Vs1

I worked for family businesses or for small businesses in which families worked together with others. I don't understand why that is a problem.  Except for large organizations, I would assume it is the norm.  Some did good work, and some did no work (and I don't think anyone officially complained).  However, the family signed the paycheck, and the work assigned to the outsider was expected to be done by the outsider. 

Now, POB is complaining of bullying. I have never not encountered bullying in any endeavor in my life. It is not illegal.  (Ironically, Aurelie complained of it, and was criticized for it. Now, everyone says she is creating such an atmosphere).

Just now, volcanohunter said:

I suppose Lauren Cuthbertson, Francesca Hayward, Sarah Lamb, Laura Morera and Marianela Nuñez are all chopped liver. It's only one opinion, of course, but I would choose any of them over Osipova each and every time.

Last I checked, all but two of the POB's étoiles are French, and the exceptions aren't Russian. There aren't any Russians among the Royal Danish Ballet's principals.

If there are more Russian dancers working abroad than there are non-Russian dancers working in Russia, perhaps this has more to do with living and working conditions in Russia than anything else.

NYCB. Although I always see the Russians when I can.

I read a European turned principal left Boston after a couple of years to freelance and had cancer. I wonder how she pays for anything.

Masha's abt swan mystified. I felt like i was watching a gymnast who didn't know what to do with her arms. Her legs  were fine.  But she was executing steps.

14 hours ago, ABT Fan said:

I remember reading this as well. 

I also wonder if Kochetkova will go to Berlin with Simkin. They already do a lot of guesting and galas together. She seems to already have a busy guesting schedule, so maybe she'll just freelance. 

Can someone explain freelancing realistically? Because I have read of Guillem  and know of Bolle ( yet he is also an etoile and principal),  but I also read of names hardly known who host a gala or two . In my head , that is called unemployment.

18 hours ago, pherank said:

;)
Kochetkova's unique quality seems to be her ability to sponge up many disparate styles and dance them all believably and effectively. In that respect, she has helped to shape what people have come to expect from all SFB principals, as much as Tan, or Sylve.

Tan and Masha are not comparable in style.  So they expect anything?

20 hours ago, sandik said:

One of the things I find interesting is that the works are just old enough for many of us to remember those times and have a sense of how those attitudes fit into the zeitgeist, but they can hold a mirror up to our concerns and actions from that time.  My daughter and her cohort have different expectations of their world, but those requirements are built, in part, on the shoulders of the people who came before.

If you assume women don't discriminate or Allred wasn't part of a play

6 hours ago, sandik said:

I'm a bit older than the original audience for John Hughes' work, but they did feel truthful to my memories of high school life -- seeing a young woman who was learning to stand for herself was a compelling image back then.  Especially in a world where the victims of rape were still routinely assumed to have been somehow at fault for at least a part of the experience.

Hughes and the sleeping victim blamed the victim. Such a great joke.  Also, Gloria Alfred's clients' parade of recantation has begun,as predicted. I'm sure. Take ten steps back.

Didn't geffen revoke that a while ago

So which one was on YouTube for months? I would've more interested in riabko  who can subtly bring one to tears than  nboc's alleged heartthrob (sorry)

4 hours ago, sandik said:

     On ‎4‎/‎10‎/‎2018 at 7:10 PM, pherank said:

I don't know if this would be considered off-topic, but I would also recommend Molly Ringwald's New Yorker article, What About “The Breakfast Club”?
Revisiting the movies of my youth in the age of #MeToo.
https://www.newyorker.com/culture/personal-history/what-about-the-breakfast-club-molly-ringwald-metoo-john-hughes-pretty-in-pink

It's an interesting read, but, Ringwald fails to do what Bouder got right - she doesn't define terms, and is full of assumptions about what is right and wrong, what is ugly or beautiful, etc. Her assumptions/beliefs are probably part of the reason why she has a difficult time understanding how artwork can contain negative or violent content and still provide the audience with catharsis, a sense of well being, or inspiration, or even an "ah hah!" moment of enlightenment. I get the feeling that Ringwald tends to take film content very literally, and misses many of the overt implications. But, I could be wrong.  ;)

I think part of the twist for Ringwald is that she was pretty much the same age as the teenagers she portrayed on screen when she made those films, and her relationship with the director John Hughes couldn't help but be affected by that.  It seems to me she's trying to do what several other writers have been attempting  (including Clare Dederer, dealing with more extreme examples here) -- find a way to understand how beautiful or exciting or challenging art can come from compromised circumstances.  Many of us have been grappling with this challenge here on BA this year, and likely we will all still be working on this as we go forward.

What kind of catharsis or enlightenment occurs from Pretty in Pink or Breakfast Club? What definitions were required or omitted?  What benefit is there to gang rape or drugged date rape, even as art?

Just now, Gnossie said:

VS1:.  The recent land confiscation from whites who paid for land and helped blacks in Africa by providing treatment, money, marching, political aid, and constitutional and legal drafting seems unfairly punitive. 

I should add that I have suffered severely at the hands of some specific folk in power in that country and still lack comprehension of why their children (or those who caused no harm or helped the oppressed) should suffer. That does not mean I don't support ending suffering of the oppressed.  

Just now, pherank said:

 

And now, back to Feminism and Ballet - Did anyone happen to read MaCaulay's article Of Women, Men and Ballet in the 21st Century?
https://www.nytimes.com/2017/01/12/arts/dance/of-women-men-and-ballet-in-the-21st-century.html

"Still, it can be no accident that so many female dance makers came from modern dance rather than ballet. No ballet maker has achieved the revisionist power with which Martha Graham showed women rewriting both history and myth. Could this yet happen? Can anyone, female or male, give new — feminist — meaning to pointwork?"

 

Does history deny oppression/repression and require "rewriting"?  I heard learned/read about tragedy, suffering and oppression my whole life.
And I have read of hero/ines and martyrs, too.

The article is so poorly written in its attempt to hide some of what it is trying state and ignore other important points.  Sure, the slave scene with the Pashas has always disgusted (I have never understood why "Corsaire" is described as a romp or fun).  MacMillan, a male cited in the article without mentioning "Manon", acknowledges and describes our suffering (although vulgarly, perhaps he argues, with prurient intent).  Many of the women (who don't like their roles, no matter what they are, and can't be satisfied), complain either way.  Many of the male choreographers call "BS", in subtle ways, and say they act at the whim of such women.  Is it only women who try to protect the innocent?  Don't men have to hide from the ire of avengers (Willis) or manipulation of women for gain (many ballet characters fit the role), or are they just accusers (of Hermione)?  Then again, is noble Albrecht the true victim of an oppressive society (forget about peasant Giselle's suffering) while Anna K is scorned by her oppressive society rightfully? But, ultimately, isn't this all said on pointe? 

Cassandra can't change anything in Martha's dance, on pointe or not, but wouldn't consequences ensue to others if she did? Well, no matter what is turned on its head, as described in the article, you know who will never get the short end of the stick, and who will.

Just now, Vs1 said:

Well, the parade of recantation has started in Philadelphia, as expected.  I feel badly for all assaulted/injured, and all falsely accused, and all who decide on absurd "solutions".

I wonder if that was that the strategy. 

Just now, pherank said:

The situation you are describing definitely sounds like a bad one. The way healthcare is set up in my U.S. state makes that kind of situation much less common - unless the citizen simply refuses to sign up with a reputable healthcare service. I can go straight to the Emergency Room of my HMO (healthcare managed organization) or if if that simply isn't possible, then I can go to whatever ER is nearest and my HMO will pay for it in the end. That happened to me a while ago when I needed to be seen at an ER in British Columbia - but my HMO in the U.S. came though for me and payed the bills.

My husband's work has 1 of the 2 (I believe) main hmos offered here. The ins would not preapprove or post-approve ER visits in such conditions (other than the operation).  When abroad, I was told the ins did not cover. I spent a decade in the industry and routine claims were routinely denied in the first instance.

Just now, Gnossie said:

Just now, Vs1 said:

   As for feminism, I wonder if any victim will be believed after media claims about rampant pervasive serially predatory behavior.

AMEN TO THIS, AMEN, AMENNNNNNNNN! 👏👏👏👏👏

Well, the parade of recantation has started in Philadelphia, as expected.  I feel badly for all assaulted/injured, and all falsely accused, and all who decide on absurd "solutions".

Just now, pherank said:

I don't know what culture you are referring to in the first paragraph above. The situations will be different in different areas of the world of course.

Truthfully, my interactions with medical receptionists go like this:

MR: Hi.
ME: Hello, I have a 3pm appointment with Dr. ________. [I hand over my medical identification card and my driver's license which has my photo on it]
MR: OK, the co-pay will be $_____ today.
ME: [I pay with a credit card]
MR: You can take a seat in seating area 2 - the nurse will call your name.

Not very exciting and not really aggravating to me. It's the doctors that run the gamut in "bedside manner": I've had good ones that try too hard to be ingratiating and give me too much information. I've had doctors who clearly go through the day robotically keeping to company policies and have nothing much to add or say about my medical condition (or whatever happens to be the reason for the visit). I've had a few doctors who seemed annoyed because my issue was not of interest to them. I've had pompous sounding doctors who spend more time talking than listening,  and I've had doctors who empathized to such a degree that it was a little creepy. Truly, all kinds. But the number of people in all those interactions that were obviously trying to get in a my way and make sure I had a bad experience was very, very small. Most people I meet are aggravating unintentionally - they are simply too focused on their own issues/beliefs/values and don't see how they might be rubbing someone else the wrong way. And if they do notice what has happened, then their mind looks for a way to make it the other person's fault.  ;)

At the risk of being offensively off-topic or offensively nonresponsive, I offer the following explanation of what I meant, which you said you did not comprehend, for editing if required:

Me: I am suffering from immediate condition and work all week, such as (debilitating menstrual condition to end in a week but requiring pain killers, plague like flu needing immediate care, running out of medication for chronic illness, having a dog bite that requires a shot but no stitches, or other immediate need)

Receptionist: I have an opening in 6 months

Me: my condition requires immediate care and immediate medication, and won't exist in six months

Receptionist: I have an appointment on Tuesday at 12

Me: I work and can't make it midday

Receptionist: OK, Wednesday at 1 (ignoring point immediately above)

Me: Same problem. You are open until 7pm (an early night for me but I'll risk leaving early).

Receptionist: I have to call you back (never does)

Me: I need an answer

Receptionist: Send a referral

Me: Brings it by paper, which I did not get in mail (of course) and drove to primary care doctor to retrieve.

Receptionist: Need a fax

Me: That is a piece of paper, which I just gave you

Receptionist: Need it by electronics (which I was never told by referring dr or ins. co or specialist)

Me: Insurance said it was sent

Receptionist: I will not talk to your insurer

Me: If have to leave and go through the rounds again, I will die of embolism, and waste much time.

Receptionist: You wont.

Me: You are not a doctor. My aunt died of this. Embolisms get loose and go to the heart or brain. The doctor has an oath and a legal obligation to treat.

Receptionist: I can't help you.

Alt:

Me, weeks in advance, by email, telephone, letter: I have to cancel

Reception: sends bill for cancellation without 24 hours notice

Me: 3 emails saying I never had notice of your policy  and it does not apply

Reception: No response

Me: 3 emails to remove bill without response

Alt:

Medical personnel at all levels:  have an operation and  you will not receive outside bills or have condition

Afterwards: Have condition and bills
Receptionists: There are other causes of the condition (about which I was not told, nor was my husband)

Me: I would not  have had debilitating operation then.

These are examples, not specific conditions, but I am truly happy your experience is different.

I don't know what culture you are talking about regarding paragraph 1.

On 4/10/2018 at 11:33 PM, pherank said:

So many implications, so little time.  ;)
I read it differently - if Black lives matter too (as well) then there must be an argument being put forward that something matters, and it isn't Black lives. Western societies often make lofty pronouncements and grand assumptions, but both individuals and groups of people can, and do, fall through the cracks, or are purposefully left out of these schemes. Reminding people that Black lives matter certainly should make it clear that there is an "overdue balancing of accounts", but many non-Blacks get defensive and just wonder why the message doesn't include them. Those are insecure people (as most humans are). And funnily enough, they don't feel empowered by society either - the "Trump Nation" is full up with people who actually feel that they have been left behind, and that minorities are getting more help in life than they are. That may sound ignorant or crazy to some, but those are real feelings even if they are sometimes based on mistaken notions. And then there are the cases in which deserving people are shut out of opportunities because of quotas that needed to be filled (by law). If you're the one getting left out, the supposed fairness of the situation is going to be lost on you.

I don't blame the people who try to make a positive difference (within their beliefs) and make mistakes, or fail entirely. They made the effort in life. It's the people who purposefully make someone else's life more difficult, or virtually impossible, that are the issue for me.

 

Born to an oppressed family, who suffered  from poverty, illness, and discrimination, I still can't see why one would lump together all white males, many of whom were born of immigrants who scrubbed floors to put food on the table.  The recent land confiscation from whites who paid for land and helped blacks in Africa by providing treatment, money, marching, political aid, and constitutional and legal drafting seems unfairly punitive.  Similarly, most of us did not own slaves, live here during that period, or advocate for it.  We were servants and basically still are.   As for feminism, I wonder if any victim will be believed after media claims about rampant pervasive serially predatory behavior.

As for making life purposely more difficult, I would love to meet someone who didn't. We can start with medical receptionists and work our way up.

Just now, Mashinka said:

Seconded.

I thought no complete reconstruction existed, though. At least I was told so at a lecture.

I enjoy some of his work but  not all, and as people complain about the ABT strategy, I find the same thing with NYCB mixed bills. I don't know if this is the right place to put it, but if anyone wants to see one show and not another, it might be economical.  Although I don't know if this is permitted

Does anyone have a permissible link?

Just now, mnacenani said:

Have not seen Misty in any classic Petipa and doubt that I ever will, however I saw the livecast of her Juliet at Scala last year (vs Bolle) and thought she was very good in role. This is on YT and if you haven't seen it please do so and let me know how you rate her performance : 

 

She is very, very, very x100 lucky. 

13 hours ago, Drew said:

Is Copeland a razzle-dazzle virtuoso? No. Did anyone ever say she was? Even in the press? No and no.   Agree

. As Nanushka says, one could easily put together a compilation of mistakes from various prominent dancers.Of course, we all make fun of ourselves. Furthermore, see Mr. B.

 ,,,-to say nothing of slips and bobbles from Ashley Bouder too; not to mention slow to the point of painfully dull clips of Veronika Part. If someone finds the way Copeland dances uninteresting and below par, but loves Part...then probably it's not Copeland's mistakes that bother that person but her overall dancing.  Part is magical, moving, dramatic, as someone once said here, an old Hollywood star.  She captures attention on the stage with her aura.  Ashley dazzles, laughs at herself, doesn't complain, and is a tech wiz.

if I had a chance to see her again in classic repertory I might be more keen on seeing her in Giselle or the Ratmansky Nutcracker than Swan Lake. Giselle-peasant pas, ok.  Giselle herself- no.  Giselle is gentle, naïve, and spiritual. Misty is a modern type dancer, and very sharp in pr and politics.  She is leaden in the role (the review made her "earthly" characteristic a positive aspect). You could hear her throughout the theatre, she couldn't  do the hops, and she did not become the character, but a dancer struggling to dance the role she was taught, like at a workshop or high school play. She was not principal material in that roll or ready for the stage.  Likewise, her Swan.

As for resentment at Copeland's fame. No, an excuse.  Who cares? God bless her. Everyone here seems to assess her dancing technically, as well as her public  behavior and fairness to others.  No one gets to breath any air since she gets it all, onstage and off.  And the level of her praise is underserving and obvious propaganda.

- she is better in some roles rather than others much as one does with any other ballerina, Agree

On ‎3‎/‎27‎/‎2018 at 5:07 PM, Outside said:

I find Hallberg has pleasing lines, but his dancing is a bit too effeminate to me, especially his arms and hands.

Maybe that is what I meant, too.

site specific? Red Giselle at City Center was gorgeous, but I liked the video better.

On ‎3‎/‎4‎/‎2016 at 2:39 PM, volcanohunter said:

I'm a little surprised Duato was able to persuade the theater to ditch the Burlaka/Medvedev production after what must have been a substantial investment to stage it in the first place. I've seen it only on video and have mixed feelings about it--I wish it had really been a reconstruction--but I'm sure it cost a small fortune to mount. However, if the Berlin State Ballet will be sharing the physical production with La Scala and/or the Mikhailovsky, perhaps Duato was able to argue that his Nutcracker wouldn't cost the theater all that much.

Well, I guess it truly is his company now.

They just made a new nut at Scala last year