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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
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  1. Lam

    Nina Kaptsova

    Kaptsova in Tarantella with Daniel Ulbricht at the Kremlin gala http://www.jackdevant.com/nina-kaptsova-and-daniel-ulbricht-in-tarantella/ Also few portraits taken. Images of Kaptsova quite at the end. https://www.lapersonne.com/en/post/kremlin-gala-2018-part-1#&gid=1&pid=24 https://www.lapersonne.com/en/post/portraits-ballet-stars-special-edition
  2. Lam

    Nina Kaptsova

    I agree. I have liked everything I have seen her in (mostly though recordings and Youtube). As far as I can tell she excels both in comedic as well as dramatic roles. I hope to see her more in the future. From the current principal roster Krysanova, Obraztsova, Shipulina and Stashkevich interest me the most.
  3. Lam

    Nina Kaptsova

    I am aware that Bolshoi is a state institution. I'm also curious to know about this retirement rule and whether this is something set into the company rules and then convieniently applied when she turned 38. Antonicheva and Ryzhkina retired when they were over 40. Granted, they also danced less. At one point both were moved to soloist under contract and then moved back to principal status and then back to contract position and then retired. Zakharova is 39 and still dancing so I don't understand why Kaptsova, a highly capable and versatile dancer, should be demoted from principal status.
  4. Lam

    Nina Kaptsova

    I believe there are no topic dedicated for Kaptsova so I thought it would be nice to have one. I saw her in Bright Stream as Zina on 28th October 2017 performance and I thought she was in fine form and technically proficient. I am still shocked that she was demoted to soloist under contract position :((((
  5. Indeed. In my opinion the production could do well without the whole face painting business. And the painted dancing children. I honestly don't think that by removing both it will affect or lessen the production value the work has.
  6. I will definitely have to check Mariah Hannah Winter. Thank you
  7. Indeed Ivor Guest's works are mentioned both in Caddy's and Karthas' work
  8. For my bachelor thesis I chose Ballets Russes as a topic for my paper and I found things that I thought it would be nice to share. To get a whole picture and better understanding of cultural historical development at the turn of the century and early 20th century I acquired a fair amount of literature with the focus on Fin de siècle - and Belle Époque period. Although my main subject was Ballets Russes, I also got to know more about cultural history of France. While searching materials for my thesis, I noticed that the materials I needed, were scattered and different disciplines offering their contribution to the subject. It makes sense because I have always considered ballet as an interdisciplinary subject. On the side I found a few interesting titles covering also ballet in France late 19th and early 20th c. Caddy, Davinia. The Ballets Russes and Beyond: Music and Dance in Belle-époque Paris. Cambridge ; New York: Cambridge University Press, 2012 - Somewhat critical rethinking of Ballets Russes. Also a chapter on the state of French ballet before the war - "Ballet at the Opera and La fête chez thérèse" - Italian ballerinas showed virtuosic and technical skills, but critics noted the lack of art-dimension Karthas, Ilyana. When Ballet Became French: Modern Ballet and the Cultural Politics of France, 1909-1939. Montreal: McGill-Queen's University Press, 2015. -The reasearch's focus was on cultural history, cultural politics and dance history in early 20th c. I thought the book was an excellent work and methodologically consistent Karthas' work focused on the cultural exchange between Russia and France in early 20th century and the influence of Ballets Russes and their eventual effects on POB estabelishment, and finally with the effort of Lifar, how it was turned back as a state funded institution. Basically, in order to get state funding, ballet dance had to be proven as a viable expressive art form for republican France. Parisian music-hall ballet, 1871-1913 By Gutsche-Miller, Sarah -Interesting book that covers ballets performed in music halls. -Tries to argue that before Ballets Russes, ballet was already popular in France, that's why Ballets Russes had such a receptive audiences already in France. I have several problems with the hypothesis of book, but the book is informative. -My impression I got from music-halls ballets is that they are considered low-class, popular among the masses and definitely not high art. -I remember how Homans mentioned the subject shortly in her Apollo's Angels but essentially ignored it. In addition I read an extensive amount of secondary literature that did not cover ballet, but instead covered cultural and political setting of Fin de siècle and Belle Époque period that I found very informative. Books that covered theatre culture, city history, cultural politics were helpful and added social and cultural context to the subject.
  9. I thought it would best to start a new topic on history writing and ballet. Since there was a somewhat heated discussion on Ivor Guest thread, I thought it would be best to move it here. I am interested if this topic can generate interesting discussions. Quick search didn't reveal an existing topic. If there is one then please someone inform me
  10. That's interesting. Perhaps it depends. I remember from some youtube video (Washington Ballet) where a female dancer stated that double turna are harder because it requires more speed, more force to do the doubles.
  11. Not meaning to divert the topic, but the claim in the beginning with Diagilev and the rediscovery of Ballet is somewhat outdated and has gone under some revision over the years. Classical ballet was never dead in France. Giselle was performed By Diagilev's Ballets Russes in 1910, to warm reception but it was rather mild compared to other "exotic" works in the press reviews. The classics such as Giselle did raise some nostalgic feelings among french audience but the general view was that the romantic ballet was old and out of fashion. This I found when I analysed reviews from several prominent french newspaper from 1909-1914 for my bachelor thesis. There was a reason why unclassical repertoire were created. Those unclassical works were solely created for western audiences. I mean books about Diagilev and Ballets Russes usually highlight their successes but their success did not come without problems especially during 1909-1914 period.
  12. Thanks for the info. No wonder I was so confused. Good thing I checked the ticket otherwise I would have simply missed the performance.
  13. I saw this performance Initially thought that I had booked the evening performance for I wished to see Maria Shirinkina perform. As it turned out I didn't but nevertheless I was still happy with Shakirova
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