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Simon G

Senior Member
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Everything posted by Simon G

  1. Leigh, as you know, Onegin is a ballet I cannot STAND. It is, for me the worst example of ballet taking on a story and losing. But the most interesting thing about Onegin is how little dancing there actually is in it. Made on the nascent Stuttgart, a company which had at that time only four principals of any note, this is evident in the paucity of any choreographic material for the corps or soloists. The one thing that is very interesting to me regarding Onegin is that the first time I saw it I was very young, but Lynn Seymour was dancing Tatiana. The moment with the mirror at the beginning,
  2. I think that's the problem with modern three act works, conforming to the format in length but not technique of classical ballet. The thing we all know about classical three act works is that the stories are hokey beyond belief, however the elements of classicism have a definite format which is followed through whichever the ballet may be: pas de trois, six, grand pas de deux, court dances, coda etc etc. The story or total lack thereof, are the framework within which classical ballet as a form exists. The modern three acter by eliminating much of the classical technique or format in which it
  3. Is the story worth telling? I have believed since childhood that most ballet stories I've seen are not worth telling. So often it's escapist entertainment. On the other hand, even escapist entertainment touches on some fundamental truths of our humanity, within a certain range. Sorry Citibob, let me clarify. I meant by that, is the modern ie very modern R&J, Anastasia, Mayerling, Manon, Onegin etc etc story one worth telling. Or rather is it worth telling in the expanded 3 Act format. Ashton did a very lovely chamber version of R&J which is the antithesis of the Macmillan epic ver
  4. Hello everyone. I'm starting this topic in relation to Frederick Ashton, whose work I love. I'm British and over here you'd be very hard pressed to know that Ashton is unequivocally one of the few choreographic geniuses of the 20th century given the way his work is represented or rather underrepresented by the Royal the company he defined and led to greatness. As Alexandra has rightly said in an email to me, the problem is that Ashton is hard to qualify and quantify, the majority of his work being one acters, pieces d'occasions, and linked to a definite style and school of ballet that takes
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