Jump to content
This Site Uses Cookies. If You Want to Disable Cookies, Please See Your Browser Documentation. ×

dewdrop

Member
  • Posts

    82
  • Joined

  • Last visited

Posts posted by dewdrop

  1. 'Am I correct in assuming they don't do a video montage of Marie's "memories" of the party scene?' –Ballet Nut

    On memories, I thought this passage might be of interest to some readers.

    “Ballet time is a continuous present: every experience which depends on historical time lies outside its capacities. It cannot express memory: the recollection of that which is absent for either the recollection body is on stage and immediate or it is off and non-existent. Memory distinguishes between the object and its invoked image: ballet deals only in the object." -- W.H. Auden from BALLET’S PRESENT EDEN

    Regarding Leigh W.'s response/description above:

    I hope they have the couch on some sort of Magic Sliders to protect the floor from being scratched.

  2. 1.) Misha: The Mikhail Baryshnikov Story

    Comment: I read this quickly. It was interesting to me. Afterwards I rented the video 'The Childen of Theater Street' to see what that was all about.

    2.) Holding onto the Air (Farrell)

    Comment: I read this after I saw the docudrama on Dance in America. Like carbro says, honest and moving.

    3.) Ballerina bio of Violette Verdy by Huckenpahler

    Comment: I didn't finish it. I was busy during the time I had the book loaned out but it is interesting in how she learned her craft : choosing teachers and which opportunities to work eventually. Eventually, I think I'll return to it.

    4.) Dancing for Balanchine by Ashley

    Comment: Answered alot of questions I had about what it was like to dance in NYCB in its heyday. Contrasts to 'Holding on to the Air' in that she sucks up to Martins a bit:)

    5.) Far from Denmark by Martins

    Comment: In progress. Its moving quickly.

    6.) Goofy Lookin': A Portrait of - - - - - * - - - - - -

    Comment: Forthcoming.

  3. "Because of his precise, detailed airtight instructions, I feel confined when I dance certain of his ballets, like Afternoon of a Faun. Every movement and emotion is built in. I think it is a work that suits best, and is more easily danced by, young dancers, who are less self-aware, who have fewer self-concepts about themselves as dancers." --Mr. Martins in Far from Denmark

    I'd simply like to see the man with the best upper body in the company in this number.

    Does any one else have any insights on this aspect of restrictiveness? Is is true for the female too? Perhaps this was a time for Peter to "Swallow it, Swallow it" --Dancing for Mr. B.

  4. I don't know whatever became of Merrill's sessions with Danilova and Merrill's assignment to get those Petipa variations recorded. I presume if any filming was done it was done with NYCB money and is probably only for nycb company use if it exists at all.

    Thanks for the links though. I'll take a closer look at the content at a later time.

  5. The only insight I can offer is that Balanchine asked Merrill Ashley to learn from Danilova all the Petipa variations she could remember and in Merrill's autobiography she claims she wrote down all the steps and corrections in great detail. p226 These were suppose to make their way into film. I suppose the question becomes did the filming project ever complete?

    I suggest there was access to Danilova's work therein.

×
×
  • Create New...