Amy Reusch

Is it the same in Russia? I thought demographics might vary.

Thank you, Birdsall, for pointing that out!! (I was mystified!).

http://m.rbth.ru/photo_of_the_day/2013/06/17/supporters_of_sacked_bolshoi_dancer_tsiskaridze_during_a_pic_27171.html Who is the gentleman outweighing Tsiskardze in the poster with the scale, and why is one if the protesters holding up a flower?

I would like to see Osipova do Fokine's firebird... said a small voice from the nosebleeds...

She taught at Hartford Ballet's school while Kirk Peterson was artistic Director there... In the 1990s. (apologies, rg, I did not see your post)

Thanks... That makes sense... I must have misread. Maybe The VIPs accounted for the nerves? Maybe it was just a case of the "Good Dress, bad show..." cliché.

I'm confused... There were two performances but only the first, an early Wednesday matinee, was live-streamed to cinemas? The second, very late evening performance, went better but was not streamed? Because? Becausr the seond will be the base for later broadcasts? What? I am so confused.... I understand having two runs, one functioning as a dress (and perhaps some footage would be used from this) and the second being the main shoot... But why send the first out to the world, switched live (between different angles) but not edited (to use preferable footage independently recorded but not chosen in th live switching)? Have I misunderstood something? (many things)?

~ Drew. ~VolcanoHunterI still can't get my head around this... everything seemed a recipe for success... what could have happened? Were changes made the day before (where was John Hurt?), perhaps what was true at the time of the Ross MacGibbon interview was not still true the day of the shoot? I wish I could see the black swan pas de deux clip again or the white swan mentioned by Username above, but both are blocked. Was everything slightly different from normal, lighting, corps line up, enough to throw off the dancers? Were they distracted by the crane? Usually dancers' consciousness of video cameras drops almost immediately as they deal with what's at hand... but perhaps the crane was distracting? Drew, did you notice the crane? Did the lighting seem brighter to you? I find myself anxious that these ballet in cinema shoots go well, they seem a viable way for the audience in the hinterlands to have some experience of ballet, and for there to be another revenue stream to help subsidize an art form that always struggles financially unless it has secure government support (and these days, even dance institutions with historically secure government support have felt pinched). What is the backstory here? What happened? Now I really do regret not having been able to go to the live cinema-streaming.

Good lord! I wonder if communications were on the fritz. Something seemed to be putting everyone off their game. Somewhere in the Ballet Videos etc. forum, perhaps we should put up a list of current dance movie directors and their credits. It might be enlightening to see. There is such an art to presenting ballet on screen. Some do it so very well. I sometimes strongly encourage people to come to the Ballet in Cinema screenings because in my locale this is the only chance they will have to see some of the great productions... but I was burned on the Osipova-Saravanov Giselle and now really hesitate to talk the films up. On the other hand, I regretted not getting everyone out to see the Coppelia. Hard to know in advance, but a list of credits could be a helpful predictor. Look... Ross MacGibbon even directed a 1996 Mariinsky Swan Lake: http://www.fandango....ography/p278672. And in the article you linked, he says "It will be the sixth production of Swan Lake that I will have directed and I love filming it each and every time.". I don't know if this is the same production but the same dancers are listed. I don't know.. Ideally, I would have had the camera on the fouettés gradually come in closer and keep her dead center even if she started to drift, but there aren't major gaffes. I wonder if he had the same crew, even if it were an English crew. Is there somewhere to see the full credits? (apologies if I'm not hunting them down effectively). Here's a list of dancer credits, but no camera credits. http://www.mariinsky...et-portrait.pdf Speaking of which, no one has said anything about John Hurt's narration... did it not happen?

I wonder if it wasn't a practice run for the what they might do for the Olympics. Not sure why they all were having trouble. Was it because they were speaking in English and had memorized their lines and were trying to work off teleprompters? She seemed to have cards in her lap but in the interview before the show they seemed to following something near the camera, perhaps above it. I want to say it wasn't a teleprompter because of the strange pauses in the middle of the sentences, unless the operator wasn't very practiced... As if the prompter operator didn't know enough English to follow along and was waiting to hear that finishing pause before feeding them the next line. I can't seem to access the Black Swan odd footage anymore, It seemed as if there was a crane shot that was very beautiful and I wished they had used more of these. Other shots were not bad, but seemed a little too wide and thereby losing some strength. There were some poor timing choices for cutting wide, diminishing the height of lifts or the energy of the moment. I feel like they had planned to use more crane shots but were warned off of it, but I have no idea really what was happening. It is just that they seemed to have someone beautifully sensitive to framing on a camera not used very often. But still, faming could have been like this... (though I am still hoping something was off with the transfer to youtube and that they didn't really cut off the dancer's head. )

The pas de trois is lovely! http://www.youtube.com/watch?v=Pp43iDQkfhU&feature=youtube_gdata_player

This clip as well... The video could have been much worse than this. It's not wonderful but we've all seen much worse, unfortunately. http://www.youtube.com/watch?v=kUKHysxjCwA&feature=youtube_gdata_player

This clip made its way to youtube... At least Vodianova's dress was easy on the eyes... http://www.youtube.com/watch?v=7hYYfDmQUOs&feature=youtube_gdata_player

Sounds as badly directed as the Osipova/Sarafanov Giselle. I'm very sorry to hear this and a little less sorry to have missed the performance. I wish they would use the production team that does Britain's Royal Ballet productions as these seem generally well thought out and sensitively shot, but perhaps there are diplomatic issues that would block this? Why on earth isn't there a competent director & crew for shooting the Maryinsky? This is a country famous for its love of ballet!

I hope someone creates some interesting choreography for her.

The transportation was successfully funded at $5,060 by May 12, 2013.

The project was successfully funded at $7,625 on May 14th.

Love the angle on the Simkin posted photo... obviously framed for Franklin's new perspective...

For those of not able to be in the theater, he brought an understanding of the great dance of the age... Dance that the great majority of us would have otherwise missed seeing... (And in such a way that we could actually see what made it great, not just the typical random close-ups of so many dance broadcasts).... Thank you, Mr. Brockway, for showing us all that!!

Two different body types as well... Can't say I was crazy about either.

It is sad to have hin no longer with us, but how lucky we were that he continued almost to 99! And I am thankful too that attempts were made to capture his memories. The NYPL card catalog turns up 579 items in a search of his name in the Dance Research Collection... 633 in the entire NYPL.

I do not understand why "Louis XIV"s costume is so much longer than in the illustrations... But what a treat. I wonder what it felt like to portray Louis XIV dancing in the Hall of Mirrors!

(Trying to raise $7,500 by May 14, 2013 to pay production costs, dancers & designers) http://www.kickstart...rogers?ref=live Raiford Rogers is a two-time NEA Fellowship awarded choreographer working in Los Angeles. Blurb from the campaign: Various Thank You "rewards" for certain levels of patronage, including: tickets, DVD of the finished work, notes from the score, private class, backstage pass, etc...

(Trying to raise $5,000 by May 12, 2013) http://www.kickstarter.com/projects/companycballet/company-c-contemporary-ballet-new-york-city-tour?ref=live Blurb from the campaign: Various thank you "rewards" for backing at certain levels: copy of documentary "In the Moment", complimentary tickets to the performance, signed poster... etc.

When Balanchine was at the Paris Opera, was not Tallchief with him and dancing? Was she the first American to do so? Also, wasn't Nureyev's North American debut with Tallchief? (Please correct me if I'm wrong... I don't trust my memory) Augusta Maywood was first on the stage at POB,(1839) , but perhaps Tallchief was next? (Thanks, Nancy, for joggingbmy memory). http://michaelminn.net/andros/biographies/maywood_augusta/