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Everything posted by Alexandra

  1. Did anyone go? Here's a review by Eva Kistrup for www.danceviewtimes.com Killing Your Darlings
  2. Simkin is a very fine demi-caractere dancer. It's a different genre of dancer, with particular skills. I hate the current idea that everyone has to dance everything, and if you're not The Prince you're second best. The classical tradition is richer than that. ABT has had, and has, some wonderful demicaractere dancers, and I've long wished they'd bring back some of the balletsthat were made for those skills! Good quesiton about Mercutio, Drew. I can't answer whether Simkin has danced it, but he certainly could. It's a demicaractere role.
  3. Actually, long ago in Copenhagen, I've read that they switched the genders in "Le Spectre de la Rose." The Young Man contemplated the spirit of a female Rose. NOT the same kind of switch Bejart et al had in mind, but simply because the dancers at that time thought that having a male rose was ridiculous.
  4. I just posted this on Facebook, but wanted to share it here: In October of 1979, I began to publish what was then a bimonthly tabloid called Washington DanceView to cover dance in Washington, D.C. Not only did we have a 20-week ballet season back then, but we had 75 local dance companies! (mostly modern dance, but also ballet and "ethnic") Nancy Wozny was our first cover girl! The magazine became a quarterly, and then, in 1992, after a brief hiatus, it came back as DanceView, with a big issue devoted to the 1992 Bournonville Festival in Copenhagen, and we've continued with a more international view since. In addition to the writers and photographers, whom I can never thank enough, we had a staff of one (i.e., me). I am very very VERY glad that I've stuffed the last envelope and dragged the last bag of DanceViews to the postman. As I wrote in the next-to-the-last issue, for a variety of reasons, it was time. The website www.danceviewtimes.com was orignially started because we had more writers than we had space! It will continue, posting reviews of dance mainly in New York, San Francisco and Washington, but also in London, Copenhagen and wherever our writers go to see dance. A HUGE THANK YOU to everyone who has read us. We've had some very faithful subscribers, a few of whom have been with us since 1979 (!!) and many since 1992. And especially to all the writers and photographers who have made the magazine possible. The last issue has pieces by the late Alan M. Kriegsman, George Jackson, Mary Cargill, Rita Felciano, Jane Smpson, Gay Morris, Michael Popkin, and Marina Harss (listed roughly in the order they were first published in DV.)
  5. Yes, volcanohunter. It's part of the It's All About Me!!!! syndrome.
  6. "We never really know why Madge is so antagonistic in her relationship with James." ???? Not only is James's treatment of Madge and her reaction to it clear (it's in the mime), but it's historically accurate. Or was. Bournonville set the ballet in the Middle Ages, not his own time. One of the little hints he dropped that this was a Romantic ballet.
  7. Mary Cargill reviews NYCB's "Black and White" program on danceviewtimes: Debuts in Black and White
  8. Michael Popkin reviews Ratmansky's "Pictures at an Exhibition" for danceviewtimes. Death and Transfiguration
  9. Thanks for posting that, Sandi. It looks fascinating and I hope someone who goes will post about it.
  10. When I was first interested in ballet, in the mid-70s, that was the list, as well. Paris was omitted -- although that was before POB's resurgence. I'd also say that the RDB style has changed quite a bit in the last ten, twenty years. I've seen photos of recent performances that look very ... different.
  11. Bastille Day 1975 when I was out of college, going to a lot of theater performances, and a friend and I decided to throw caution to the winds and take in a ballet and an orchestra performance (Rostropovich!) My first program was Nureyev and Friends: Marguerite and Armand (with Fonteyn), Le Corsaire pas de deux (with a very young Karen Kain), Bejart's Songs of a Wayfarer, with Paolo Bortelucci (sp?), and The Moor's Pavane, with the whole cast. I thought all ballet would be like this
  12. I think Under Armour has said they're running "ballet is a sport" ads to broaden their market. I'm sure it was innocent. It just fed into the wider question. Helene, thank you for such an interesting post. I only mentioned ballet competitions in passing, because of space, but of course they're very influential, to both dancers and fans. If you're new to ballet, like a dancer, and learn that he/she is a Gold Medal winner!!!! of course you'll think ballet is a sport. Even the competitions, though, emphasize that ballet is an art. I remember about a decade ago, there was a very talented young man whom everyone expected to get a special higher-than-Gold medal whose variation did not go well at all. The judges had seen him do it time and time again, they knew what he could do -- and they decided to let him skate it again, which he did perfectly. The Varna people explained they'd done this because ballet is an art, and not a sport. Ken, that's a good twist on the definition. For the article, I read several dictionary definitions and all incorporated the element of competition in their definition of sport. Your ask a good question and I'd say that if your first ballet is a star-studded "Don Q" or "Le Corsaire" (which used to make people cry, according to 19th century accounts) you'd think that ballet certainly has a sports -- even a competition -- element to it. I think one has to see a performance (one hopes more than one) where the dancers transcend this aspect and you're confronted with someothing that has nothing to do with the human body and wonder, What WAS that?
  13. Greetings, Daniel, and thank you for reading the article! I'm sure it wasn't a scientific poll, but since we are in an age of Extreme Technique, I wasn't surprised that most who chose to answer the question were on the "sport" side. Please help get the word out! (I liked your Stravinsky quote, too.) kfw, I remember in the very early days of Ballet Alert! that dance students would have this as a sig line: "I am an athlete and dance is my sport." (We would encourage them to find another ) I think we're in a sport age. I agree that sports are competitive; that's part of the definition of the word. Abatt, I think if a single person jogs, it's "physical activity." There are ballet performances that feel like at least some of the dancers think they're in a competition.
  14. This topic has been discussed here several times, and it's popular again because of the recent Under Armour ad. I have an article online in Dance/USA's From The Green Room: http://www2.danceusa.org/ejournal/post.cfm?entry=what-s-the-score I'm firmly on the "it's an art" side: What do you think?
  15. Welcome back, Leonid, whatever number you are!
  16. Welcome, ClaraFan. Nutcracker is a great place to start! Thanks for taking the time to read the Rules/Regs and hints, and please jump in with questions or comments when you're ready.
  17. There was a comment way above that it would be hard to run a company while choreographing new work. That HAS been done -- think Balanchine, Ashton (not to mention Bournonville and Petipa, and every great modern dancer you can think of). But it does seem early to speculate.
  18. It seems to be back up, just about 15 minutes ago.
  19. Thank you, kfw and sandik! It's still down, it seems, but I trust that they are working on it. I'm sorry it's a Monday, because a lot of people check it on Mondays. Patience!
  20. Dear readers of our sister site, www.danceviewtimes.com. There are problems on the software company's end and right now we cannot access the site. There's a message "unknown domain: www.danceviewtimes.com". The company has been working on it all morning, and I'll post when it's been restored. Sorry for anyone who has been inconvenienced by this!
  21. My review of the New York City Ballet's triple bill danced this week at the Kennedy Center on danceviewtimes: Fantasy Worlds
  22. Peter Martins could definitely stage those diverts! Not saying that he'd want to, but I'd be very surprised if he weren't able to. I think they were of their time, though. Bournonville had just been "discovered' after the Bournonville Festival in 1979, and Stanley Williams was on staff. They were quite different stylistically from Bournonville as the Danes then danced him.
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