Clara 76

I posted a link in the "Links" section of BalletTalk to the Cleveland Plain Dealer and Wilma Salisbury's review of "Evolution: Mozart To Moby" if any of you are interested.

She didn't particularly care for it!

Clara

I copied all of the following information right off of our website.

It's such an honor for us to be chosen.

I've watched the company my parents founded grow from a handful of dancers to the amazingly talented bunch we have today.

This is a proud moment for me.

I hope many of you will come to see us at The Joyce.

Clara

BALLETMET DEBUTS AT THE JOYCE THEATER

Mark your calendar and join us for this historic BalletMet event!

BalletMet heads to The Joyce Theater, New York City's premier dance venue, for an exhilarating one-week engagement of contemporary dance. One of only 18 companies selected from an international field of 66 applicants, BalletMet is honored by the invitation and plans a whirlwind week of electrifying dance and invigorating special events.

May 25, 2004, 8 p.m.

May 26, 2004, 8 p.m.

May 27, 2004, 8 p.m.

May 28, 2004, 8 p.m.

May 29, 2004, 2 p.m. & 8 p.m.

May 30, 2004, 2 p.m.

The Joyce Theater

175 Eighth Ave. (at the corner of 19th Street)

New York City

The company's debut at the storied theater will feature Deanna Carter's Colores de Alma, which had its world premiere with BalletMet in February; Gazebo Dances, which James Kudelka created on the company in 2003; and a segment of Stanton Welch's amazing new Evolution: Mozart to Moby, which BalletMet will debut April 29-May 9, 2004, in Columbus' Capitol Theatre.

In the course of its 46-week season, The Joyce Theater presents a diverse slate of companies such as Twyla Tharp Dance, MOMIX, the Martha Graham Dance Company, and Pilobolus.

"BalletMet's selection to perform at The Joyce Theater recognizes the company's excellent artistic quality and places it among the best dance companies in the United States,"

- Wayne Lawson, Executive Director of the Ohio Arts Council

Tickets are $38; to order them, call 212.242.0800 or visit www.joyce.org.

--------------------------------------------------------------------------------

CELEBRATE BALLETMET'S MANHATTAN DEBUT

AT TWO ADDITIONAL SPECIAL EVENTS...

New York! New York! Gala for BalletMet Opening Night Post-Performance Party

What

Live music, food and drinks,

plus a special performance by Columbus' own Broadway star, Jessica Grove

When

Friday, May 28, 2004,

following the performance

Where

Tavern on the Green

(in the Rafters Room and Garden)

Tickets are $250 per person.

What

Join BalletMet’s sponsors, dancers and artistic staff for a festive reception, including champagne and hors d’oeuvres, after the show! Everyone is always excited on opening night—join in the fun!

When

Tuesday, May 25

Where

The Joyce Theater

Tickets are $25.

Please call Rebecca Arneson at 614.229.4860 ext. 171 to make reservations. BalletMet

"The Joyce Theater is America's premier presenter of dance.

The time has come for BalletMet to assert its rightful position as one of America's finest and most creative dance companies."

--Ray Hanley, President of the Greater Columbus Arts Counci

Mel,

So sorry I haven't been on but I've been very ill with a nasty sinus infection that got into my ear and made me dizzy (er than normally I am ) and it made my face hurt so bad I wanted to cut my head off!!!!

Anyway, I am still among the living so here goes:

Evolution: Mozart to Moby is done in 3 sections the first of which I believe we are bringing to the Joyce the end of this month.

The first part uses roughly half the music from Moby's 1999 album, "Play".

The second piece is Eine kleine Nachtmusik.

The final section is set to John Antil's "Corroboree" from the mid-40's.

So yet again that computer you have for a brain is spot-on!!!! :grinning:

Clara

Sometimes Perky, I think it's still the only real power we have

Clara

Gosh Mel, I have no idea !

You've gone and made me curious!!!

I'll find out and get back to you, but I would imagine you are correct as Stanton chose the piece.

Clara

Evolution is a revolution in dance!

Explore the cultural connection of dance through time. Evolution, a world premiere in three distinct acts, combines contemporary, classical and primal genres of music and dance.

Contemporary - Set to the techno pop music of Moby, dancers deal with the realities of modern life.

Classic - Think comedy. Think madness. Think Mozart

Primal - Dancers as wild beasts move to the music of Australian composer John Antill.

April 29 - May 9, 2004. World Premiere!

Capitol Theatre at the Riffe Center

Choreography: Stanton Welch

Music:John Antill, Wolfgang Amadeus Mozart, Moby

Tickets: $25, and $35

Thursday April 29, 7:30 p.m.

Friday April 30, 8:00 p.m.

Saturday May 1, 8:00 p.m.

Sunday May 2, 2:00 p.m.

Friday May 7, 8:00 p.m.

Saturday May 8, 8:00 p.m.

Sunday May 9, 2:00 pm

For more information: BalletMet

:offtopic:

Apologies to all if I went off-topic. When I first posted this response I didn't realize it was referring only to RDB.

Although some of the points may be helpful???

Clara

Excellent points made so far...

I'd like to add that dancers are notorious for 'dancing through the pain'.

Whether it is fear that they will lose their position in the company or get a reputation for being "injury-prone" I don't know but unless the AD fosters an environment of openess and trust with regards to injuries, dancers will keep silent until they become unable to avoid it.

Training is also a factor.

Improper posture can be the defining element as to probability of injury.

Cultural posture comparison studies have been done that demonstrate effectively people in their 80's and 90's with straight upright postures, can still lift very heavy objects, have no lower back problems, and tend to live longer.

This is a marked difference with Americans and Western Europeans who tend to slump forward with the hips, stand with the weight unevenly distributed into one hip, and thrust the chin forward.

Looking back to American fashion magazines from the early part of the 20th century in comparison to today's vision of what constitutes 'beauty', you will see the distorted figures to which I am referring.

If one's ballet training does not emphasize the proper alignment of the skeleton, dancers will compensate in ways that will cause chronic problems for them in the future.

For example, forcing turnout causes permanent damage to the knees.

Clara

Why Carbro,

you saw right through me!!!!!!

Clara :grinning:

Anyone know the answer???

Out of curiousity, why is it that male opera singers can be as huge as they want, and still be hired in the "Prince" roles...yet women are fired for the same thing.

Clara

Has anyone out there seen David Parsons do "Caught"????

I'm just wondering because when I saw it, it certainly stained my brain!!

Clara

I concur with Vagansmom and Victoria Leigh-

Competitions are one way to be seen. Unfortunately, it is becoming more common to see dancers listing their "titles" or "placements" in their bios.

However, it is not necessary to compete if you want a job as a dancer. Many dancers are hired every year who've never, ever been to a competition.

Clara

C'est Perfectement!!!

Clara

I thought I'd post this- we head into the theatre this week!! Hope many of you can come!! It's very child-friendly. I copied all of the following from our website.

"The enchanting story of Beauty and the Beast, one of the world's best-loved fairytales, returns to BalletMet with innovative choreography, new costumes, and fresh music performed by the Columbus Symphony Orchestra. Following critically acclaimed performances around the world, choreographer David Nixon will stage his updated version of this classic story. For hundreds of years, children have been captivated by the story of Beauty, a beautiful young woman who befriends a pure-hearted beast, and in turn, each falls in love with the soul of the other. Dazzling costumes, breathtaking dancing and a powerful moral combine to create a magical experience. Beauty and the Beast is a testament to the power of the human heart.

March 11 - 14, 2004

Thursday March 11, 7:30 p.m.

Friday March 12, 8 p.m.

Saturday March 13, 2 & 8 p.m.

Sunday March 14, 2 p.m.

Ohio Theatre with the Columbus Symphony Orchestra

Choreography: David Nixon

Music: Georges Bizet, Claude Debussy, Paul Dukas, Gabriel Faure, Jules Massenet, Modest Moussorgsky, Francis Poulenc, Camille Saint-Saens

Tickets: $15, $25, $35, $45 and $55

Here is the link if you would like to read the notes:

BalletMet

Clara

I'll second that!! Let's have a toast!

Clara

Why Vitale, of course!! That sounds like about as much sense as he ever made to me! I remember that he loved my face...don't know why but he said I looked like a little Russian peasant. I remember that I couldn't understand his corrections in class but I would try something else and he would smile and nod, so I guessed it was correct!

Oy vey, the cobwebs of my brain!!!

Clara

Well Estelle, all I can say is that Communism was my word.

Perhaps he said government. I will admit to my memory being a bit foggy but others who were there remember him saying similar things. :shrug:

The main idea that came across to all of us was that it was about the control the government had over the people, and the helplessness they felt. For example, the picture of the magician in Petrouchka's room. That was the symbol of the government. He shakes his fists at the picture, yet doesn't rebel directly against him.

He falls in love with the ballerina who symbolizes freedom.

I am sorry but I don't remember much more about it. What I can remember of his stories did have a strong impact on me.

Clara

Excellent points Alexandra. Sorry but when I responded to Hans I didn't see your post.

How do you think we should go about increasing our "Ballet" audience base?

Anyone else can answer too...

I wonder if Petipa/Ivanov were alive today, would they choreograph ballets the same...?

Hans-I'm still laughing about the dancing lizards...can't you just see them holding their 4 little tales whilst mid eschappé...

You all have made such great points that I think I'm swayed...not an easy thing to do as anyone who knows me will tell you!!!!!

Clara

I just found this discussion of Petrouchka and it brought back memories of when I danced the ballet. I was very young-maybe 10, and we brought in Vitale Fokine to set it. According to him, the ballet was about Communism, and how the government controlled it's people. Obviously, they couldn't just speak out and say that, so artists would create many pieces in a very convoluted way, to get the point across.

It was fascinating, being able to work with Vitale-however, he did have a confusing way of describing things!! Classes and rehearsals with him were interesting!!

Clara

You make some very valid and very funny points,Hans!!! :grinning:

Especially these 2:

I think that ballets should be done as choreographed, no matter who the choreographer is.  There's a double standard: "heaven forbid we change a single step of Kylian or Duato or Balanchine" (they're also aided by copyright law) but "Let's do Swan Lake--I've been dying to do one set in Arizona, and we can have a Dance of the Gila Monsters!" 

Regarding the issue of ticket sales, if the Louvre were faced with declining admission, I doubt the management would say "I know what will get them in here--seeing all their favorite works painted over in new fun colors!  We'll have Versace design it; the Winged Victory can be lime green with gold leaf, and just wait 'til you see what they'll do with the Madonna of the Rocks...." :rolleyes:  They would find a way to bring the public in without altering priceless, fragile, ancient masterpieces. 

I am still laughing at the vision of dancing lizards and Versace re-working Winged Victory!!!! :grinning: :grinning: :grinning:

Thanks-I needed that today!

Clara

Hello Hans.

Let's take your premise that the classics shouldn't be touched at all.

I have heard many people on this forum say that Nut's first act is dreadfully boring regardless of the company performing it, and that all the real dancing happens in act 2.

I danced Petipa's and it does center more on the children dancing and I could see where people might say the real dancing is in the second act. I have also read that some people don't even go to see the first act, they show up at intermission to catch Act 2.

So if one is familiar with a ballet like that, should they just attend Act 2? Or sit through the whole thing just because it's a "classic"?

And also, why the popularity then, of Matthew Bourne's Swan Lake??

This is an interesting topic because I have seen some remakes that I really like, and some that I don't care for.

Where exactly do we then draw the line? Should we make it black and white: Either do it exactly as originally choreographed, or completely rework it?

And lastly, when ticket sales are dropping off over the years because it's the same old thing (which has happened all over the country with many of the big companies), what are your options, if you still wish to continue your company.

I'll be sitting on pins and needles to see the replies!!

Clara

Thank you Alexandra.

I can't imagine having to dance their schedule. I suppose it's a good thing that they have so many corps to draw upon. Sometimes I wonder if that may be the reason some dancers don't get promoted-they're too good at corps!

It might be interesting to ask how many teachers in their school are using actual counts to music as opposed to using "ya, ta da da" etc.

I personally believe in counts. I think that's the only way to get a corps to dance together.

Clara

I envy all you for being able to see this production.

Alexandra,

do you think the corps is becoming weaker because of the training at the school level? Or is it just not a priority? If so, why?

That's one of my pet peeves too. If everyone's on stage dancing the same choreography, they better all be hitting the same lines at the same time!

I remember being drilled on staying together in class by our wonderful Russian teacher, who demanded that we move together during center work-so help me we did or else!! I think it really helped me when I was in the corps because I could hear her voice in my head!!

Clara

I haven't seen the movie so I will not comment on it but I did see the box office revenues-it seems his "controversy" paid off.

Clara

I'm with Zerbinetta-I would love to be able to see both companies live on a regular basis!! I'm greeeeen with jealousy of all you NYCers!!! :green:

Clara

Mel,

what David was referring to were other productions of Swan Lake that he and other NBC dancers observed during that time. David has little patience for just bravura steps without the emotion behind them.

Alexandra,

Fair enough. Let's get back to the more general conversation.

What is interesting to me is that there seems to be the exact same debate in the opera world. Should the "classics" be updated? There are arguments that get quite heated at times on this topic.

Also in theatre: Should Shakespeare be brought into here and now. It seems to be a matter of subjectivity. In other words, in the eyes of the beholder.

As for Swan Lake, I personally don't prefer Matthew Bourne's version, and it's not just the men in feather pants that I don't care for.

As for other ballets, what about Nutcracker? I danced Petipa's but have seen Mark Morris' Cracked Nut. Again, not my favorite piece by Mark. But I did love David's version. It was set in Victorian England which although not perfectly original, still conveys that sense of history. The story was told more cohesively-all the elements were interwoven so as to make more logical sense. For example: The Sugar Plum Fairy makes an appearance with her Cavalier in the party scene, wearing a romantic tutu the same color as her classical tutu in Act 2. Her character is a Russian Ballerina who visits the Stahlbaum's Christmas party and is invited to dance. There are others who make appearances in the first act that translate to the second and it does lend a certain credibility to Clara's dream.

So I guess the question still remains: should a ballet's story be reworked at all?

Interesting thread, Alexandra!! :yes: