Alexandra

Does the skunk do anything else while it's zipping around the room? Is Eau de Skunk implicated, perchance? (the next generation of toys)

"Tale of Two Cities" is shorter!!! (I loved that one when I was in high school.)

The other reporter, not named, was caught before he was published. So no infraction was committed. I'm sorry this happened to Roca. I knew him when he was in Washington, and I liked him. But I have no problem with the Herald's action. The Herald's explanation is common journalistic ethical practice as I've always known it. [paragraph deleted; for those who read it last night, a colleague contacted me to say that union manuals and a paper's own regulations spell out their policies.] Unfortunately for the writer, once something like this happens, the newspaper feels it has to assure readers of its policies, and trust has been broken (as the full editorial makes clear; I found its pledge to readers rather touching). There have been, also unfortunately, so many instances of this kind of thing in the past few years, and action has always been very swift and very final. Look at what happened with Doris Kearns Goodwin, whose errors in attribution were quite possibly, as she maintained, accidental.

The whole section is now up, and we've added lots of photos today: Special Ashton Section Looking at Ashton by Bruce Sansom The Right Giant by Alexandra Tomalonis The Ballets by Alexandra Tomalonis Enigma Variations by Mary Cargill Schedule of Performances Symposia Films Links Links to the participating companies as well as articles about the ballets, and Ashton's life and work There are also links to several articles, interviews and reviews that we've published in DanceView over the past 10 years.

The Miami Herald had a long, thoughtful editorial on several problems the paper has faced lately, including this one. Here's the link (you have to register to read the whole story; it's interesting, as it deals with ethics generally): The Herald's most valuable asset: your trust in us

I think we should investigate that swan. It's got an awfully short neck. Looks more like a duck to me, masquerading as a swan..... (For those not familiar with the production, Hans and I are referring to the Bad Von Rothbart's stuffed toy swan, not any of the ballerinas who dance the role.)

Mandy, I can't remember now whether I found it on their web site or it was in a press release! But that's all the casting info I have from Lincoln Center.

Both enthusiasm and grouchiness are very welcome!! ;)

Ari posted this on Links, but I wanted to move it here for discussion. Robert Johnson has a very long, thorough preview piece on the Ashton Celebration, the logistics, the reason for it, and some great quotes. Here's the piece: Celebrating a giant of dance and here are some quotes: From David Eden, whose idea this was: From Monica Mason, on Ashton's style: [emphasis added; it's the clearest explanation I've read about another reason, besides distortion of line, that today's high extensions are not always appropriate; thank you Ms. Mason!]

Dance Scholar London -- I think a lot of people share your concerns! Another practical one is when the kids who love the Barbie Swan Lake see the ballet in the theater (although many productions are at least as silly as the Barbie one, in different ways) they'll cry because there are no cute little furry animals. Or perhaps the next generation of Bad Swan Lake productions WILL have cute little furry animals.....

I just got this press release reminder: July 4, 2004 JUST A REMINDER that Canadian dance filmmaker Evann Siebens superb dance documentary LIMON MOVING INTO THE FUTURE, shown on July 1, will be repeated Monday July 5 at 12:30 AM (after midnight - actually the early hours of July 6th) on Reel New York, Channel 13. (The one-hour show includes short films of other companies as well.) The 2001 film narrated by company director Carla Maxwell is a fascinating look at the Limon organization, with then company members in rehearsal and a Jacob's Pillow performance of There is a Time. There are also segments of many early company members and choreographers, including Betty Jones and Donald McKayle, talking, reconstructing classics, and teaching new works. Invaluable insights on the company, the repertory, Jose Limon (shown dancing in rare footage), and other related subjects are made throughout by current and past company members. Channel 13 - July 5 - 12:30 AM (after midnight on Monday)

Thank you for that, miliosr! (I wish they'd do more Humphrey, too -- I've seen so little of it live.) But I agree with you that the Limon company is one living example that it is possible to maintain a repertory.

And ABT's version is by Ben Stevenson. Could I suggest we wait awhile to start the discussion, as many people won't have the video handy and may have to order it? I spoke to Ari about this, and the thought was to post topics for discussion -- as well as open-ended discussion, with people giving opinions, of course. Ari had posted: "I'd like to wait a couple of weeks to allow people to get the video and, if possible, see the live performances in LA and NY." I don't mean to suggest that Giannina's question was inappropriate, but wanted to refer to Ari's original plan because often people just read the last comment on a thread, and don't start at the beginning. Questions now are fine, of course, but I didn't want to get too deeply into it before everyone was ready. Thanks!!

Ari, thank you! This is a wonderful idea, and a perfect choice, for all of the reasons you've stated. Your punishment for having such a brilliant idea is, of course, that you will have to lead the discussion!!! Would you be willing to do that? This could be a "book of the month" type idea. Thank you!!!!

Perky, here's the link to the list of articles by Leigh that you mentioned: Balanchine Archive lampwick, from time to time one hears that a dancer (at both NYCB and ABT) has gone to another dancer for coaching on a particular role. It would be hard, though, if the coach tells the dancer to do something that has been changed in the current production, or that the company's official coach doesn't like, so there may be times when this is a successful approach and times when it is not.

Lovely! Thank you, rg!

It's interesting that there has been so much dance connected to our First Families. Ron Reagan was a professional ballet dancer -- member of the Joffrey Ballet -- for a short time. Betty Ford had danced with the Martha Graham Dance Company. Mrs. Mondale had a keen interest in dance -- I forget whether she actually danced, but I know she was a patron and attended concerts. Bill Clinton would attend his daughter's "Nutcracker" performances. Chelsea Clinton would bring her friends to the ballet -- so at least, for a time, there was a tiny spotlight on dancing in political circles here.

Dear Oberon and anyone else who's of the "the past is past, get on with the future" school: No, the past can't be created. No one is suggesting that it can. But there's such a thing as standards, and standards can be maintained, or a company can work to get back to a standard once the standard has slipped. That is what Acocella and others are saying. This can be done. It has been done in the past, in every art form.

Yes, the writer would be in trouble on both ends.

In that long, long article, that dealt with several of Gottlieb's "obsessions" (like jazz!) it didn't mention that while he was at Knopf, he edited what many consider the finest line of dance books ever published, certainly in this country. It just mentions, almost in passing, that he's a dance critic and that his favorite choreographer is Balanchine. But I agree with the last few comments. One can always disagree with him, or anyone, but he does have legs to stand on!

I can't say why the write chose that word, but one definition of plagiarism is this: I think the propriety of recycling one's own work depends on the writer's contract. If the contract specifies (as I think most do) that the work must be original, or previously unpublished, then handing in something that's been previously published would be a violation of the contract. Recycled material has to have some indication ("Parts of this article originally appeared in XXX," or some such.)

I posted this on links, but copy it here for discussion. Sandi Kurtz reviews Doug Fullington and Manard Stewart's staging of the original choreography for Petipa's "Jardin Animee" for the Pacific Northwest Ballet School for DanceView Times: Before There Was After Sandi's article covered a lot of interesting issues, I thought, including style, and authenticity (what exactly IS the choreography? How much does style count in the definition?) and I thought it would be good to discuss them.

We're going to do a preview section for the Ashton Celebration (to try to provide preview information that the newspapers are unlikely to). The section is up, in outline. More will be added over the weekend. Ashton Celebration Preview There will be thumbnail descriptions of the ballets soon. Right now, there's schedule information (which is also on this forum), the beginnings of a Links page, and an article by former Royal Ballet Principal Bruce Sansom: Looking at Ashton

This from The New Times: (Scroll down; it's the second story) The Xerox Man

Thank you, Lynette. This would be a large number of triple bills for many American companies, too -- maybe it will start a trend!