drb

Nice article just popped up in the NY TIMES on-line edition...dance critics write about NYCB dancers who have especially moved or impressed them.

I'm sure this story will be linked here soon...

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For those who can't wait:

http://www.nytimes.com/2005/12/30/arts/dance/30ball.html?hp

But Mr. Rockwell (in his Tom Gold piece) should not blame Mr. B for the Swan Lake that is soon to open a 12 performance run.

A conspicuous example of asymmetry is Heather Watts, whose spine clearly does not run straight down the center of her back.  In spite of this, and most improbably, she was still a pretty strong turner.

When it comes to feet, Virginia Johnson's were even more disparate than Farrell's.  One had a very pronounced, rounded arch, and the other was nearly flat.

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One would surely call these individuals successfull dancers. Would you include them as examples of positive anwers to question 2 at the beginning of this thread?

Did they find ways to compensate for, or even mask, their disparities or did they (try to) make them a coherent part of their organic presentation?

Amen re Suzanne, Hans! She is surely the most wonderful dancer I have ever seen. Remember Mr. B's very painful test of that foot? But she had to work all the harder because of her "asymmetry."

From what I understand, symmetry (in this area of biology) refers to bilateral symmetry (which requires a slightly peculiar way of visualizing in 3-D, but is pretty intuitive):

http://www2.biology.ualberta.ca/palmer/asy...es/symmetry.htm

They used video of people in the study, so my guess is that they would would find some asymmetry in your example of two legs of equal length but not equally raisible (sic). But this isn't my field, so I can't be sure.

The symmetry (or its lack) that they are studying is called fluctuating asymmetry, FA, which considers only "subtle asymmetry," excluding "conspicuous asymmetry":

http://www2.biology.ualberta.ca/palmer/asym/asymmetry.htm

It is interesting that Paul mentioned the role played by handedness in dancing. In humans, as explained in the above link, handedness would fall into the subtle asymmetry classification. A higher FA (greater lack of symmetry) would correspond to a greater degree of handedness. Carbro also has an interesting remark re ambidexterity (I suppose we could say a lack of handedness) being a plus for dancers, earlier in this discussion.

What scientists look for in this kind of study are trends, where the averages are going (where, perhaps, evolution is taking us as a species), and not causation.

Great dancers are exceptional human beings, far from averages. Thank the human genome for people of genius and magic and very hard work.

Great list, canbelto.

There is also a lot of Nureyev in the Fonteyn documentary "Margot." Ovation is re-running it

Saturday, January 21 from about 1-4:30 PM EST, and again

Saturday, February 4 from about 1-5 PM EST. After the latter telecast, they will show the tragically sad Nureyev "Dancing Through Darkness" documentary, where, as I recall, you get to see his private island home.

Trying to put things together so far, it seems that both spiritual practice and natural selection are conspiring to make symmetric people. While we sometimes worry about the state of dance for the immediated future, perhaps for the long term, humanity is destined to be a race of dancers!

Thanks to Paul and Bart for the dancer input. It seems that for some great dancers, lack of body symmetry can be overcome, at least to some extent. Perhaps this is why we sometimes will see a star turn in the opposite direction from the choreography.

Not all beauty is symmetric: consider the crack in a Zen bowl...

... this week's Economist contains a long "survey of human evolution" which refers to the issue of symmetry....

and

".... In fact, those features rated beautiful, most notably bodily symmetry, are good predictors of healthy, desirable attributes such as strong immune systems -- in other words, aesthetic sensibilities have evolutionary roots."

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Interesting, in light of another quote from the article in Nature:

"One measure of quality in evolutionary studies is the degree of bodily symmetry (fluctuating asymmetry, FA), because it measures developmental stability."

Do you happen to have a web link to the Economist's article?

An anthropological study of dance and symmetry in Jamaica appears in the December 22-28, 2005 issue of the respected scientific journal Nature. While it is not specific to ballet dancing in particular, it does pose interesting questions on the importance of body symmetry to success in dancing.

A quote from the paper:

"Here we report that there are strong positive associations between symmetry and dancing ability, and these associations were stronger in men than in women. In addition, women rate dances by symmetrical men relatively more positively than do men, and more-symmetrical men value symmetry in women dancers more than do less-symmetrical men. In summary, dance in Jamaica seems to show evidence of sexual selection and to reveal important information about the dancer."

1. How crucial is body symmetry to performing classical ballet? Is it more crucial for classical ballet than for modern ballet or dance?

2. Are there dancers who lack body symmetry and have overcome this "disadvantage" to become successful in ballet?

3. Does the reported symmetry-likes-symmetry selection lead to offspring of dancer-dancer parents tending to become good dancers?

The link to Nature:

http://www.nature.com/nature/journal/v438/...ature04344.html

.... I thought the super-long, straight do made her face look kind of severe, and I like the softer, permed hair and the bangs. Very pretty.

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Sorry to disagree, but in the times I've seen her in the "real", post-performer world, that hair has been the madeleine that stirred my tea: making her instantly recognizable and spurring an endless dancing stream of memories. But of course she is Suzanne, so I yield to her higher knowledge.

A very good job by CBS on the Kennedy Honors, 14 uninterrupted minutes. Jacques was terrific, and they let us see her company. Sure there were two "reaction shots", but they were both of Suzanne, and every chance to see her is a privilege, and an honor.

This Sleeping Beauty was originally an 84 minute Cinemascope movie rather than a live performance. Young Makarova's Bluebird was Valeri Panov and Dudinskaya was a fabulous Carrabosse. Exceptional dancing and far superior visually to most videos from that great era. The sound, however, is pretty poor. I am referring to an old VHS tape purchased about 15 years ago (Corinth/Kultur).

Rolando Sarabia is giving a one week intensive workshop with Magaly Suarez in Pompano Beach, Fla from December 26-30.

http://www.theartofclassicalballet.org/Workshops.html

As I understand it, full-time employment by a ballet company cannot occur until matters involving a visa are resolved:

http://blogs.wbur.org/arts/index.php/2005/...ban-dancers-si/

High Points:

1. Performance of the year: Veronika Part. Odette/Odile, the July 4th performance. The Met-filling terror at first sight of Marcelo Gomes (the male Prince performance of the year), and the magic moment when terror transformed into hope.

2. Multi-act ballets:

Ansanelli's Harlequinade at NYCB, the best I have ever seen in this role, she had it all, and then left...

Vishneva's ABT debut in Giselle, elevated Angel and brought back the glory days of Baryshnikov/Makarova/Kirkland.

McKerrow's ABT Giselle farewell, the last performance of ABT's deepest Giselle since those same glory days, fully meriting the 27 minute standing ovation.

3. New ballets:

After the Rain, by Christopher Wheeldon, NYCB. Both for itself, and for Wendy's greatest performance and the last chance to display ballet's greatest partner, Jock Soto.

Bright Stream, Ratmansky/Bolshoi. Pure joy, displaying this incredibly talented company.

4. Great shorter performances:

Alina Cojocaru, Giselle Act 2 excerpts, at the February Stars Gala. The World's Assoluta, in my experience second only to Farrell. She inhabits a role like no other.

Tess Reichlen, Rubies, NYCB. In 4 decades of Jewels, the best "second" soloist I've seen. In all likelihood, the next Great One.

Ashley Bouder in Ballo della Regina, NYCB. America's Prima, she defines Joy.

Natalia Osipova, Don Q, Bolshoi. How can a corps girl with a one-minute solo dominate super-star leads? That's how!

Lows:

1A. The lack of coaching (by former Muses) at NYCB. So much fabulous talent left incomplete.

1B. Extraordinary young talent frozen out of opportunities at ABT. A generation held back. If only one of our other American companies could raid this talent pool: there's enough there to build a third major company.

The great teacher Wilhelm Burmann certainly DID address key artistic issues. The section of the article involving his teaching of a City Ballet ballerina concludes with:

Mr. Burmann explained how Balanchine “didn’t just teach the student and dancers; he elevated them, he developed them. “You need a director, a coach, and that is a little bit lacking now,” he said.

Like many of his critics, Mr. Burmann said that Mr. Martins seemed resistant to bringing in the great dancers of the past to help the younger generation. “Now they are so insecure in their position that they don’t surround themselves with equals or even betters,” he said of artistic directors generally.

Directly following this icy announcement

...

STRIKE ALERT: ATTENTION TICKET HOLDERS FOR GEORGE BALANCHINE'S THE NUTCRACKER™

In the event of a New York City transit strike, performances of George Balanchine's The Nutcracker™ at the New York State Theater will go on as scheduled. Please check your tickets carefully for your performance time and leave ample time for alternate travel arrangements. No refunds or exchanges can be granted due to strike actions, which are beyond our control.

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on NYCB's website are the words

"POSITION OPENING: MARKETING MANAGER

New York City Ballet is seeking to fill a full-time opening in its Marketing Department. The ideal candidate will possess strong interpersonal and communication skills ..."

Ironic...

Ailey, currently playing at City Center, sets a different tone. Quoting the City Center website:

TRANSIT STRIKE:

During the transit strike, Alvin Ailey American Dance Theater and Manhattan Theatre Club performances will continue as scheduled. The performers and crew are making extraordinary efforts to travel to New York City Center. We encourage you to make every effort to attend.

For Alvin Ailey performances: if it is impossible for you to travel to the theater and you must reschedule, we suggest you call back once the strike is over at 212.247.0430 ext. 238 and leave your name, date and time of the performance you would like to attend and number of tickets you have. Every effort will be made to accommodate you at another performance. As a reminder, the location of replacement passes will be on an as available basis. However, we ask that you hold on to your tickets as proof of purchase. Please note: replacement passes are not available for the Dec. 31st performance at 7:30pm.

Yes.

Thank you, kfw.

Tobi Tobias has a fascinating vignette titled "Rare Bird" on Carla Korbes being coached in Emeralds by Violette Verdy. It is 7th from the top in a posting of short essays in her Seeing Things series:

http://www.artsjournal.com/tobias/archives..._around_n.shtml

A quote from the last paragraph:

...When the Balanchine Foundation videotapes Violette Verdy coaching the role she created so memorably in the “Emeralds” section of Jewels, Körbes (ably supported by James Fayette) learns the pas de deux from scratch. Within minutes of having been instructed in the steps and partnering, she’s dancing as if the choreography belonged to her, releasing herself into the yearning, evocative phrases of the Fauré score so that the music seems to surround her like an invisible veil of perfume. Towards the end of the session, Verdy says to Körbes, “I don’t see dancers like you too often. How old are you?” “Twenty-two,” Körbes tells her. Verdy: “When it happens, it’s going to be magnificent.”

Looks like something special coming up in Jewels later this season!

The feature on La Sylve's early days with NYCB that is included on her Dutch Sleeping Beauty dvd puts her Het career in the past tense, but not completely inasmuch as she returned to make the dvd! Of course later she returned again to have a new ballet set on her. Both companies are very fortunate to have such an artist.

Evidently no need to worry re La Sylve. On Dutch National Ballet's thread today she is reviewed (partnered by Marcello Gomes!) in her home company's Nutcracker.

Thank you, Michael, for making me feel like I was there.  I saw Reichlen a couple of years ago as the Lilac Fairy and thought there was something special, if yet unformed, about her.  I'm so glad to see that she is blossoming.

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Paul Kolnick does a great job capturing the "compleat" Reichlen in this photo in the Times, especially with the detail gained when clicked to enlarge:

http://www.nytimes.com/2005/12/13/arts/dance/13nutc.html

Hopefully you'll be visiting NYC someday soon to experience some of these magical golden days! A Rubies without Tess is like a necklace with lab-created stones.

Re Reichlen: "And the amazing thing, this year, is that she is suddenly developing presence. She's taking over the stage now in a totally different and mature fashion. The command of the stage and the sex appeal have just made this quantum leap."

I absolutely agree, Michael. Tess finally found "expression" worthy of her technique, perhaps last January/February. She and Ashley are the big draws for me at City Ballet. If there were a Guide Michelin for ballet, they'd both worth a detour! Like your technical comparison to Vishneva too.

The ABT Studio Company is currently having a Nutcracker Season in the LA area.

They constitute the professional base of Ethan Stiefel's Ballet Pacifica, while Mr. Stiefel prepares to launch his "new" company in mid-2006. Former ABT dancer Brian Reeder produced their version of the Nutcracker. On opening night the already highly acclaimed Leann Underwood was the Sugar Plum Fairy, and her Cavalier was Eric Tamm. A review by Laura Bleiberg in today's Orange County Register of the opening night performance reports:

"Underwood, only 16, possessed special poise and willowy, expressive arms. She connected all the steps and gestures of this well-known dance with a freshness that made it feel like an inevitable response to the music, rather than an athletic test with which to impress us. Like Underwood, Tamm also is blessed with natural physical ability, but he used it to serve his partner, the ballet and the music rather than as a way to win applause."

The full review, which includes a photo of the lead couple, may may be found by clicking

http://www.ocregister.com/ocregister/enter...icle_885197.php

Later this season ABT dancers Stella Abrera and Sascha Radetsky will guest star in the lead roles. Gillian Murphy is expected to join the company next Fall. Ballet Pacifica has its own thread under Other American Ballet Companies.

Freddie Franklin is making something of a career supporting "Ballets Russes." Friday in Toronto he gave a delightful interview:

http://www.thestar.com/NASApp/cs/ContentSe...d=1134082211735

He tells the Toronto Star of his debut, at age 17, with Josephine Baker. A quote:

"...and Josephine walked down the stairs — this great lady — and she was nude. I couldn't believe it. I went upstairs and they showed me the next number. I learned how to do the numbers in the dressing room during the show."

I second all three of your nominations, Oberon! Tess has all the makings of a great O/O. Unlike ABT, where no dancers of the Bouder/Reichlen age group are even on next season's casting list, NYCB gives young dancers plenty of opportunities. AND THEY SELL TICKETS! Of course NYCB is loaded with exceptional young ballerinas.

Regarding Oberon's point, "it is one of the few things at NYCB in recent years where I have seen a Sold Out sign," January's performances have higher than average advance ticket sales, according to ticket availability posted on NYCB's site.

Re: Allegromezzo18's question "Are there jumps for Bouder?" I don't think Bouder is to perform this role. The dancers, as suggested in NYCB's current PlayBill, are to be Weese, Whelan, Kowroski, and Somogyi. These are very fine dancers, and they should all be interesting to watch. Not liking does not exclude loving.

Both ABT's and NYCB's versions were very ill-served by their telecasts. Nearly every live performance of each that I have seen has been far better than what TV viewers saw. Of course, that doesn't mean the productions are comparable in quality to prior ABT versions, Mr. Balanchine's version, nor to versions in the current rep of the Mariinsky and Paris Opera, nor to the prior Royal version.

...

What?  No Coffee or Tea?

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'Course not. No drugs in the White House!