chrisk217

Mashinka thank you for that beautiful story! papeetepatrick, i hope the following ramblings will answer some questions: While ballet as we know it spread through 19th century Europe, Greeks were busy with a 10 year independence war, forming the structures of modern government (still working on that one, not too successfully ), acquiring monarchs, later deposing them, getting the state bankrupt, participating in wars, revolutions, political movements and generally various kinds of upheaval. Money was in very short supply, especially for 'frivolous' and costly enterprises like ballet. Until the late 1920s theatrical dance was limited to revues and other such haphazard spectacles. The catalyst for theatrical dance was Isadora, whose appereances captured the imagination of a public heavily invested in a Greek identity and the Greek past (understandably so, after four centuries of Ottoman/Turk rule). Simple choreographies first appeared in the Chorus part of ancient drama revivals and Duncan's influence was evident (with a fair amount of Dalcrose eurithmics thrown in for good measure) In the years to come modern dance continued to be perceived as the most suitable language to convey the unique perspective of greek dance creators. The most popular genre for most of the 20th century has been horotheatro, literally dance theater. Ballet was always something of a foreign language and something for which most dancers were thoroughly unprepared for. The local non-classical dance scene is going through a renaissance at the moment. Ever since the 90s there has been an outpur of interesting new work produced, a lot of creative energy, numerous small groups (more than 50), some very good ones among them, interesting dancers. It's a very lively contemporary dance scene and there's a sizable audience that follows it. The ballet company was created as a part of the Opera in 1939-1940. Evenings with all-ballet programming started in the 60s. The company is perennially underfunded and struggling with limited means, limited vision and a certain parochialism. It has no theater, which means huge sums are spent each year to rent unsuitable venues. But the most important issue affecting the level of the company is the quality of dance education in Greece. Someone we know once said "But first, a school!". Well, that here was kind of an afterthought. Dance schools are designated by law as either Professional or Amateur. There are about 10 professional schools, most private. Until very recently you had to be 18 to audition for one of the professional schools(!) A bit late by then to get serious, even if meanwhile you hone your craft at a decent amateur school (not many of them either). Recently this changed. Students aspiring to be dancers can now audition for a place at a professional school at 16 years old, while students aspiring to be teachers still audition at 18. The students audition before a committee from the ministry of culture (I'm not making this up) The quality and content of education at different schools varies considerably. Many professional schools focus on modern/contemporary dance. This is both an artistic and a practical choice. There is no employer for classical dancers except the National Ballet which has about 60 dancers. About two thirds of the dancers have permanent contracts (places open when someone retires), the rest have short term contracts. Salaries are so low that most are forced to take second jobs. There have been urban ballet legends of soloists working nights at the bouzoukia (and they're probably true) Mukhamedov is not the first well known dancer to collaborate with the NBoG. There have been occasional stagers and teachers from abroad, but no one stayed for long or had a lasting influence. Igor Zelensky was here in the early '00s. He staged (and danced) some very ambitious productions: Sleeping Beauty, Raymonda, Don Quixote. Too ambitious perhaps for this company - they exposed a host of flaws and limitations. It was generally agreed at the time that the strength of the company lies in dramatic dance and not in the classical repertory. Think Cranko rather than Petipa. So Lynn Seymour who arrived in 2006 was considered an ideal fit. Who better than a great dance actress to direct a company depending mainly on its dramatic ability? Yet somehow it didn't work out. The official version of the story is recounted in this old thread. http://ballettalk.invisionzone.com/index.p...st&p=210416 The decision to program almost exclusively contemporary works tanked at the box office (while opera tickets sold out, the ballet danced for audiences of 50 people). Apparently people expect to see ballet when they go to the ballet, even if they have spent the previous night looking at Pina Bausch. Mukhamedov came with Lynn Seymour, as an "artistic coordinator". He later said that he was not given any responsibility. As always with such cases it's hard to know what actually happened. He became AD a few months after Seymour's resignation. A year is too short a time for any significant improvement but it seems the NBoG is indeed lucky to have him. Not only was he an outstanding dramatic artist and very knowledgeable but I can think of few people who can unblinkingly face all the bureaucracy, the intrigues, the unions and the irrational organisation of things... Talking about that stuff, he sounds almost unperturbed while the average western-european is shocked to the core. I imagine growing up at the old Bolshoi must help Four programs have been staged since he took the post. The first, selected by the previous administration, was a felicitous mixed bill of Paquita/Moor's Pavane/Napoli divertisments. Mukhamedov came out of retirement to dance Othello for a couple of nights. His dramatic power is undiminished. But time is cruel to dancers... What most impressed me was that Bournonville was danced with an effort at stylistic accuracy. That's more than can be said for much better companies that the NBoG and despite the various technical faults, it made me so happy I almost cried. The second program was Van Dantzing's Four Last Songs and a new work. The third program was Giselle, staged by Mukhamedov, with the dancers giving strong dramatic interpretations all around. In July they danced Zorba at various places, with Mukhamedov as Zorba. "If it sells more tickets I will perform" he said, and to me at least that sounded ominous, a bit like the late Nureyev. I haven't seen the Zorba, just the Moor. I'm a long time fan of Irek, the dancer. But as i said time is a cruel thing. The struggle for power over the National Opera that had Seymour's departure as a side effect is still playing out at this time. A new law that would significantly limit the power of the National Opera's artistic director has been proposed. If it passes it will influence the way things work at National Ballet as well. The festival that Mashinka mentions has undergone significant changes in the last three years under the directorship of George Loukos. It now takes place in various other venues besides the Herodion and Epidavros and is entirely contemporary in character. At first that looked like the end of ballet performances but that was not the case as it turned out. Ballet performances still take place, independent of the festival, at venues like the Lycabetus theater or the Pallas, while the festival offers contemporary dance at a world class level. Mashinka, if you plan to visit please PM me, I can help. The Megaron site is useless anyway, I don't know anyone who can navigate that mess. But the events are known almost a year in advance. This year there will be a long visit (10 days) from the Cuban ballet around Christmas with Don Quixote and Giselle. Also visits from the Martha Graham Dance Company and the Eiffman ballet doing Red Giselle. There are events outside the Megaron, such as a Zakharova and friends gala. Ivan Vasiliev is reported to dance in it. I'll believe that when I see it though.

bart you're not doing the lady any favors by publicly disclosing her email. Sooner or later that address will be scanned by some crawling spambot and she'll end up getting ad infinitum oceans of spam. Better edit that address out!

Another video that would be nice to be released on dvd: the complete Pillar of Fire with Sallie Wilson (from a mid seventies ABT doc - ABT a close up? something like that)

Ilya, most people on this board are in NTSC countries where film is converted to video by slowing it down the teensiest bit, then doing on it a 2:3 pulldown. So for them at least the 4% pal speedup is not an issue. Also, Chabukiani is doing his manege about 20% faster than what would be considered normal today. A few years ago I asked the same question here at BT, and the final concensus then was that yes, they were really that fast (or at least faster in some respects than most dancers of today) A shame about the Basque dance... that was my favorite part of the old film

Great sale! Thanks Pamela

Reading back what my wish list was exactly(!) 3 years ago, one can see that a lot of those titles are now on dvd, even though the video quality of some of those titles leaves a lot to be desired. Let's hope for the rest too

Thanks carbro and Leigh! I just bought tickets for Taylor, Guillem/Legris/Hilaire and will buy for Bausch too. After looking at the clips I'm now very excited about Taylor! And yes, Michael Trusnovec does dance in Promethean Fire. I'm also very excited about going to Epidavros for Orphee & Euridice; I really do love the Bausch (and that's a phrase I never expected to say ) Last slot now, it will be either Baryshnikov/Laguna etc or the Sokurov Boris Godunov. I'm leaning towards Boris much as I love Baryshnikov. Has anyone seen either one?

My funds being on the low side this summer I'm faced with the problem of maximising their impact, while (hopefully) economising a bit for when the Cuban Ballet visits in December. The plan is to see 3 summer performances or possibly 4 if I buy only in the cheapest seats, but I need guidance as to what to eliminate. I'd especially love to hear from anyone who has seen any of the productions mentioned bellow. Is there something that is a must see or really wonderful? Here are my options: * POB doing Bausch's Orphee et Euridice cons: it's in a theater far far away (albeit a theater that is an experience by itself); the cast (Gillot, Bridart, Miteki Kudo) is the exact one of the telecast and I've already seen the telecast, pros: I've already seen the telecast is an understatement, I've seen it 5 times, I'm obsessed! * The Bolshoi Opera in Boris Godunov, directed by Sokurov. Also wondering which Boris is preferable: Mikhail Kazakov or Taras Shtonda? * Paul Taylor Dance Company dancing Esplanade, Piazzola Caldera and Promethean Fire. From this program I've only seen Esplanade (and past experience with Taylor has been very positive) * Three Duets with Baryshnikov/Laguna/Ek/Neumann. I've long said that I would gladly watch Baryshnikov do laundry, I'm sure it would be a worthwhile and revelatory experience But is 30 euros maybe too much for a show involving four dancers? After all Boris Godunov comes at 20 euros. I'm not judging art by the euro but you have to wonder about the logic behind the pricing. * A Tribute to Maurice Béjart with Guillem, Hilaire, Legris and the Tokyo ballet (Sacre, La luna, Chant du compagnon errant and Bolero) This is almost fixed as my friend likes Guillem very much and I like Hilaire and Legris almost as much. Last chance to see them again before retirement. * Sidi Larbi Cherkaoui's Sutra. My non dance friends are keen on this for some reason. Must be the Shaolin Monks I've enjoyed parts of SLC's works in the past, and I say parts because after a while they can become repetitive and uninspired. Has anyone seen this? All opinions appreciated

If you're going to buy that multi-region dvd player you could also try Sylvie Guillem au travail (Sylvie Guillem at work) It used to be availlable as vhs and is now just out as dvd in Japan. She is filmed working on Raymonda's clapping variation (frustratingly with emphasis on feet), In the middle, Van Dantzing's Four Last Songs and performing Bejart's La Luna. Japanese shop page: http://www.fairynet.co.jp/SHOP/4560219321397.html Translated page: http://www.worldlingo.com/S1790.5/translat...0219321397.html There was also another documentary that may one day be released commercially (who wants to bet it will be in Japan? ) It's by Francoise Ha Van Kern. In it she is followed around and can be seen working on Romeo and Julliet, Don Quixote etc. I think there's also some bit from her Finnish production of Giselle. There are a few other performance clips from various televised galas (Manon bedroom pdd, Herman Schmerman pdd, live Grand pas classique, Bejart etc) but it's doubtful if they will ever find their way into commercial release considering her views on the matter.

I do but someone ought to break the news to all those people on youtube!

I'm comparing with Manon because it was recommended to whetherwax as a next step after 19th century classics in that other thread (which retrospectively was where I should have posted this recommendation) I was disappointed when Erica moved to Boston since it's rather improbable that she'll be filmed there (except by hand cams) but here's hoping that there will be soon more videos of Herman. It may not be a live performance but it's all us living away from New York have. Please film Herman!!!

whetherwax, since you were asking in another thread about interesting dvds you MUST check out Ashton's Dream where Herman turns a superbly danced and characterized performance as Puck. Erica also dances as a fairy. [and after that you could buy the Pacific Northwest Ballet's Midsummer Night Dream to compare the Ashton with the Balanchine version. You've mentioned in that other thread that you're hesitating to start with Balanchine but Midsummer is atypical Balanchine and actually aesthetically closer to what you have been recently watching than, say, Manon]

Well it was funny, particularly the dancer desperately trying to smoke the cigarette on a non-smoking sign. But no, it's not just satire, it crosses the line to anti-ballet polemic with that final statement. Lisa is clearly delivering whatever message the viewer is to take away. There were other mentions of ballet over the years, I'm afraid I don't really remember them, but they also contributed to a vague impression that ballet was more respected on the Simpsons in the past. It's hard to tell if it's a general trend but this BT thread is largely anecdotal after all and the Simpsons certainly worth mentioning being as they are a not insignificant part of pop culture for the last 20 years.

From where I see it it's doing worse. Let's consider the Simpsons as a case study. After all it's been popular for 20 years now. There were more than a few references in the show's first decade and they were largely neutral/positive. Not so lately. {For those who don't watch the show Bart is the cool bad boy and Lisa is his studious, idealistic, hollier than thou sister. Marge and Homer are the parents} About 15 years ago: There was the memorable episode where Bart arrives late to a physical activity signup, to find that the only spot left is one in the girl's ballet class. The teacher is a strict but sympathetic red haired Russian (obviously modeled on Maya). Ballet is described as something that requires strength and character beneath the pink sparkly exterior. Bart is unwilling at first but soon love of dance takes over and he really starts to enjoy it. As the school recital approaches he realises the danger of getting beaten up by the school bullies and decides to dance in a mask. His dancing is a tremendous success (the bullies watch ecstatic and weep) and he, carried away, decides to unmask and declare his love for ballet. Not a minute later the bullies are on his back and he ends the episode lying injured in a ditch. Despite the end (and some stereotypical jokes in the middle) the overall tone was positive (Bart is the cool kid after all) There was also another episode back then, where Homer does not want to go to the ballet and Marge goes with a wild friend of hers to see some touring Russian company. The dancers are portrayed as strong, graceful, athletic and sexy. Then the episode turns into Thelma and Louise and Homer ends up in a police car that's chasing after Marge and her friend. [Homer: "Ahhhh! Marge has turned into a wild criminal just because I didn't take her to the ballet!" Police chief: "That is exactly how Dillinger got started" Homer: "Really?"] More recently: Only last month there was an episode all about ballet. Marge reveals that ballet is yet one more in her long series of unfulfilled dreams and urged by Lisa she takes up class again. The teacher is portrayed as a vain, abusive, cruel man, who makes people cry and dismisses Marge as soon as she makes a mistake. Then he notices Lisa's feet in first position and signs her on. Unsurprisingly she finds ballet hard at first. But soon her classmates let her into their dirty secret for remaining focused and thin: "for every ballerina in the world it's cigarettes!" they declare. They are all indeed smoking like chimneys. Lisa quickly becomes addicted to second hand smoke. At the performance night (Sleeping Beauty) Homer removes all cigarettes from their dressing room and the dancers go beserk ("oh no! my appetite is coming back!") and attack the crowd looking for a smoke. At this point Lisa addresses everyone. This is what she says word for word: "I wanna talk about a horrible practice affecting millions of Americans. For years we've known how dangerous it is. It stunts your growth and it's marketed to children! I'm talking about BALLET!! Ballet is unnatural and unfair to women. I shall now cast off these shoes of oppression!" (takes off pointes and throws them to teacher) I don't know what was worse, this incredible anti-ballet manifesto or the fact that smoking was actually shown to positively affect their performance (they were falling over without it) But 15 years ago ballet got respect (and gentle humor) from this show.

Then she is very underweight, even by this arbitrary measure, cause 5'9'' = 175.26cm 175.26 - 127= 48.26kg = 48.26*2.2 pounds = 106.17 pounds

It seems to be: 1rst Nioradze, 2nd Lopatkina, 3rd Vishneva, 4rth Dumchenko The 1rst movement guy seems a lot like Victor Baranov who used to dance this part The music of the 2nd movement is so slow it sounds almost decomposed - that must be a new record slow even by Lopatkina's standards.

Alina Arne Villumsen or Ib Andersen?

Iana Salenko is not a student. She was 22 and dancing in the Kiev Opera at the time of this variation. Soon after she moved to the Berlin Staatsballett where she is now a first soloist (the highest rank there).

It's not ballet but Tamasaburo's DVDs might be a good example of the kind commentary that you're proposing whetherwax. Someone has uploaded clips on youtube with the english commentary track on (to check it out type tamasaburo and click on Sagi musume) Regarding ballet dvds, I'm surprised no one has mentioned the commentary on Gaitee Parisienne. In addition to Frederick Franklin's commentary while the ballet runs, there are secondary subtitles that clue you in to what is happening and who is dancing ("the baron is flirting with the glove seller", "Leon Danilian" etc) Also there's an extra 40minutes long interview with Franklin with more stories and anecdotes, a feature explaining how G.P. was shot and stitched together, as well as a complete filmography. A well produced title. I'm not sure I agree that commentaries would only work with standard versions. It's the unusual and non canonical things that most need commenting upon imho - to explain the rationale behind them and also set the record straight regarding their being unusual or non canonical. From personal experience I can tell you that if you write to Opus Arte they will take your suggestions seriously. Last year, after watching their POB Swan Lake - a dvd with a few unfortunate video editing choices - I got a bit irritated and ended up emailing them to propose dvds with different angles (the obvious solution to the close shot / wide shot dilemma that plagues all dance videos) By lunch time next day, Ferenc Van Damme, producer of the Jewels DVD, had emailed me with a very nice and detailed account of their thoughts on the matter (they were already considering it), pros and cons, difficulties etc. To this day I'm amazed that someone high up in Opus Arte found the time to write a detailed six paragraphs long message to a random client with a suggestion. I expected an automated reply or at most a copy/pasted "thank you for your suggestion blah blah blah" message. Unfortunately this unusual response somehow ended up in my spam folder where I discovered it about five months later - by which time it was too late to send any kind of relevant reply or thank you note - although I very much wanted to thank him - both for taking the time to consider the suggestion and for the detailed response. Which makes this a public thank you note I guess So, anyway, back to the topic, write and ask for commentaries!

VainonenSergeyev or Vikharev Sleeping Beauty?

I really don't know anything about policy and rights - except that I hope someday soon more videos will be allowed to come out of the archives where they rot But re Allegra in Ivesiana: we wish! I have seen the Schoonejans doc you mention (Dance of the Century) and the Ivesiana clip it contains is the exact same one that appears in the Balanchine documentary (the long doc that is on dvd) where the dancers are identified as Suki Schorer and Deni Lamont.

The cast of Carnaval is: Colombine: Irina Shapchits Arlekin: Sergei Vikharev Pierrot: Vladimir Balybin Pantalone: Valentin Onoshko Babochka: Margarita Kulik Also: Valentina Ganibalova, Alexandra Grivnina, Vadim Desnitsky, Yuri Zukhov Filmed in 1986

Vinogradov! Nijinsky or Nijinska?

Ashton Monotones or Symphonic variations?

Sorry, I thought it was clear from the thread's subtitle that the post regards satelite tv. I don't know where the satelites that carry ZDF theater can reach (most of Europe at least, maybe the US too?). But I thought I might give a heads up since sometimes it may take a few years between ZDF's random reruns. They're quite easy to miss. The comments on the editing of the videos are based on previous broadcasts. Some of the 1973 videos (esp Serenade) can be pretty hard to take if you're not warned. But some are pretty decent.