Alexandra

Barnes is absolutely right about mid-late 20th century. The era of Martha Graham and Doris Humphrey, Sophie Maslow (who just died), Anna Sokolow -- not to mention Isadora, who didn't need a company -- when women were the creative LEADERS is quite over. Women were also the founders of many of the companies started in the 20th century: Virginia Williams in Boston, the Littlefields in Philadelphia, many others -- not to mention Ninette de Valois. de Valois, a woman of her time, once said that women were the ones to build a company, but when it achieved a certain stature, it was time for the men to take over. I'd have a different take on that: women will work 80 hour weeks for nothing -- often, during the 30s and 40s, because they were married and "their men" supported them financially. They're also willing to scrub the floors, sew the costumes, choreograph the ballets, fundraise, hire the dancers -- in short, be a one-woman band, making the start-up of a company quite cheap. Men are less likely to be in the same situation, or be willing to take on ALL the jobs, the grunt work as well as the high-profile aspects. (It's always a shock to the male DCA presidents when they find out they're expected to run the meetings, plan the conferences AND stuff the envelopes and make the phonecalls Now, now, some of my best friends are men.... Today in ballet, there are very few company directors. Farrell has her own company but it's quite small and with a small budget. When I did the first Ballet Alert! newsletters, one of the most eye-opening (in many ways) tasks was to compile the company season calendars. In doing so, I looked at every American ballet company's web site and found a huge gender divide. Small companies, very small companies, civic companies, are nearly all directed by women. Mid-size to large companies nearly all have male directors. Follow the money Another anecdote regarding perceptions of gender. When Baryshnikov began to stage ballets at ABT, he had two assistants (one man, one woman). This was considered natural -- and, in fact, is. Nearly everyone who stages a ballet needs assistants; there just isn't enough time for one person to conduct every rehearsal, and besides, it's good to have another eye. Often one person is detailed to the corps, another to principals, a third to crowd scenes, etc. (Guess who gets to direct the corps.) When Makarova staged a ballet for ABT, I was in a discussion with several American critics, all men, who were downplaying her achievement, saying, "She can't do it alone. She needs an assistant." I had one of those famous Ms. Magazine "clicks" and asked why when a man staged a ballet with assistants this was right and proper and when a woman had an assistant she was thought incapable of doing it on her own. Being extremely intelligent, sensitive and sensible men, they all said, "That's a good point!'

Thank you for this, mouse! PLEASE go back for Round 3 so you can cry more and we can read you

It's the photos, Hans Yes, that's the one -- you all were too quick for me. Glad people have ordered it! I think you'll find it useful.

Billy, several years ago there was an American figure-skating couple (I can't remember their names, but some of our skating fans will!) who were always billed as "HE is a truck driver, SHE is a waitress." Can't get more American than that. There was an interview with the man that I'll always remember. He had seen the Russian men, most of whom had ballet training, and was visibly jealous at their artistry. "Why don't we have that here?" he asked. I think you've answered why. Long, long ago men were supposed to be graceful and gracious, sensitive and sophisticated. That's out of fashion now. Bring it back!!

No, no. They were danced in Russia, but in 1976, we couldn't get to Russia In the West, "Bayadere" was just the "Kingdom of the Shades" act, and very few companies did it. The Royal (in Nureyev's staging from the mid-60s) and ABT in Makarova's staging in the mid-70s). One of the first articles about ballet I ever read was the (very rare) report of a critic who'd seen "La Baydere," the full version, in Leningrad, as it was then known, and while I certainly can't quote something I read once 30 years ago, I remember the gist of it being that they did this old ballet once a year just to keep it in repertory, but of course, it was so old-fashioned it would never be seen outside of Russia. "Le Corsaire" was made famous by Fonteyn and Nureyev, again in the mid-60s, as a pas de deux (in the ballet that segment is a pas de trois). I didn't see a full-length "Le Corsaire" until the Kirov brought it here in the late '80s. In 1976, the one-act ballet was king.

Thanks for posting that, kfw -- I'll take advantage of it to say that only half the issues have been mailed out as yet. I hope to get them all out by the end of the week.

Yes, it is. There are several teachers on this forum, or others associated with schools. I'd be curious to know what their experience is.

FOR IMMEDIATE RELEASE: The Suzanne Farrell Ballet performs an All-Balanchine program in its Jacob’s Pillow Dance Festival debut July 5-9, 2006 WASHINGTON, D.C.—The Suzanne Farrell Ballet will make its Jacob’s Pillow Dance Festival debut in a limited six-performance engagement in the Ted Shawn Theatre, July 5-9, in Becket, Mass. with an all-Balanchine program. The program includes La Source, music by Léo Delibes; the “Contrapuntal Blues pas de deux” from Clarinade, music by Morton Gould originally composed for Benny Goodman (Derivations for Clarinet and Jazz Band); Tzigane, music by Maurice Ravel and Divertimento No. 15, music by Wolfgang Amadeus Mozart. In a related free event and rare public appearance, Suzanne Farrell, one of George Balanchine’s most celebrated muses, will answer questions at an hour-long discussion about her role as a teacher and artistic director in perpetuating Mr. Balanchine’s legacy and the future of The Suzanne Farrell Ballet on Sommerspace at Blake’s Barn on Sat., July 8 at 4pm. The Suzanne Farrell Ballet had its beginning in the fall of 1999 when Ms. Farrell presented the John F. Kennedy Center for the Performing Arts’ special production for the Millennium Season, Suzanne Farrell Stages the Masters of 20th Century Ballet. The works of George Balanchine, Jerome Robbins and Maurice Béjart took on a new life with Ms. Farrell and her company. In the fall of 2000, The Suzanne Farrell Ballet made its debut during the Kennedy Center’s Balanchine Celebration. In 2005, as the Kennedy Center’s own company, The Suzanne Farrell Ballet is claiming a place among the nation’s finest ensembles and preserving classic works of the 20th century. The Washington Post notes that the company “tackles difficult ballets with a fearless zest and makes them seem fresh and alive.” In addition to making its Jacob’s Pillow debut, the company will make its debut at the Edinburgh International Festival, Aug. 26-29, with the European premiere of Balanchine’s Don Quixote. The Suzanne Farrell Ballet performs in the Ted Shawn Theatre, Wed., July 5 to Sun., July 9. Performances are Wed. through Sat. evenings at 8pm with 2:00pm matinees on Sat. and Sun. Tickets are $50. A 10% discount is available to seniors, students and youth age 13 and under. Tickets can be purchased by calling (413/243-0745), faxing (413/243-0749) or ordering online (www.jacobspillow.org). Jacob’s Pillow is located on George Carter Road in Becket, Mass., 10 minutes east on Route 20 from Mass Pike Exit 2. Jacob’s Pillow, located in the town of Becket in the Berkshire Hills of Western Massachusetts, was originally the Carter family farm in the 1700s, and in the 1800s served as a station on the Underground Railroad. Its pioneering spirit was furthered in 1933, when legendary dancer, teacher and choreographer Ted Shawn founded the Festival as a showcase for his company of Men Dancers and as a home for dance in the U.S. Jacob’s Pillow now encompasses an acclaimed international Festival (the first and longest-running dance festival in the U.S.), a professional School, rare and extensive Archives open to the public free of charge, an Intern Program, year-round Community Programs and a Creative Development Residency program. The site, declared a National Historic Landmark in 2003, includes 161 acres, 31 buildings, three unique stages (including the first theater in the U.S. built specifically for dance), three dance studios, exhibition spaces, restaurants, the Pillow Store, residential housing, administrative offices, a health center, gardens, trails and woodlands. The Pillow presents dance from all over the world in all forms, styles and traditions, plus approximately 200 free events each season, including performances, lectures, tours, film showings, exhibits and talks with artists from all over the world, which attract approximately 80,000 visitors annually.

Really? I don't remember Nureyev ever "coming out publicly", or actually flaunting any male partners. I don't even remember the popular press refering to him in any homosexual context, while he was actively dancing that is. Even when a pale shadow of his physically younger self I don't remember any large circulation paper saying anything in an overt reference to his sexuality. Publicly Nureyev was usually photographed with female dancers and rich or famous women. His persona was much more portrayed as a male athlete rather than any kind of cissy. At the height of his career, male homosexuality was not so openly portrayed or discussed in the media as it is now. Exactly. He was not "out" when he was an active dancer and the fact that he was HIV positive was not in print, and not verifiable by journalists until very late in his life. There certainly weren't articles that said, "Oh, thank God! Finally! A real man, a straight guy, in ballet!" Baryshnikov got press because he was a great dancer and a Russian defector, and back then, Russian defectors were still hot news. Ken, I can only speak for the kids at the school at which I teach, but many of the fathers there are EXTREMELY interested and hands on (as are the mothers). Even in families where the parents are divorced usually both parents attend the school performances and both parents are interested in the job search process. No one seemed embarrassed to have a dancing son, although several kids have stories of being treated poorly when they danced at schools close to home. It's the boys, especially, who like being at a boarding school where they are around people who accept them all day.

I missed that one, Helene. Of course, in 1842, Gennaro wore shorts over tights, and the shorts were quite a bit baggier. (That's an issue among the young, by the way. When I showed "Napoli" to students last year they giggled at the "girlish" shorts Gennaro was wearing -- too tight. Boys wear baggy shorts now. So maybe they should dig up the original Gennaro costume.)

Book list: Definitely Robert Greskovic's "Ballet 101" -- yes, it's long, but it's an easy read. When I started going to the ballet, I found Balanchine's "Complete Stories of the Great Ballets" incredibly useful. It stops in the mid-1970s (although a paperback is still in print) so it won't help with the Diamond Project, or some of the classical ballets like Bayadere and Corsaire that were just known in truncated form back then, but it's still valuable. The unabridged version is available used on line. AND a book I always plug, available only used now and often expensive, is Nancy Reynolds' "Repertory in Review" that covers every ballet in the New York City Ballet's repertory through 1976. Before City Ballet came here for its season every year, I'd look up the ballets they were bringing and was always glad I did If you get interested in the "what step IS that, anyway?" question, Gretchen Ward Warren's book on classical ballet -- which I've loaned out, so can't consult to get the exact title -- is still in print, I believe, and very useful. Hordes of photographs, each step photographed from many angles. I also found the essays in Arlene Croce's "After Images" extremely helpful in teaching me how to see. I often disagreed with her, but she made me think, and I found it very helpful that she, and others of that period, did not view ballet as "just the steps," but looked at the whole work.

I think bare legs are out of place in "Manon" because it's part of the costume (Manon would not have been bare legged, even in the bedroom, even in jail) and also because it's a classical ballet (no time for hair-splitting here, non-MacMillan fans ) and tights are part of the costume. I agree wiith beck hen that it would be inappropriate to wear tights in Five Brahms Waltzes -- or in many contemporary dance pieces -- and for the same reason: not part of the costume, not part of the style. I'm interested to read that people were surprised that Kourlas mentioned this. As a critic, I would have, if only to note what may be the beginning of a trend, and to let those who were new to classical ballet know that not wearing tights was an oddity. I would have wanted to know that when I was new to ballet. Otherwise, I might wonder why other ballerinas DID wear tights This is something that young dancers and ballet students would pick up on immediately. A related issue is the fashion of wearing tights that cut off at the ankles, leaving the feet bare (in toe shoes). This has been going on for some time now, enough time that it looks "normal" but it was an issue when it started -- should you wear these tights in Peter Martins' ballets, but not in Balanchine's? When does something like this stop being specificially related to one style of ballet and become applied to every style?

kfw, interesting point about the swimming trunks -- probably familiarity? Nearly everyone has seen men in trunks, and nearly every male has worn them. Here you'd have a problem getting a boy into a leotard, or something that covered his chest (other than a T-shirt), before getting in the water because he'd look like a girl. And that really is the key to all this, I think. If women put on pants, no one thinks twice about it. If a man put on a skirt, the world would end. Women, and things associated with women, are not valued, and until that changes, young men who study ballet will be considered "sissy".

I think the rules and lists of what variations can be danced are on the Jackson competition web site, bart: http://www.usaibc.com/2006.html

It's a small point, but I can't let this one go. As someone who followed his career very closely and has probably read every interview he gave in English, Nureyev never said anybody was better. Maybe the gay press dealt with Nureyev's "adventuring" but the mainstream press did not. There were, to the contrary, constant articles that he was marrying this socialite or that dancer. I don't mean to derail the topic, so to get back to it, I hope we're not saying that homosexual dancers are somehow unwelcome. Many of the greatest dancers, including Nijinsky and Nureyev, have been homosexual or bisexual and anyone with talent is welcome in this field.

Bruce Fleming wrote a piece about this for DanceView years ago, in which he postulated that straight men are fine with seeing bare CHESTS and being admired for having muscles, but have a problem with the admiring gaze dropping to the hindquarters I think it's a Puritanical society hangover, too -- but why, then, are confronted with sex everywhere in popular culture? And those who titter over the bathroom jokes and sexual allusions on TV STILL gag at the idea of "men in tights"! Young boys, as in children of friends or little brothers of dancers, will often say "I won't wear pantyhose!!!" because that's their only frame of reference. Another reason to take them to the ballet young. I've posted this story before, but it's appropriate now, too. One night after the Suzanne Farrell Ballet had danced "Divertimento No. 15" where (in the first production for this company) the men wore lavender tights, the little boy behind me turned to his father as we were leaving and said, "Daddy, why don't YOU have lavender tights?" The father seemed mildly stunned and answered carefully, as though the answer would determine the sexual orientation of his son, "No, I don't. Why?" "So you would look as beautiful as those men," replied the boy.

I think the "men in tights" issue IS a big part of this -- again, among people who are not comfortable or conversant with serious art. (Meaning, if you grow up with it, it doesn't look weird to you, but if you encounter something different as an adult, adult prejudices take over.) Helene posted a good summary of what happened to make men less at the center-- but that was predominantly in France. Men still had honorable positions in the ballet in Denmark and Russia, the other two great 19th century centers. In Paris, one reason that the men fled was (also from Ivor Guest) that Fanny Elssler got higher pay than they did.

Because most people don't know anything about ballet and project their ignorance In the early days of ballet, men were THE stars. At the very beginning, ballets took place at court, and the courtiers (men and women) were the dancers. Even some of the kings danced. Louis XIV was a fine dancer and his nickname "The Sun King" referred to his role as Apollo, which he danced in several ballets. So tell 'em if it's good enough for Louis XIV it's good enough for you And keep dancing. There ARE people who appreciate ballet and don't think that men who dance are sissy.

I'd like to clarify what I mean by "homework" -- reading about the ballet. I didn't mean to analyze a score, or play it, or read a biography of Elgar or Edith Hamilton's mythology, but to read about the ballet. I don't mean to suggest that anyone SHOULD, but I was interested in knowing if people DID.

But it does raise the question for me, in reading people's various reactions to this work, if we, as audiences of the 21st century, haven't changed substantially from even a few decades earlier. Why is it so important to audiences now to know exactly what is being portrayed? Why aren't we comfortable experiencing something on a broad level and then applying our own personal interpretations? Have we become so conditioned by the specificity of TV, film, music and theater of nowadays to allow no room for a broad range of interpretations? I would say that it's the opposite, though. UNTIL relatively recently audiences were more informed. Not everyone, of course, but a liberal arts education was the norm for people who attended serious theater, ballet and opera performances regularly. They have the same educational background and interests as the playwrights, choreographers, etc. Ashton's audience would have known Elgar, as a famous British composer, and the time period (and the Muses ).

I agree completely. She's a very rate type -- a danseuse noble -- which is why she was so wonderful as Lilac in the Kirov's old/new "Beauty" and why she's so gorgeous in adagio. She's not built to do quick turns!

The discussion about "Enigma Variations" over on the Royal Ballet forum made me think of this question. "Enigma Variations" is a famous ballet, generally regarded as one of Ashton's (a major choreographer's) major works. But it's not self-explanatory. You need to know something about Elgar, and the music, and the idea behind the music, to understand it even on its most basic level. One could say the same thing for many other ballets -- if you don't know anything about Greek mythology, "Apollo" is just a set of variations, or maybe a beauty contest. What's the responsibility of an audience member? Should you read about (in these two cases) what you're going to see in advance? Or just depend on program notes? Or not read a thing, and just watch the stage -- and complain if you don't get it, as some people sitting near me did last night (I do think, as I wrote on the Royal thread, a brief program note about the situation of the ballet, a one-sentence summary, would have been appropriate, but I could cheerfully argue the postion that one should be informed before going into the theater.) What do all think? How much "preparation" do you do?

The complete casting is in the program books. I'll give Lilacs, Florestan pas de trois, Bluebird pas, as that's usually what people are curious about Tonight (Thursday): Lilac: Marianela Nunez Florestan: Martin Harvey, Belinda Hatley, Deirdre Chapman Princess Florine/Bluebird: Sara Lamb, Yohei Sasaki Friday: Lilac: Isabel McMeekan Florestan: David Makhateli, Hatley, Lauren Cuthbertson Bluebird: Laura Morera, Brian Maloney Sat mat: Lilac: Ansanelli Florestan: Bennet Gartside, Natasha Oughtred, Victoria Hewitt Bludbird: Yuhui Choe, Kenta Kura Sat eve: Lilac: McMeekan Florestan: Valerie Hristov, Samantha Raine, Hikaru Kobayashi Bluebirds: Morera, Maloney Sun mat: Lilac: Cuthbertson Florestan: Harvey, Morera, Chapman Bluebird: Hatley, Sasaki

Petit's ballets are mostly demi-caractere (as are most of the Ballets Russes-era ballets.

I was there -- nearly full house. "Gloria" didn't do anything for me, I'm afraid, although I liked Acosta's dancing very much. But I was glad to see Ashton's "La Valse" and "Enigma Variations" in a theater rather than on film. "La Valse" is all atmosphere and music and epaulement. The dancers didn't quite look comfortable with the latter, but it's good to have them have to dance this, and the craft in constructing what's essentially a corps piece out of waltzes amazed me. "Enigma" is one of Ashton's masterpieces and generally acknowledged as a great ballet, and even though there were a lot of technical bobbles in this performance -- few of the cast members matched the dancers on the 1968 film -- and I disagree with some of the casting, I thought the performance was very moving. A program note would have helped -- I don't think the dancers conveyed completely the crucial point that Elgar feels that he is a professional failurel, and I heard people asking at intermission "what WAS in that telegram?" (Rencher, as Elgar, could convey that, even on film). But still, I thought the company, as a whole, did the ballet justice. I think most of the audience would agree with Natalia about "Gloria" -- it got the most applause of the evening. I generally prefer MacMillan's one-act ballets to his full lengths, but this one was too general for me, despite some striking images (soldiers in silhouette outlined against a horizon) and lovely dancing from Cojocaru, who was a silken kitten in the pas de deux, just one soft-spun line after another. The new ballet, "Tanglewood," had some interesting moments, but.....I think it needed stronger dancers -- stronger personalities -- to pull it together. Several bouquets, though, to the Royal which actually gave us an opening night rather than a raggedy dress performance.