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jkr3855

Inactive Member
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About jkr3855

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    interested
  • City**
    New London
  • State (US only)**, Country (Outside US only)**
    CT

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  1. And further more, obviously sexual harassment and physical harassment are not the same thing, and they are being conflated by the times article that you've been discussing here. If not directly conflated, then the NYT is inviting readers to conflate the two issues in their minds. It's a devious and unethical strategy. Peter Martins may have dragged Heather Watts up the stairs, therefore he may have forced a student to have sex with him in exchange for a role. I'm pointing out that fallacy. I thought that was obvious, as well.
  2. I'm stating what I believe is relevant to the legal issue that we are discussing on this thread. I don't know what's of personal interest to you. This is what is of interest to me. I thought that was obvious when I made my post.
  3. I think I noticed Ratmansky's name put forward somewhere as a replacement and I just wanted to formally and officially register my amusement at that idea Heh. I can't find the quote but the dancer/student who said that Martins said she needed to be noticed to get a promotion, and who interpreted that as "you have to sleep with me"-- I wouldn't say that's twisting his words, but it is absolutely interpreting them, rather than a straightforward understanding of his meaning. That in itself is not evidence of sexual harassment. There would need to be a great deal more corroboration
  4. I haven't caught up on this topic and obviously there may be more to the story than has yet been reported. But this: "Kelly Boal, a former City Ballet dancer, said in an interview that in 1989, Mr. Martins had “grabbed my shoulder and pulled me out into the hallway...." is not sexual harassment this: "Several dancers interviewed also said they saw Heather Watts, a former City Ballet dancer, walking around with bruises..." is not sexual harassment, is hearsay, and I'm not sure how many dancers walk around without bruises, and this: "Two dancers said he had a bad temper
  5. I'm also interested in everyone's reviews of nutcracker, as I will add to others' comments here, if any NYCB PR people are reading: The prices are too f#%$#ing high. It's admirable that they have a performance for public school children, though. But 100+ for 4th ring is ridiculous.
  6. I never saw Heather Watts dance in real time, but Tiler Peck is not the kind of dancer who needs to be coached to fall off pointe. I meant to write about her (Peck's) Dream divertissement last summer but never got around to it--a living. present day classic performance that should go down in the history books as one of the best. I won't say flawless bc I don't think that's the point of dance, but as far as getting at the spirit of that particular piece, I don't think anyone has ever done it better. I've seen ballerinas do it as though the stage were a music box and they were the figu
  7. I'd say this is actually worse, since in the world created by the choreographer, there is potentially nothing the woman he puts on stage wouldn't object to and nothing that's out of bounds--the male choreographer can recreate any kind of pornographic act he pleases and present it in such a way that the actress or ballerina "isn't bothered by it." This is at the heart of the problem with using only or predominantly male choreographers--or writers, or directors, or any other thing you care to imagine--some of them treat the dancers/actresses they work with like blow-up dolls. what ballerina woul
  8. Edited because the post above was insanely long ...I do know that others should at least have a chance to prove themselves, and the HereNow programming seems very narrow to me. I'm not saying it was the worst idea at NYCB since those terrible Valentino costumes, I'm just saying, it was a trifle misguided. Balanchine's foray into Broadway is a favorite topic for some and used to justify all kinds of career side-trajectories, but I'm not sure many understand what he was actually doing and learning there. Peck is American, born in America, trained in America, he does
  9. a few points 1)I'm around Justin Peck's age, so I think it's a bit silly to cast this as a generational divide problem 2) It's not an either-or question: either NYCB is a museum or the HereNow festival is the way to present new choreography. This is the way the question is always presented in NYCB marketing materials, and in the press as well. Don't buy into that. Does anyone actually believe ballet is dead? What does that mean anyway, it's just words. 3) I don't want to see only Balanchine--in fact, I don't need to see Balanchine performed exactly the way he was performed five
  10. Didn't make it, but I have to note, without having read it, that Macaulay's review seems (from the headline) suspiciously timed given the recent controversy regarding NYCB's choice of choreographers. He'd (Macaulay) established himself as having a stake in Peck's being the next Wonder Boy (SuperBoy? Batgirl? whatever) at NYCB, through his excessively vigorous championing of that cause, and I think he'll now continue to argue that case, regardless any other considerations. ie, how very convenient that Peck turned out to be heir of Balanchine, since some people recently were not too ha
  11. ^^^I have also been studiously avoiding a work deadline this week :) same I just don't see pretending that any of these guys has a talent on the magnitude of Balanchine's. for me Wheeldon has always lacked substance; Peck maybe, but I think he's better served on a program with Balanchine. Haven't really seen enough Ratmansky to judge-- of the three, though, I think he's perhaps the only one that can genuinely pull off an evening of solo programming I would love it if we had another home town NYC talent like Balanchine who could reinvigorate American ba
  12. ...I dont know about that, most people will just read the quote which is all over twitter, and anywhere else one cares to look, and not go to the NYT article. (Also, that paper needs something more than 10 or 11 extra clicks on a ballet article to save it) Wheeldon's and Pecks's Twitter and Instagram are probably getting a little extra traffic though that is a happy accident for them, probably not a deeply laid strategy for internet publicity I'll look for Luke Jennings work after this, but if he wanted to adopt a pose to get more page clicks, he could have chosen a less byzantine route
  13. I have a morbid curiosity to see this as well--I'm assuming it was never archived. There must be a bootleg copy somewhere. More constructively : ) , it's useful to watch lesser works of a master and compare them with his greater works--kind of like erasing an artwork pencil stroke by pencil stroke to see how it was constructed
  14. I'm not sure that they all three do agree. Could be true, but if so they expressed themselves very poorly. Peck seems to think that women should be, shall we say, educated at an earlier age which will result in more female choreographers gaining important commissions, while Ratmansky doesn't think it's a problem. Two contrasting opinions right there. Wheeldon notes that there's an "imbalance" along gender lines, but shifts the responsibility away from directors, noting that they "love to present the work of female ballet choreographers." Those are actually three somewhat di
  15. TBF, regarding Peck's answer he at least tried to answer the question, it was just a trifle patronizing. But I thought his answer alluded to something which I agree is part of the problem, that women are primed to see themselves as the inspiration for the choreography, rather than the impetus. And, in terms of examples for them to emulate, in the past when they have been the muse, rather than the choreographer, there is ample precedent that this can skyrocket their career, while trying to be the choreographer will likely end in frustration and a dead end. [It's a problem not just i
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