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Amy Reusch

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Posts posted by Amy Reusch

  1. 2 hours ago, minervaave said:

    NYCB has already shown for decades they didn’t care enough about a man physically assaulting his wife

     

    1 hour ago, minervaave said:

    I would add that the true mark of a sincere apology where the person should be forgiven is if the person who is being apologized to forgives them. 

    I find these two statements contradictory, if you are referencing the assault situation I think you are referencing.    Or does the apology and acceptance not count as far as what NYCB cares about?

  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. 10 minutes ago, AB'sMom said:

    The silence from the dance community outside of NYCB is deafening as well, though. People who posted during the first wave of the #metoo movement seem oddly quiet now. 

    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. 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"?

  5. 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.

  6. 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.

  7. 4 hours ago, miliosr said:

    As for a potential Ethan Steifel candidacy -- why would he want it when the top prize at ABT is within reach? A Steifel regime at ABT would see him at the top with Sascha Radetsky as his second-in-command and consigliere and Gillian Murphy replacing Kolpakova as ballet mistress to the top ballerinas. With Marcelo Gomes out of the picture, the only other plausible scenario I can see is for the Julie Kent-Victor Barbee duo to return to ABT. (I discount Ratmansky because I don't think he's interested in running a company again.)

    I suspect Angel Corella is also eyeing that ABT position... not sure if he would be a rival or not.

  8. 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.

  9. 10 hours ago, Helene said:

    I don't know of any current Artistic Directors of any significant small-to-large company who are impresarios and only do the first; 

    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?

  10. 9 hours ago, Kathleen O'Connell said:

    Note, however, that Peter Martins' title at SAB was "Artistic Director." 

    I agree that on the face of it, Program Director makes more sense. 

     

    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?

  11. 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? 

  12. 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?

  13. 6 minutes ago, canbelto said:

    I think Balanchine chose "Ballet Master" because ... well, he really was a ballet master. He was considered the finest choreographer of his time (and maybe for all time) and the commissions for his ballets were his only source of income. 

    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...)

  14. 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.

  15. 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?

  16. 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.

  17. 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?

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