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Amy Reusch

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Everything posted by Amy Reusch

  1. I wasn't a student of Mr. Andros, but many friends were... I am a big fan of his web pages: http://michaelminn.net/andros/ However, there doesn't seem to be a thread yet for him here and there surely should be. ... and my favorite Andros quote: .
  2. I think ballets with humor work well for children, warming them to the non-verbal communication possibilities of dance at an age when they're really not interested in romance... can't get far from romance in dance, but... so I'd like to add two more: Graduation Ball Peter and the Wolf (depends on who does it... there are some good and some abominable versions) As others have noted, ballets with children in them seem more interesting to children than ballets without children... ABT's programming seems aimed at the "tweens" more than the 5-8 age... not a bad thing, a
  3. La Fille Mal Gardee (Ashton's) Coppelia (particularly F. Franklin's staging) Nutcracker... are my votes for ballets for children... Nutcracker is also good because there audience knows there will be little children and therefor might be more tolerant if one of the little ones stands up as I did at age three and first criying "more! more!" then tells the dancers in the finale to go away because we'd seen them already..... or like my own at 3 years old bursts out laughing because the sugarplum fairy variation is just so funny... Matinees are child friendly. Some theaters actua
  4. Just saw the movie for a third time (yes!) in Hartford at RealArtWays where one can bring a glass of wine into the theater, and where they broke for intermission halfway through... (I had some friends who wanted to see it, so I thought why not go once more and hear what they think...) It was somewhat different to see it out here in the hinterlands... I know the dance world is very very small here, but was still surprised to find only about 8 people in the theater after the long lines in NYC... perhaps because it is the middle of a holiday week. What struck me this time was Lacotte... I lik
  5. I guess in the end what matters is if it still "works"... does the ballet still touch an audience even if the costumes have radically changed and the dancers' step shapes have radically changed (I'm thinking of Swan Lake in it's various evolutions here, not this reconstruction of Rite of Spring)... Does classical vocabulary stand up through changes in volume (does a choreographed arabesque still work to the same effect if it changes in height from 60 degrees to 180 degrees?) differently than other movement vocabulary? Can the Paris Opera perform Graham? You bring up an interesting idea...
  6. I like the clip they chose to use from Prodigal... I would have liked to have seen the original Rite... perhaps the original dancers had more intent in the force of their movement, but who knows? Today's dancers are almost nonchalant about the musical challenge... the tension may have informed the movement of the originals differently... regardless of how well they knew it.
  7. Marc Haegeman has shared some beautiful photos of it on his "for ballet lovers only" site http://www.for-ballet-lovers-only.com/bols...eralda2009.html In the video clip, the little goat didn't look too willing... I wonder if it was more willing in later performances? I always think of Kschessinka when I see the goat...
  8. Wow. That's some lift the cavalier tosses the Sugarplum through! Is a dancer allowed to refuse to do choreography? I can't imagine that would be allowed... but that lift sure looks a bit rough on the danseur... Or is it easier than it appears?
  9. It's so interesting to watch them dancing Rite... their dancing so post-modern... so "just give me the counts and and I'll dance it"... I can't imagine the original dancers being able to manage such a detached rendition of the movement.
  10. It made me laugh out loud each time... but I'm sure it was Wiseman's joke of juxtaposition that encouraged this response. mine from earlier:
  11. Well, some productions break the music up into 3 dolls rather than 2 (or two sets), and Dross hypnotized a male party guest for "the first" bit (sometimes this music is taken up with stage business about bringing out the dolls and examining them before winding them up). There were many clever bits in this production!
  12. Someone ought to hand Mr. Raphael a heavily spiked eggnog... he certainly earned it today! I was at the 1:00 matinée up at Jorgensen in a miserable cold rain...probably the worst weather possible for dancers, though audiences tend to be appreciative. First, a few words about Jorgensen Auditorium. How a university can consider itself a university with a hall like that... it astounds me. It's dismaying that all UConn has to offer it's university community is something worse than a typical high school auditorium. How can the Trustees have any self respect? It's sound system is awful. It
  13. I would far recommend seeing it in the theater rather than in miniature... When are you going to have front row seats to the Paris Opera? Why resign yourself instead to the equivalent of nosebleed seats by watching it on the small screen? Just walk out if you need to, but go see it writ large. Trust me, the film tickets are super cheap compared to an equivalent view live.
  14. The brown haired boy who can float! And what was going on with his spotting in the chaînés near at the end? I could swear he was suddenly spotting over his shoulder...? Makarova didn't look much like herself there... surprising...
  15. Well the accompanist was definitely waiting for the ballerina here... she held off the final note until she finished... and it added to the breathtaking quality because it was apparent it was delayed so that there could be extra [what, I can't exactly remember, but perhaps it was extra revolutions in her pirouette?] And yes, agreed; good conductors for dance are much scarcer even than good accompanists for dance. Have known dancers to "explode" the moment they're offstage.
  16. Interestingly enough, when they rehearse the Sugarplum variation, it's slower than I've ever heard it! (But beautiful dancing and the nuances would be lost at higher speed). I don't, know though, it might have only been slow for rehearsal purposes.
  17. Thank you for the link! That article was an interesting story of it's own, regardless of the connection to La Danse! Imagine having to perform one's first Nutcracker in casual clothes and minimal lighting to a half empty house! If not before, she deserved promotion from that alone! I didn't realize the dancers have a permanent contract until age 40-42... I always wondered what happened to those who didn't do well at the annual exams... would one get a pension if one was let go before age 40? Now I understand!
  18. Oh! I've never seen anything but the last Act of Paquita, so the Paris Opera does the whole thing? Oh! I see! Lacotte made one of his revivals... http://en.wikipedia.org/wiki/Paquita Does it exist on film? I like the photo of Fokine in it: http://en.wikipedia.org/wiki/File:Paquita_...-circa_1905.JPG
  19. Thank you SO MUCH!!! I wondered if that might be a House of Bernard Alba and a Romeo & Juliet! So that's Wayne McGregor! I liked the costumes for Genus... Was it Matthias Heyman who did the effortless batterie then? Though there were many examples of superb dancing. Do you remember the waltzing ballroom ballet? What was that? I don't mind there not being text onscreen identifying people & choreography, because I understand that would change the way we saw the movie... this was much more dream-like or silent observer... I'm not sure exactly how to describe why, but I do think i
  20. Did they restore the sound track as well? The trailer didn't sound as clean but maybe the movie did? I noticed in a snippet somewhere, someone goes to offer her a drink during a rehearsal break and someone swoops over and says something along the lines of "Are you crazy? Do you want to spoil your breathing?" What were they worried about?
  21. Dance Actress - Could you give a rundown of who was dancing what? Or who the choreographers were? Once again I had to leave before credits ran...(I had children with me and we had a 3.5 hour drive ahead of us). I see names of choreographers but not who choreographed what. I'm embarrassed to say how ignorant I am, but would love to know who was who... I gather the foot thing at the Bastille was Sasha Waltz, who was the choreographer discussing casting? Who was the choreographer chanting Indian rhythms? Who were the old coaches? I took my 11 yo & her 12 yo friend... to the films c
  22. There is a scene in the Wiseman documentary on the POB where representatives are negotiating a visit for donors from the Lehman Bros firm... and I kept wondering... Isn't the POB a government agency? And they still take donations? How does that work?
  23. What a beautiful film. How beautifully shot! I hope I haven't said too much... perhaps this should have a spoiler warning? I was a little shocked by the Tallchief comment… one could say so many things about the dancers of earlier generations… one could say things about Nureyev after all… but why? They trained under different circumstances to different standards, it was a different world… who knows how they would have looked were they trained as today’s dancers are trained? I was less shocked even if surprised when Farrell’s mannerisms were described as flaws that now others copy, because
  24. Kent & Carreno are dancing the gala? They couldn't really be doing the UConn performances could they? (Could they ?)
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