Alexandra

Hi, E! Always good to see you Yours is a good solution for frequent flyers, I think. I have several friends in DC who have two subscriptions to the Kennedy Center series. They usually offer triple bills during the week and a full-length on the weekend, so if one subscribes to, say, Wednesday night and Saturday afternoon, one is fairly sure to see every ballet program. Your "liberal ticket exchange" is something I wonder if people new to ballet would think about. But it is usually possible to exchange tickets, so if you're afraid of being locked in to every single Wednesday night, it's good to know there's always Thursday. (Or if Yourday turned out to have several programs you weren't interested in, those tickets can be exchanged for ones on Otherday.)

Great topic. My first thought was of Karin von Aroldingen. She was, a friend repeatedly explained to me, a character ballerina, so I guess one could say she had the perfect body for her employ. BUT she didn't have the perfect 20th century NYCB body. But the roles that Balanchine created for her -- MacDougall of Sleat in "Union Jack," Sissy in "Vienna Waltzes," the woman in "Davidsbundler" -- used her squareness, her short, powerful legs, her flexibility and, perhaps most importantly, her aura. By the 19th century Types system she was his The Woman Who Knows She's Going To Be Left. Every great ballet company needs at least one of those.

The Danish scholar, who has produced so many beautiful books on Bournonville, has a web site. Here's the link to the English portion. (If you want to see it in Danish, click the little Danish flag in the lower lefthand corner.) http://www.makb.dk/kj/default.asp?lan=eng

I haven't seen these photos, but I've seen several of Cerrito in Ivor Guest's books. I wonder if part of the problem is that it was the very early days of photography -- as is often pointed out, they had to sit very still for hours. Also, they weren't used to seeing themselves -- this was a whole new experience. The photos of Emma Livry make her look, well, like a dog She must have been very different in flight. That's why lithographs are so nice -- glad you got some, Glebb

I haven't seen these photos, but I've seen several of Cerrito in Ivor Guest's books. I wonder if part of the problem is that it was the very early days of photography -- as is often pointed out, they had to sit very still for hours. Also, they weren't used to seeing themselves -- this was a whole new experience. The photos of Emma Livry make her look, well, like a dog She must have been very different in flight. That's why lithographs are so nice -- glad you got some, Glebb

That's an interesting observation, Alla. I've read the objection to Wheeldon's lack of rebelliousness several times. It's usually attributed to the fact that he's English. (No, no. We don't deal in racial or ethnic stereotypes.) I think the tension between the older generation -- It must be new to be good. Bend those boundaries, that's what art is about -- and the younger one -- let's explore what's here, let's work together and within a tradition -- may be the next great tension in art. I read an article a few years about about a renewed interest in classical and neoclassical architecture among young architects. There was enough interest to start having panels about it at conferences. They wanted to know the rules -- not because they couldn't think for themselves, but because they'd been educated by people who knew the rules, but thought teaching them would stifle creativity. Perhaps this is the dawn of another neoclassic revival (in the 18th century sense of the term, although I personally hope it is not so formulaic and slavish a following of rules). I've always viewed this within the model of a pendulum swing, or art coming full circle because rebellion breeds contentment breeds rebellion. I never thought of it in terms of being shaped by the personality of a generation.

Another brilliant idea that's too close for comfort, Ballet Nut. I'll bet the first out of the box is Jewels 2. Wonder what Agon 2 would look like? Or "Another Month in the Country?"

Another brilliant idea that's too close for comfort, Ballet Nut. I'll bet the first out of the box is Jewels 2. Wonder what Agon 2 would look like? Or "Another Month in the Country?"

Glebb and Mel, I was hoping you'd find this thread and chime in. I'm sometimes the world's densest viewer, but I didn't "get" that the Blackamoor was "black" for years. To me, he was a doll. (I had a "mammy" doll when I was a child, modelled on Dinah Belinda in the Raggedy Ann books and made out of black out curtains. Child of the South though I was, she was never "black" to me. She was just another doll.) It wasn't until I read the "how dare they do this in the 1970s" stuff that I thought of The Moor as "black." Of course, he's a stereotype -- a carefully characterized stereotype: sexual, aggressive, and stupid. The Ballerina Doll isn't very bright, either. My view on this is that Fokine was *using* the stereotype to tell the story, not in the intention of furthering it, or expressing a personal opinion on a group. The Joffrey, of course, finessed this by having the Moor danced by a black dancer (the excellent Christian Holder.) That worked at the time -- I wonder what Holder thought about it. Which is worse, watching an oversexed stupid maniac doll, or being told, well, since you have the same skin color, you get to dance him? When I watched the Paris video, I thought of this angle quite consciously. To me, the characterization -- both in the choreographer and of the dancers -- are so vivid that The Moor is an individual: a powerful man who always gets the girl, is The Winner, compared to Petrouchka's The Loser. The Ballerina doll, cold, seductive in a Lolita way, doesn't represent all women to me, either. Estelle, I had some questions for you, if you would, after I update another couple of hundred user post counts

Viviane -- thank you. I like that very much. It's sure better than "Newcomers!" In fact, it's far more appropriate than the ones we've been batting around. I'm going to leave this thread open for suggestions for today and tomorrow, and then Wednesday night, we'll choose one. Please think of something that would make you feel comfortable posting something in this forum.

Surprise! I agree with Leigh I do think there's a difference in taste among balletgoers, though. I know a lot of people who understand that the story is not well told, and that the ballet is thin, but who can still enjoy the ballet because of the dancing. There are others who go to ballet as they go to a play and enjoy the spectacle of it -- the production values, sets, costumes. And the dancing and the story, too, of course. BW, thank you very much for posting this. It's an ideal "thread for the timid" -- we're trying to come up with a name that won't exclude or insult anyone and having no success whatsoever, so ideas along those lines are welcome, too. Do you enjoy story ballets? Do you avoid them? What do you look for in a story ballet? Everyone can answer this question! There's no right or wrong answer, just what you think, what you like. This is a great thread on which to make your debut!

That's the fun of a world premiere -- it will be a big surprise

Ari and FF are right. For our next director poll, I'll just do Superb, Good, Adequate, Not so good and Awful and let you fill in your own blanks

Ari and FF are right. For our next director poll, I'll just do Superb, Good, Adequate, Not so good and Awful and let you fill in your own blanks

Thanks, FF I was too tired to stay up for the Oscars. The only dancing I saw was one Pepsi (?) commercial. It wasn't ballet, but they had a lot of energy and long legs Thanks for your comments on the site. It works pretty much the same as the last board -- different colors, a few things in different places (ah, there's the problem). There are two views of the forums, which can cause confusion. One just lists the main forums, and the other lists all the forums and their subforums -- that can be pretty long, which is why we went to the short list. But both are there, because different people like different things. The site's a bit young for a lifetime achievement award -- thank you -- it's not quite four years old. It's fun to think about what it might be in another four years (I'm still Alexandra -- I wasn't trying to confuse people. I just was tired of the long name and wanted something shorter to type.)

Interesting that you noted it in your own family. It might be nice to have a quiet generation so we can all get a breather I also think that ballet will lkeep going (at least, I hope so, and with all the young dance students out there, it seems likely!) but I can see how the character of a generation can affect the character of an art form.

Ari posted this in News and Events yesterday -- I hope people go! I've never seen Tudor's "The Planets" and I don't have a real sense of it. Has anyone seen it? What should we expect, if we do go to see the revival?

Good question, Becky. There are so many companies with similar names, I lose track of them. I hope someone who has seen them recently can tell us. They're touring a lot these days, and I'd like to know the director, the repertory and some of the leading dancers, if anyone knows.

This just in from the Fort Worth Dallas Ballet: FWD Ballet Executive Committee Announces Plans to Revitalize Financial, Artistic Stability, Create Long-Term Endowment (Fort Worth, TX)…G. Bradley Alford, president of the board of directors for Fort Worth Dallas Ballet (FWDB) and Ann Marie Woessner, president of the Dallas Supporters of Fort Worth Dallas Ballet, have announced results of a Tuesday executive committee session in which a draft plan was presented to help solve financial difficulties faced by the company and chart the continued course of a concerted effort to identify and hire a permanent artistic director for North Texas’s premiere professional ballet troupe. "The company needs a significant infusion of cash," said Mr. Alford. "Fortunately, a plan is now in place to secure these funds and, at the same time, create an endowment to protect us in the future from similar vulnerabilities. We're going to focus on resolving these financial matters first, then on hiring an artistic director. To negotiate in this period of uncertainty would do a disservice to both the Ballet and the potential artistic director, as only solid financial footing will allow us to move forward securely in our quest for permanent artistic leadership." The Dallas group concurs. "The Dallas Supporters of the FWDB have been, and will continue to be, a part of the search for a new artistic director," said Ms. Woessner. "We agree that we should not announce the appointment of an artistic director in order to meet some arbitrary time line. It is extremely important that we choose the best person for the long-term benefit of the company and if that takes more time, then so be it." According to Alford, a proposal from a group of executive committee members and supporters reached tentative approval on Tuesday evening, pending final review by the Executive Committee of plans to address the need for artistic leadership. If approved, it will next be subject to full board approval. In the recapitalization plan, a focused group of seasoned FWDB board participants and experienced business leaders will lead a new Restructuring Committee that will implement the turnaround of the Ballet’s fortunes, including new artistic leadership, improved governance, an aggressive attempt to complete a true merger with Dallas ballet supporters, and financial stability including the creation of a long term endowment. The group approved announcement of the planned efforts today. "Important to our new approach is providing accurate, truthful public statements when the Board so authorizes," explained Mr. Alford. "Rather than rely on rumors to discern what is going on at the Ballet, our audiences will be a part of the process through open communications. We must dispel myths and assure our strong, positive direction is made known." "We are very excited about the efforts this new group is making on behalf of the ballet, and we support them wholeheartedly," said Ms. Woessner. "We are encouraged by the committee’s understanding of both the artistic and financial needs of the company." Some of the refinements in the proposal include the following: Accepting over $1 million in immediate commitments from a group of dedicated supporters Assuring that the board and the executive committee includes individuals with proven business track records in dealing with the hard financial and business decisions ahead while adhering unwaveringly to the artistic mission and vision of the Company Creating a more compact executive committee to facilitate timely decision making Seeking a win/win merger with Dallas that is not a net drain on the company. Under the current structure, the Dallas group is a separate entity that contracts performances from FWDB. The goal is a single decision-making body that will strengthen the organization for the long term. Implementing these changes and processes in a reasonable period of time, recognizing the importance of a continuation of production to the public during this restructuring phase Attracting the best available assistance in artistic and operational areas while permanent, long-term solutions are selected and implemented The group promulgating the proposal includes Nancy and Clint Carlson, Dana and David Porter, Kim Baldi and Geoffrey Raynor and Karen and Randolph Watkins. Mr. Alford said he anticipates financial commitments will be in excess of $1 million with a 2-year objective of raising over $2 million to fund a permanent endowment. "Such an endowment will expand our organization to include an additional foundation entity as a part of our growing Company," he explained. "This commitment reflects the absolute dedication to continuing our presentation of excellent artistry under the most appropriate artistic leadership and supported by strong executive and operational functions." David Mallette, FWDB executive director, explained that the importance of reducing and eliminating the deficits is key to enabling concurrent efforts underway to identify and hire a permanent artistic director. In any case, plans are underway for the 2002-2003 season. Details will be announced next month. Mr. Mallette stressed that the ballet is endeavoring to implement the best organizational governance and management practices. "To continue the level of quality onstage we must also have a solid financial base. This restructuring effort will allow the organization to accomplish both while simultaneously continuing the search for permanent artistic leadership." Efforts have been underway in this regard over the past months and will continue. "We have met with disappointments," said Mr. Alford about the search process, "but we’ll persevere. More important than when we hire permanent artistic leadership is that we find the right person." The ballet’s efforts to adjust to the fallout felt by arts organizations nationwide were assisted by a strategic plan prepared by the Ballet and Booz Allen Hamilton, a management and strategy consulting group. That plan recommended new governance structure be in place by June 30 this year. Also a part of the process will be a renewal of the discussions regarding an actual merger of the Fort Worth and Dallas organizations. "The new leadership team is committed to making the long promised merger between Fort Worth and Dallas a reality, said Ms. Woessner. "This is very important because a first class company needs the broader platform of the combined metropolitan area to survive and flourish long term. Some of the directors who recently resigned were less supportive of this needed merger." The Dallas group has had its challenges recently. One is their decision to cancel Romeo and Juliet at the Music Hall. "In being fiscally responsible, we have had to make some hard decisions, including one to produce Romeo and Juliet only in Bass Performance Hall. However, we have arranged for Bass Performance Hall to honor Dallas subscribers’ tickets at a special (added) performance on Saturday, May 18th at 2:00," Ms. Woessner continued. Dallas subscribers will receive a letter shortly describing their Romeo and Juliet options, which include round-trip motor coach transportation to the Bass Performance Hall. "Our objective is simple and unchanged---to ensure that the Ballet can fulfill its artistic mission," stressed Mr. Alford. "We will have an artistic director. We will have unexcelled performance standards and a secure environment for our dancers. We will have a viable structure for two cities based on the willingness of the governing board to risk needed and constructive change. But this will take money, commitment, and time." Fortunately, it looks like they will soon have all three. Fort Worth Dallas Ballet was founded in 1961 as Fort Worth Ballet and reorganized as a fully professional ballet company in 1985. The company has performed seasons in Dallas since 1994. Fort Worth season sponsors include American Airlines, NBC5, Star-Telegram, Pontiac/GMC, and The Arts Council of Fort Worth and Tarrant County. Dallas season sponsors are Brierley & Partners, The Dallas Morning News, ExxonMobil, The City of Dallas Office of Cultural Affairs and Texas Commission on the Arts. The ballet’s website is www.fwdballet.org. ###

Thanks for posting that -- I've heard a lot of good comments on this book and it's come up before here, but not in awhile. So it's good to bring it up again. A reminder for some, and new information for many. What did you find most useful about it, Rbbb?

Ari posted this on Links but I thought it might spark a discussion over here: Nadine Meisner in the Independent offers a Brit's eye view of NYCB:

Now, now, Ari. The last time you voted, was there an option for: "Gosh, I wish Joe had Bob's tax policies or Bob had Joe's brains." The fun, or torture, of polls is that you can only pick from the options offered

Now, now, Ari. The last time you voted, was there an option for: "Gosh, I wish Joe had Bob's tax policies or Bob had Joe's brains." The fun, or torture, of polls is that you can only pick from the options offered

I'd like to start a regular series of discussions of specific ballets -- a kind if mini-ballets in detail, or Ballet of the Week. It would be fun, and useful, to have a database of material on different ballets. I showed the video of Petrouchka (Paris Opera Ballet does Diaghilev) to a class (adult education) recently and it made me think about the ballet all over again -- I hadn't in years. I've never seen a live performance that convinced me the ballet was great, but this one on video did. (It looks 5 times as good on a big screen!) 50 years ago, there were a lot of people who thought Petrouchka was the great ballet of the 20th century. I wonder how many people would say that today? Most of what I've read talks about the superficials -- the local color, the swirl of color in the designs, the acting of the principals -- or the psychological -- how the dolls aren't dolls are all, but metaphors and types. I think they're fine topics for discussion, as well as the structure, how Fokine so clearly defined those dolls in movement. Coming right after Sleeping Beauty, realizing that Petrouchka was 20 years after Sleeping Beauty, it did seem like a different world. Any thoughts on Petrouchka (Fokine's version)? First off, how many have seen it, what companies, what productions? Did you enjoy it? Do you think it's a great ballet, or not?

Also posted on Links: Letters to the editor about Boston Ballet from the Boston Globe: read letters