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Amy Reusch

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Everything posted by Amy Reusch

  1. I was watching these two clips and wondering if Baryshnikov & Makarova have ever coached this pas de deux for the estate's video archives?
  2. I would like to thank the volunteer administrators of this board, and Helene in particular, for the time she has recently donated keeping up with this thread. I am so grateful to you for making this and all the other discussions possible, despite the amount of oversight a thread like this requires. I hope this is not considered discussing the discussers. Thank you.
  3. The situation is horrific. On top of that, a treasured institution is at considerable risk. These are times when the situation leaves one aghast. Even saying the institution is at risk implies there is something worth more than human lives. I don't know how to express both my disgust and my concern at the same time.
  4. Surely you meant "vise", unfortunate typo given the behavior allegations...
  5. yes... and how many generations away from Balanchine's dancers can that legacy have influence... how do we keep what happened to Petipa's legacy from happening to Balanchine's? Pretty soon all the dancers start to look alike... is there an artistic director with a strong enough vision to shape the identity of the company that won't erase that legacy? Where is our "forward to Balanchine" candidate as Balanchine was "forward to Petipa"?
  6. I guess the issue with both Watts & Andersen is age... Lopez is only a couple of years younger... perhaps they want the same person in place for 15 years... before they reach 70... that disqualifies all three. Boal was born in 65. Lopez in 58, Andersen in 54, Watts in 53. It is a problem. It takes a certain number of years to distinguish oneself as enough of an experienced director... and if birth year is a problem, we are getting further and further away from artists who knew Balanchine.
  7. Hubbe is an interesting idea. He would perhaps be less contoversial at NYCB han he was at RDB, at least artistically. I have not seen Ballet Arizona in person, but to judge by the promotional material put out over the years since Andersen took over, he has done a good job with artistic vision, drawing talented staff to a small company. It is not the same thing as seeing the company live though. It a shame Tomasson has aged out, SFB seems a very well run company. Perhaps Clifford is just mourning his lost youth.
  8. I suspect Angel Corella is also eyeing that ABT position... not sure if he would be a rival or not.
  9. 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.
  10. Are they artistic positions in that they choose the head artistic personnel?
  11. 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?
  12. 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?
  13. 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
  14. 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?
  15. 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...)
  16. 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.
  17. 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 gue
  18. 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 Bal
  19. 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?
  20. 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
  21. 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.
  22. I see nothing here, but it seems our treasure from a while back, Mel Johnson, has passed on. I do not know if an obituary has been pulblished yet, my last search turned up nothing, but his facebook page carried the sad tidings. https://www.facebook.com/mel.johnson.946?fref=ts
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