Helene

Hmmm, it's 1hr 26 min by transit, but a lot shorter if I can snag a ride to the 520 bridge.

I hope it shows up somewhere in the Seattle area.

The lack of money means using dancers around their "real job" schedules as well.

"Hot-button issue" is often a way to dismiss someone's argument as irrational. I hope it wasn't your intention in my case.

From the judge's decision: By stating that "the twists and turns of the complainants' evidence in this" I think he shows he has far from "a firm understanding of the reasonableness of reactive human behavior in the dynamics of a relationship." If he had simply said, "I understand the dynamics of the situation, but in this case, the behavior of a victim and an opportunist was indistinguishable, and the rule of law is, I can't rule him guilty with reasonable doubt, and I won't" I would have respected his decision, which was predictable in any case. I don't know of research done for men in the same circumstances, but, especially in very closed social and professional groups, which Canadian entertainment is, women have been trained to question their reality of sexual situations, given the consequences of coming forward and bringing charges, which would have been unthinkable in the early 00's, especially against a "nice guy" with high connections in the entertainment world working for state television and huge support from both management, representatives of the state, and his union. With a climate shifting slightly to the better, they might have had a fighting chance if he had attacked them today, but reconstructing what happened over a dozen years of suppression and rationalization was a non-starter. And if you still think that being identified in a court decision and deemed unreliable is of no consequence, and only he has suffered in any way, I don't know what to say in response.

It must be a figurehead, schoozy kind of appointment, because Peter Martins, Edward Villella, Helgi Tomasson, Peter Boal, Ib Andersen, Jose Carena, Benjamin Millepied, Kevin McKenzie, Christopher Stowell, Ethan Stiefel, Christopher d'Amboise, and Gen Horiuchi had years of administrative experience before being appointed Artist Director ;)

No repercussions in revisiting a traumatic experience and being scrutinized by the state? The state might not have gotten the results it wanted, but they would not have brought it to trial by blindly accepting the women's description of humiliation. Trials are to determine guilty or not guilty, never to determine innocence. As far as being quick to judge, I'm willing to believe he is as guilty or not guilty as, let's say, Bill Cosby as far as consent is concerned. The trial took place in context, so that my comment was in regard to both.

Yes, I'm sure his accusers are sharing martinis and have walked away unscathed. The asymmetry of gender and influence is also interesting.

The state felt it had a case, and they brought him to trial. Having to defend oneself is what would have happened to anyone charged.

Matthew Renko really shines in "Year of the Rabbit." It was great to see the corps work from a distance. Three viewings, and still more to see each time. I hope this comes back so I can give getting my eyes around it a try. What a great range of music in this program!

It's such a different perspective from up here. If I had stayed closer, I would not have known how in "little mortal jump" Elle Macy and Jerome Tisserand project to the rafters. Close up and far away, Chelsea Adomaitis and Price Suddarth are muy compatico in their pas de deux.

I much prefer "Rush" from the Second Tier: the first and last sections are like watching through a kaleidoscope. I've long loved this Martinu score. It's got a kinship with "The Four Temperaments." More Cecilia Iliesiu, please. The two works that bookend this program are by choreographers well-steeped in the neoclassical tradition. I chose tonight because 2/3 of the cast of "little mortal jump" were supposed to move to different roles, with four new dancers joining them, but according to the cast list, last weekend's cast will be performing.

President Obama on his trip to Cuba knows his priorities: https://www.facebook.com/groups/Balletlover/permalink/10153643741008822/

It's getting close for Carrie Imler and her husband Hans: https://www.facebook.com/PNBallet/photos/a.439537898951.224264.21358443951/10153685321253952/?type=3&theater

From the email notification: Temple University Dance Studies Colloquium Spring 2016 TODAY—Tuesday, March 22: Claudia Jeschke's Choreo-Graphing Spectacularity 5:30 - 7 pm, CHAT Lounge, Gladfelter Hall, 10th fl., Temple University. Live streaming at www.temple.edu/boyer/dance/RR Parking is available in a TU parking lot (hourly, reasonable) at Berks and 11th. Gladfelter Hall is the first high-rise building when entering TU's main campus from Berks and 11th, two blocks from the Septa Regional Rail TU station. About Choreo-Graphing Spectacularity The lecture will focus on the phenomena of displaying spectacularity on stage as recorded in notation. The methodological frame of this analysis is ‘dance literacy’ as exhibited in the widely documented corpus of notated dance texts; the content is the (exemplary) exploration of the media and aesthetics of spectacularity as skillfully communicated in the ‘writings’ of nineteenth-century ballet masters in their respective approaches to choreo(-)graphy – among these ballet masters are Henri Justamant, Marius Petipa, and the notators of Petipa’s works. The perspective on crafting – or manufacturing – ballets intends to contribute to the discourse on the then professional concepts and routines of ‘mise en scène’ (in Justamant’s words) mainly in France and Russia and on the aesthetical programs and diversities the nineteenth-century ballet masters met – and created. About Claudia Jeschke Along with her studies of Theaterwissenschaft at Munich University and a doctoral dissertation on the history of dance notation systems Claudia Jeschke was professionally trained in various dance forms. Deeply interested in theater she started with choreographing and performing as well as acting and directing – always with a strong emphasis on issues of documentation, notation, and archiving. Her academic and practical expertise allows her to approach dance heritages both in actu‘ on stage and in academic writing – for example in deciphering Vaslav Nijinsky’s dance notation system and restoring his ballet L’Après-midi d’un Faune (together with Ann Hutchinson Guest, last restaging: London 2012, English National Ballet; 2015 Sarasota Ballet Florida). As a guest professor Jeschke taught in Europe, USA (University of California at Riverside), Canada (University of Toronto), Asia (several universities in Tokyo and a lecture tour to China) and South America (Universities of Sao Paulo and Porto Alegre). She introduced dance studies as an academic discipline in German theater and dance departments such as Munich, Leipzig (where she finished her habilitation) and Cologne. In 2004 Jeschke joined the faculty of the Department for Studies in the Fine Arts, Music, and Dance at Salzburg University as the then first and only professor of dance studies in Austria and became head of the Derra de Moroda Dance Archives (ddmarchiv.org). Her extensive body of publications focuses on dance historical and theoretical issues as well as on movement research and notation – and the discursive transfers between these fields of research (for example in exhibitions and recently a series of lecture performances on ‘contemporaneity’ of dance history and historiography).

From the PNB website: I'm sure Doug said in the lec-demo which was the source for the Fan Dance, but my brain is a sieve.

A photo of the Grottoo scene: https://twitter.com/PNBallet/status/711637210575929344