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Amy Reusch

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About Amy Reusch

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    Sapphire Circle

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    balletomane, videographer, formerly serious now recreational student
  • City**
    Connecticut, USA

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  1. Amy Reusch

    Job posting for artistic director

    Did Ethan Stiefel prove himself in New Zealand? He did not stay very long. I would say Ib Anderson has done more to prove himself as an artistic director with Ballet Arizona, or Colleen Neary with Los Angeles Ballet. 3 years does not seem like a very long time..., one does not even come away with a Bachelors degree in three years... NYCB is the largest company in America.
  2. Amy Reusch

    Job posting for artistic director

    Of course, how thoughtless of me.
  3. Amy Reusch

    Job posting for artistic director

    Are they artistic positions in that they choose the head artistic personnel?
  4. Amy Reusch

    Job posting for artistic director

    Yes, I was thinking of the various Ballets Russes... and earlier. I wonder if agents have somewhat moved into the impressario slot... what about the director of the Bolshoi Theater, Voadimir Urin... isthat considered an artistic or an executive position? He is listed as General Director, but didn't he sack Filin? That seems an artistic decision?
  5. Amy Reusch

    Job posting for artistic director

    Ha!! Thanks! I had missed that! How funny! Any insight on how the director of a school would be an artistic director? Do you suppose it was based on deciding which artistic style the technique would train dancers for?
  6. Amy Reusch

    Job posting for artistic director

    Yes, I do understand what an Artistic Director is... I just find merit in the Ballet Master in Chief title. I find them to be slightly different roles. Perhaps what I would like to see is a Ballet Master in Chief in addition to an Artistic Director because of the unique technique developed by NYCB... or perhaps rather, I'd like to see the same individual have *both* titles. I believe Balanchine was artistic director of the company? He did choose the repertory, did he not? Or was that shared with Kirstein? But he also significantly oversaw the school and built the company technique up. I rather think Robert Joffrey was similarly involved though perhaps Arpino was the more dominant choreographer. I never heard of an official "Joffrey Technique" but believe there was a master teacher situation there. From my understanding, an Artistic Director oversees the artistic choices, a Ballet Master oversees technical achievement and interpretation legitimacy, Resident Choreographer creates new repertory. Balanchine was all three. There are Artistic Directors who are all three, and there are Artistic Directors who do the first two and not the third, and there are impresarios who only do the first. Where I don't see an Artistic Director as being appropriate is for a school. Here one would have a Program Director. SAB and the development of Balanchine Technique within the Company, where the vast majority of the dancers are prepared by SAB, is so significant to what NYCB is, that the Ballet Master in Chief role is more significant than it might otherwise be. if NYCB were to start taking most of its dancers from the pool of foreign highly accomplished ("world class") dancers, it would be an entirely different company stylistically, and its identity would be lost, even with the repertory "schooling" these dancers as they danced it. (I use "foreign" here to mean a dancer produced by a school other than SAB, not as a quality of ethnic or national origin) Whatever doubts anyone might have entertained about Martins success as a choreographer, or even as an artistic director, as a ballet master he has been very successful... the quality of the dancers in the company at the end of his tenure was quite wonderful. I know some felt the repertory was not being danced as it was in Balanchine's day, but no one has faulted the facility of the dancers. Perhaps this is part of why they are being given so much say in what is wanted in the next director of the company... they are as extraordinary an asset as NYCB's repertory is. If the value of the title of ballet master is downgraded, might not the value of the ballet master's achievement and significance also be slighted? Also: sure, one can divy the roles out to different people but a unity of artistic vision is then diluted. It may have to happen, there are not Balanchines produced every day, but… this is beginning to change the company's structure… The Paris Opera ballet model should be examined for its strengths and weaknesses... it produces wonderful dancers... how many Balanchines has it produced in the last 100 years? The imperial Russian model cannot be recreated without a tzar, I don't believe... but was a pretty autocratic situation, wasn't it? Can a big institution foster choreographic creativity? Well, sure, look at the classic repertoire. How important is structure?
  7. Amy Reusch

    Job posting for artistic director

    Ballet Master in Chief with the rest of the ballet masters in tow, reporting to a king... Artistic Director reporting to a Chairman of the Board plus the rest of the Board ... Am trying to consider if it is the same.... does the singularity one one side make a difference?
  8. Amy Reusch

    Job posting for artistic director

    Yes... and "but first, a school" Ties the training into the choreographing to an extent that few other ballet companies in America did... (Though the early modern dancers certainly agreed with the tie in) In Russia, the first companies were made up of slaves (ok, serfs, but the distinction is not great...)
  9. Amy Reusch

    Job posting for artistic director

    By the way, I think I may have on tape Antony Tudor correcting an interviewer who had refered to those who set the Tudor works on companies for him as his "disciples"'... saying with a smile that these were his "slaves" not disciples. But I never thought for a moment that he was drawing on American history horror references. If it is not still in my posession, it definitely is in the NYPL archives.
  10. Amy Reusch

    Job posting for artistic director

    I realize it is an anachronism, but perhaps it is a meaningful one. I've only known artistic directors, but admittedly all the companies mentioned were lesser companies to NYCB. I think Ballet Theater and City Ballet were closer rivals at their start than they are now, is that an AD vs. BMiC approach? Why was it Balanchine's preference? Forward to Petipa? I am guessing, or possibly half remembering, that there was a theater director for the imperial theaters who did not possess ballet master skills. Perhaps it was respecting to Diaghilev's artistic direction of the Ballet Russe? I guess I would like if NYCB made the adjustment in "Forward to Petipa" rather than in "Ballet Master in Chief".... Did Balanchine make the company a museum as he went "Forward to Petipa"? ... yes, in some ways, but in other ways it was more a gallery than a museum.... with a lot of innovation next to the classicism. Perhaps they should aim "Forward to Balanchine"? It was good enough for Balanchine to aim for Petipa's mastery, but not good enough for Balanchine's successor? Why not?
  11. Amy Reusch

    Job posting for artistic director

    No more "masterpieces"? Is there another word for mastering the art form? Command isn't quite the same thing.... for imstance " Commander in Chief sounds too military and not about maintining standards,. Words are not my forte, ... have we stopped listing regular ballet masters and ballet mistresses yet? I know some call actresses "actors" these days as if the feminine form of the word is somehow insulting ( isn,t it sexist to assume the femine form is insulting but the male form is not?). I can't say I feel strongly one way or the other about actress/actor. I guess I do think Ballet Mistress In Chief has lost the ring to it because we do not have mistresspieces or talk about mistressing the art form. I would not blink if a woman were called Ballet Master in Chief. They are all servants of the art form, even the Ballet Masters and Mistresses.
  12. Amy Reusch

    Job posting for artistic director

    I kind of prefer "Ballet Master in Chief" tradition for NYCB... it seems to indicate that maintaining the quality of dancers and repertory is the primary concern... that there is a goal they are trying to live up to... director vs. master... how did it get its start, did Kirstein wish to be AD? Was AD in conflict with Impresario? Regisseur?
  13. Amy Reusch

    Mel Johnson

    There was a very tiny funeral home obituary listed on Mel's facebook that mentioned almost nothing about him... but the school where he often taught posted some nice photos and a bio from a program. Facebook tribute at Dance Design School's facebook page
  14. Amy Reusch

    Mel Johnson

    I thought of Carbro and Glebb, and before BA, ther was a,a.b. and the ever charming Tom Parsons. Sad to lose any of those gems.
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