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Helene

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Everything posted by Helene

  1. I have removed an entire response that is inappropriate, because we don't argue about the core rules and policies that we've had since the site's inception, the ones that everyone who signs up agrees to follow, even if they don't read them. No one is forced to participate on this site: there are plenty of places on the internet to have different kinds of discussions if you prefer. But those who choose to are subject to our rules, and, for the vast majority of the time, our members do. The way to not discuss the discussion is to state your opinion on the subject, in this case your opinion of inclusivity, without discussing anyone else's opinion. Everyone here can read and can come to their own conclusions.
  2. It's in our Rules & Policies under two separate bullet points: Write what you think of the subject, not other posters, i.e., no ad hominem attacks, characterizations, or psychoanalysis. Don't discuss the discussion. Do not discuss each other. If you have a problem with a post, click the "Report" button at the bottom of the post, and the Moderators will review it I don't think we're important enough to Google for this to come up easily in search results. You can discuss the lack of gender inclusiveness on this site by stating your point of view. You cannot discuss what other posters think about gender inclusiveness or tell them what they must or must not be as a result of their opinion aside from "I disagree" and then explaining your opinioin. When we find a violation, we have the choice of removing it altogether, or leaving what isn't in violation of our rules and policies. Which is in our Rules & Policies. Why did your post/part of your post disappear? It contained [list of policy violations] We generally don't put a note that we've edited a post, because that's like holding up a sign that says that you've violated policy. Admin notes can refer to deleted posts, not necessarily the last post before the general warning. If you prefer us to remove it altogether, then you can "Report" the post, PM me, or use the "Contact Us" link at the bottom of each page and ask for what remains to be deleted, and you wouldn't be the first. You can also contact us if you have a question about a policy.
  3. I can't imagine the Edwards won't be useful in the current PNB rep, which includes some gender non-specific solo roles, like Fenley's "State of Darkness," danced by Jonathan Porretta, James Moore, and Rachel Foster. (Noelani Pantastico was originally cast, but didn't perform). Also Jessica Lang's "The Calling," performed by Carla Korbes, James Moore, Dylan Wald, and Leah Merchant. There is all an array of contemporary works which, like the other two, don't all have pointe work, although Crystal Pyte's "Emergence" does, and he could dance any of the roles. Possibly the Dove rep, depending on what's in cycle and if PNB still has the rights for them. There's new work coming in all the time.
  4. [Admin beanie on] Please discuss the issue, not the discussion or each other. [/off]
  5. The trend in the choreographers that Peter Boal is hiring and the direction that the rep has been heading suggests that choreographers will be able to use Edwards as they see fit. If this happens, Edwards would not be the first young man, PD, apprentice, or corps member, who gets many opportunities from his peers or outside choreographers above rank. There are also other opportunities beyond the McCaw Hall stage in which PNB dancers perform and choreograph, some fully or partly sponsored by PNB and others independent.
  6. There are three ways you can support Ballet Alert! year round Through this affiliate link to amazon.com; we receive a small commission on your purchases: https://www.amazon.com/?&_encoding=UTF8&tag=baamazon-20&linkCode=ur2&linkId=7fbf8b3fac1af424fadaeac5af93afba&camp=1789&creative=9325 For those who missed our last annual Fundraiser and would like to contribute: Through PayPal, for which you do not need to have a PayPal account. If you don't have an account, or you do, and you'd like to use a link, please use this one" https://paypal.me/BalletTalk?locale.x=en_US If there's a place for a comment or note, please enter your screen name. They have several different UI experiences: in one, this will open up another screen or box. If you do have a PayPal account, you can log into your account and Under the "Send & Receive" tab, our recipient email address is: contactbabtford@gmail.com If you choose the "non-protection" option, there will be no charge to either you or us. Through Zelle, if your bank's web or mobile app supports it, and you'd like to use your bank account. Our email address for the transfer is: bt4d.ba@gmail.com. In either case, we are not given your credit card or bank details. We appreciate all contributions, and we only raise enough funds to keep the site going. Thank you!
  7. I've been watching DancewithMaryNYC's YouTube channel: she is an expert fitter, and I cannot resist watching point shoes being prepared -- she has a mini-anvil that gives me joy -- and in the latest episode, she talks with Trocks dancer Philip Martin-Nielson, first about his training, and then about his point shoes: At the end, he performs a short excerpt from Don Q.
  8. Former PNB soloist and filmmaker Margaret Mullin is now Associate Artistic Director of Ballet Tuscon: https://www.instagram.com/p/CQy9NEngikd/?utm_source=ig_web_copy_link She quotes (at least part) of the press release in her Instagram post. Tucson is where her roots are.
  9. I actually get why they're going for a majority of finalists: the optics would be atrocious if all three were bypassed, especially since there's not a hugely obvious candidate, like a Bernstein or van Karajan of the Executive Directorship world.
  10. Looking at nearly every ballet roster with an eye test the lack of Black and Hispanic dancers is striking, with the caveat that the eye test under-represents Hispanic dancers.
  11. PNB has nine, possibly ten, dancers of Asian/Pacific Islander descent or, like Yuki Takahashi, is from Japan. That's over 20% of the company. I don't know any of the incoming dancers -- four -- and whether the company will hire another three dancers to replace the seven who have left. The number of Hispanic dancers is low -- and we just lost the beautiful Angeli Mamon, sigh -- and PNB's history of hiring black dancers is dire. (And, no, Amanda Morgan doesn't count for ten because she is a Black ballerina.) But I don't think the company is underrepresented by dancers with, at least, Japanese, Hawaiian, and Filipino descent.
  12. In order to know, a ballet professional has to speak about it. At PNB, the only other dancer I can remember who did speak about it was Ariana Lallone, who said she wanted to retired one year later than she was forced to.
  13. I'm glad Merchant spoke out. She's long been one of my "desert island" dancers in the company. If she were leaving on her own, I'd just feel sad, but since she's not, as audience, I feel robbed.
  14. I am, too. I attended part of an online Zoom conference she organized, and one of the best takeaways was the often ignored Black foundational teachers: most of the dancers interviewed had their early training in neighborhood schools. Ballet training doesn't start the moment a student joins a pre-professional program.
  15. Finals are on now. Here's the link to BBC 3: https://www.bbc.co.uk/sounds/play/live:bbc_radio_three
  16. A lot of seasons look like this: companies need to get people in the theater or streaming and to refill their coffers.
  17. And there was this: The photos are wonderful.
  18. David Remnick just sent out the following email: Janet Malcolm, a dear friend for many decades to everyone at The New Yorker and one of the greatest writers we’ve ever been fortunate enough to publish, died on Wednesday in New York. From her early pieces on the world of psychoanalysis to her most recent Profiles, her reputation often seemed to rest as much on her razor-sharp acuity as on the enormous intelligence of her prose. And yet she was immensely kind, full of scrupulous self-questioning about all acts of definitive judgment. Tilting her head slightly, her eyes narrowing, she seemed, catlike, to take everything in. And, when she sat down to write, the instrument of her prose was equal to the intelligence and range of her mind. Janet Malcolm was born in Prague in 1934. Her family emigrated five years later. It was, of course, never lost on her what fates might have been her own: the Nazi concentration camps, Soviet occupation. She first started writing for The New Yorker in the early sixties, publishing pieces on children’s literature and shopping; she even wrote a design column called “About the House.” After that apprenticeship, she began publishing what amounted to a string of lasting and vivid works: “Psychoanalysis: The Impossible Profession”; “In the Freud Archives”; “The Journalist and the Murderer; “The Silent Woman: Sylvia Plath and Ted Hughes”; and many more. In the coming days, you’ll be able to read many obituaries and appreciations of Janet’s work here and elsewhere. But, in the immediate hours and days after her death, we hope you’ll read her work, some of which is presented here. Her sentences, clear as gin, spare as arrows, are like no one else’s. And her considerations—of psychoanalysis, of biography, and of journalism itself—are all examples of a rare and utterly free mind at work.
  19. I want the feathered headdress
  20. I read the book and thought it was fantastic. I love the short, episodic structure and the change of voice. It did not make me wish I were a dancer, though.
  21. I don't remember if there was any overlap, but because of Martins' retirement as a dancer, NYCB hired Otto Neubert from Stuttgart and cast him in many Martins roles. I remember him in Gold and Silver with, at first von Aroldingen, and then Calegari. He was elegant, but, at the time, was Not Martins, and he was never embraced in NYC. He is now one of two Rehearsal Directors at Pacific Northwest Ballet, and he's performed character roles, like von Rothbart and as Don Quixote in the Ratmansky production. While Tom Skerritt was a coup for the company as DQ, he's a film actor, and movement isn't his forte. As the Don, Neubert was fiercely compelling.
  22. I've only seen Mazzo on video -- Stravinsky Violin Concerto and, maybe, Duo Concertante? -- but I'd seen von Aroldingen many times in a range of roles. After seeing von Aroldingen, I was surprised to learn that Mazzo was the original. I think the ballet has an arc, from the innocents of Tales of the Vienna Woods, to the faux innocence of Voices of Spring -- anyone who has been to a traditional musical there will recognize the 40-year-old tenor star in his lederhosen playing a 17-year-old and flashing his teeth like a matinee idol -- to the demi-monde in Explosion Polka on the outskirts of Vienna, to the La Ronde sophistication of Gold and Silver, to the turn-of-the-century neurosis of Rosenkavalier, where the partner might be unreal, all wrapped up in the big denial finale before WWI sends everything crashing. For Gold and Silver to work, in my opinion it has to be grown-ups playing a cat-and-mouse game, which is why von Aroldingen and Martins worked so well at it. (Plus his ballroom dancing experience growing up in Denmark.) I've only seen a couple of the other women at NYCB do the role, but the ones I did see didn't "get" it, even Calegari, who seemed more dramatically suited to Rosenkavalier, since she didn't seem to be interested in the give-and-take of Gold and Silver. Play-acting it without chemistry falls flat, and it rends the arc of the entire work, at least for me.
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