ConstanzaElisabeth

Update: the Diahilev-inspired program is back on for this spring. Director Graham Lustig will be restaging his Pulcinella, Robert Moses brings Spectre de la Rose, and Amy Seiwert brings Les Biches.

http://oaklandballet.org/wp/performances-2/spring-production-dear-sergei-diaghilev/

If I ever get a chance to do what I want to do, I'd like to try my hand at the semi-Biblical story of Lilith (Adam's first wife, turned all evil and such) or a (very difficult) ballet adaptation of Martin Sherman's play 'Bent'

Although I have friends who insist on a Star Wars ballet...

I saw Ballet West's Sleeping Beauty last march i think, and the costumes and sets were beautiful, with the exception of some of the fairies who looked like they had been wrapped in colored cellophane over tinfoil. i really loved the costumes of the people in the background of the scenes, the long dresses and excellent use of colors, with a definite periodic style.

I have heard that Guiseppina Bozacchi, the first Swanhilda, had the most expressive hands...I have not seen enough ballets to have favorites!

may i ask, what is the Defile?

how about a shakespeare marathon? at the end everyone is either dead(the dancers) or asleep(the audience)

Lord of the Dance actually came up to Alaska, and besides the excellent footwork, it wasnt stunning. Not what I expected, at least. very Vegas, with odd costumes and lighting tricks that got very distracting. And by the end we had discovered there was some sort of storyline...

I read this earlier this year, and I loved it. Mostly the way the opening paragraph of each chapter following class progression mirrored the action of the chapter fascinated me. I like to take on others' feelings and emotions, to become familiar with different experiences, and this book certainly brought a new experience, though slightly familiar, to me.

For me what makes one ballet different from the next is how it fits within the music. Seeing too many ballets by one or similar choreographers only gets boring when the play between music and movement never changes.

Our guest dancers for sugarplum this year were married, and it seemed that she got more frustrated with him than anything else. She occasionally lost her temper when they stumbled a lift, and he was the source of and target for all of her frustration...not a pleasant thing to see. Especially when the swearing was offstage, but the grimace was onstage, not so cleverly disguised as a smile.

Yawn, stretch, stumble around drowsily, attempting to wake yourself up.

Musicality is a must for me, and the one thing I truly can't stand on any dancer is bad arms, any affectations that destroy the fluidity of a line or the smoothness of a movement, especially in jumps, if the arms aren't quiet and make it look too strained. I haven't seen enough live ballets, or even videos really, to say which dancer I really dislike, but I find that I'm one of the rare few who dislike Balanchine choreography. I just cant stand it. I know everyone says its so musical, but to me it alway feels like it has nothing to do with the music. It never quite seems to fit. I know its not a dancer, but hey, it works :rolleyes:

Im not very educated about ballet history and all that, but there is one that I would absolutely love to see-the original Pas de Quatre.

Thank you so much for your input, and yes I will be doing Swanhilda. At the moment we are all in a scramble to get it set, since we are also doing repertory pieces in this performance and the entire program is new so we have a lot to learn. Once it gets set I think I will be more comfortable with the role and hopefully be able to 'live the role' more. Oh, hows this for comedy-I am 5'1" and Franz is 6'1" *random tangent there*

Our school is putting on Coppelia for the first time this spring, which I am so excited about because it is very much the kind of ballet that I love. I would like your opinions on what makes Swanhilda an effective character. This is a first for me in terms of leading roles and comedy ballets and all of that. Unfortunately we are only doing the first two acts, but it will be a wonderful experience I am sure. I appreciate any advice you can offer.

With everything these days being videotaped and such, is the evolution of ballets really such a threat? Yes, they will change and grow and adapt, but we will still have records of the original choreography(for the past couple of decades, at least).

Would anyone know how I could find information/photographs of the original company? The ballet mistress at my studio was one of the original dancers and we are trying to find pictures and things of that sort. Thank you for your help!

The Unmaking of a Dancer- I got my copy from the library and have already lent it out to two of my friends but it is due back...don't remember the author though...

our teacher, when he is in a good mood, threatens to send us on a bus to siberia! personally, i think ballet is a good remedy for everyone, any affliction

Here is a bit of wisdom our teacher recently shared with us: pirouettes are to dance as a trill is to music.

If it lasts for more than a few counts, except in specific climactic cases (as in Swan Lake), it gets rather boring. If there is a trick every few measures, it becomes repetetive and dull. There has to be a melody and harmony in every art. I am very glad to have a teacher who refuses to succumb to many people's desire to see virtuosos and prodigies. In none of our performances, save for the sugarplum fairy done by our guest artists, are there any fouettes. I have noticed in the students also-the younger students fawn over the naturals, the ones who can turn three or four pirouettes every time and have beautiful arabesques, but the older students know that one must have control over their pirouettes and the strength to reach, hold, and extend an arabesque. This seems to be much of the problem. Younger students, some older, too, get into a 'star' mentality when they see television shows and competitions, and they sacrifice every bit of technique in order to get the extensions and fouettes and such. Teachers see their students becoming products they can market, instead of artists whose work must be cared for and nurtured. I know this is not the way in many ballet schools, and certainly not in mine (of which I am very proud), but that is what happens sometimes when people compete, instead of simply enjoying the art.

Just my bit of opinion.