choreography: Actually, I don't have a home company (ie, Ballet Russe no longer exists) Change: I'd put them back in the repertoire

Are we ready for the full list of possible choreographers, or are there more people who want to take the quiz before I divulge it?

How about Kim Uphoff?

They are, but I was thinking of the forced manual labor involved, as well as the racism and dehumanizing factors such as cruel treatment and inadequate (to put it mildly) living conditions.

If only more parents thought the way yours did, Alexandra I imagine that it would be more helpful to try to view history from the eyes of those involved--I would think that would make it "come alive" more than trying to relate it to the present day. For what it's worth, I would tend to equate the Holocaust more with slavery (though clearly not a modern-day practice/idea, and not really an exact match) than playground bullying. I also find it rather shocking that people would feel the need to "make it relevant to today" when it only happened 60 years ago! It's incredible and horrifying how recent it is.

I didn't know Sleeping Beauty was a masterpiece for a long time. Part of this was not seeing good versions of it, but I need to see a work many times before I can really understand and start to analyze it. An example of this is when I went to see...well I'm blanking on the name right now :shrug: but it's a Tudor ballet--the one that begins with the heroine putting her hand up to her hair. I want to say Pillar of Fire??? Anyway, I'm sure it's a wonderful ballet based on the opinions I've read here, but I'd need repeated viewings (a pretty good knowledge of the choreography is also important to me) to really understand all of it. As for the second question, I want to read about the work, but I also want to read an analysis of it--not really how the critic felt about it on a deeply personal level, but what the strong/weak points are, whether ideas were presented clearly & logically, &c.

I turned out to be Rimsky-Korsakov as well--the teacher of the group. I think it suits me .

According to videos I've seen, lots of Russians have substituted "piqué turns" en manege for the fouettés. After having seen fouettés, it looks rather anticlimactic in my opinion, no matter how brilliantly they are done. I think Swan Lake does require fouettés, but I do not think they should be embellished beyond a double done every 4 or 8 or even 16 turns or so. No fancy arms, no triples (except maybe at the end). Fancy arms and multiple pirouettes are largely Don Q and Le Corsaire territory for me--I don't even really like them in Paquita, though some "Spanish" flavor (such as hands on hips, &c) is acceptable there IMO. Just don't stop the music during the coda

[stares] Mme. Hermine, you are my new favorite person .