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Amy Reusch

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Everything posted by Amy Reusch

  1. I'm very sorry to hear this... he was kind of a father figure for ballet in Chicago.. continuing Ruth Page's legacy running the huge Chicago Tribune Nutcracker. A great loss for Chicago.
  2. I think that would depend on the focus. Dance doesn't have to be in a leotard to be a valid piece of art, and yes there is technique involved in fabric manipulation. One of the oddest surprises for me was to hear that when St. Denis toured the Far East with her dancers was that she was very successful there. I thought that with the real thing available, the public would have shied away from a Western take on it... but have been informed that at the time very few of the general population actually got to see the temple dancers and indian classical dancers, and they were delighted to be en
  3. I think St. Denis taught Humphrey a great deal about the manipulation of fabric as an element of the dance... and there are several Humphrey works that show this influence: Air for the G String, Grieg Concerto (which I regularly mix up with With My Red Fires), Valse Caprice?, Quasi Waltz, and of course Soaring... You see no Denishawn influence? Noy orientalism but fabric manipulation. Remember, St. Denis was originally a skirt dancer. Also, I suspect St. Denis taught them a great deal about how to bear themselves elegantly... I think this was what the Hollywood starlets were sent to h
  4. I think the director is always leading the audience. When they're good, you don't realize you're being lead... it's usually when they make mistakes that you notice someone is choosing camera shots. Usually the problem is simple ignorance, it's not frequently possible for the director & operators to have a strong knowlege of shooting dance, or if they do a lot of archival dance work to have much practice (with trial & error) of catching a particular piece in a particular theater with several cameras. Budgets do exist after all. There's a degree of improvisation often in the camerawo
  5. I believe that St. Denis sported snowy white hair when she was older... perhaps you are misreading "white" as "blonde"? The costume moves beautifully, it seems she was always very careful with the way her costumes moved... (I'm not really on a costume kick, though it's beginning to sound like it...)
  6. Okay... I guess what I'm trying to say is my understanding was that Horst started out our mothers of modern dance on a path of analyzing choreography as if it were simple music theory; started them down the pathway of considering the underlying structure of choreography. That Cunningham, etc. totally rejected tying steps to music doesn't mean he totally rejected structure. I believe he actually had to involve a lot of structure to support his chance operations. To say that because someone took the theory several steps further or even in a different direction is not to say that artist was on
  7. The internet still makes my jaw drop... thanks for the lovely link. Reminds me of how St. Denis tried to leave her costumes to UCLA (I think I have this story right, but my memory is always suspect... I heard it from Karoun Tootikian, but again my memory is like that old party game "telephone")... she left her costumes to the dance department at UCLA, but years later Karoun came in and discovered them thrown all over the floor of the girl's locker room and felt they were not being respected (as is possibly imaginable, UCLA having gone past St. Denis in the direction of world dance) ... and
  8. I wish someone knowledgeable here would talk more about the influence St. Denis' school, and in particular, Louis Horst's influence. I do see traces of St. Denis in Graham & Humphrey, though I believe they took elements of her decorative style and used it almost as costuming on a movement vocabulary imbued with deeper meaning and motivation. Interestingly enough the next generation revolted against that deeper meaning but went on to explore choreographic structure further... so, if St. Denis and her music visualization exercises with her music director Louis Horst teaching dance composit
  9. 4mrdncr, we must all obey our muse, but I disagree about the diagonal shots... I find they distort the choreography (unless the choreographer tends not to think proscenium, which is indeed sometimes the case) and use them only when I want to use a wide shot but it's too wide... or would like to show the relationship between two dancers splitting the stage. They're nice for shooting counterpoint. (I must however offer the disclaimer that having retired before the advent of HDTV I don't know what works best on the wide aspect ratio.) I usually prefer a single central camera using mobile fra
  10. For me, the Septet imagery was evocative of Matisse's Dance @ MoMA.... I remember as a young bunhead seeing a photo of Septet in Dance Magazine and thinking perhaps modern dance had something to it after all... (young idiot!)... how we pry the brain out of it's habits...
  11. ' I'm now struggling to imagine movement outside time and space... seriously, and with all due respect (because I'm pretty sure Cunningham can imagine movement outside time and space)... I must be overlooking something obvious?
  12. Your are correct to say that David Lichine's version of The Prodigal Son " did not do so well" as the Balanchine version, but that does not mean that it was not a successful work. It was well received by critics on three continents. I would absolutely concede that he did not have the talent of Balanchine, but then, he didn't have that group of highly influential good old Harvard boys behind him as Balanchine did to cushion his journey. You are absolutely right... I spoke without having seen the piece and based my judgement on the survival of Balanchine's. I stand corrected.
  13. Myrtha in Prodigal Son with one of Madge's scarves? ... and, ahem.. it's nowhere near warm enough to be August yet.
  14. Yes, when it happens, I always wonder what has been said to entice the move... not to mention that it must be hard to get back into the corps mindset... It would make more sense to move to a different company of the same level, wouldn't it? Perhaps ballet is such a small world that it is difficult to move to another company? Perhaps it is easier to go to another country?
  15. It's not the first time this has happened, that a principal elsewhere joins ABT's corps. I think the hope is that they will rise up through ABT and get to perform beyond their old regional area. Also, I don't know if this plays into it much, but principals don't get to dance as much....
  16. I don't know if this is noted elsewhere, but there's a nice slideshow of the Australian Ballet's tribute (Les Sylphides, Petrushka & a new Firebird) http://www.australianballet.com.au/main.taf?p=4,1,1,1,12
  17. I'm willing to say that Fokine had more influence on the first half of the 20th century, but surely Balanchine had more influence on the 2nd half. Would we have had Forsythe without Balanchine? Now whether his influence will be significant in the 21st century, I'm not sure ballet is still moving in the same direction. Who are Ashton's descendents? Wheeldon? Moving Pictures? Perhaps tellingly, the other Prodigal Son with the exact same costumes and exact same music and perhaps the same dancers (?) did not do as well.... ?
  18. Thank you Ilya, I was truly at a loss at the walking-without-wings point... I was not seated close and was off on the side, which may have interfered with my understanding of what was happening. I guess fluttering the hands would be like an attempt to fly. Also, the lighting probably looked very different from where I sat, certainly Airs was not too dim... but I know from times of watching the same producton (not this one) from several different seats in the house, that light bounces back at the audience very differently depending on the angle one sits from the stage, so won't disagree with
  19. How different are the various Madges? Is there much room for improvisation? Our Gurn was very danseur noble when he wasn't trying to indicate that James was a flake. I didn't mind a little levity, but perhaps "tragically has lost his mind" is better than "flakey lunatic"? He isn't supposed to be Alain in Fille after all.
  20. I am very jealous. I did so very much want to see Hallberg dance James. Alas for cast changes. But it was nice to see Cornejo. You make a good case for different costumes.
  21. And I very much liked seeing Airs beforehand too... I was worried about there being a modern dance piece, programing wise... It must be very tricky to pick something to put on the bill with La Sylphide. Boston Ballet put Serenade, and I didn't like that (the programming, not the ballet, of course!). I wished Serenade had come on after Sylphide as sort of an encore. But Airs was nice... different enough but lyrical enough to set the mind up for it. I couldn't identify the dancers (not familiar enough to be able to do that), but some were excellent. I felt the men were very effective
  22. I saw the Wednesday evening performance and was thrilled. Osipova's floating quality was perfect... She truly has it down... those back sweeping cabrioles (?) in the first scene seemed as if she were being manipulated by the Foy Brothers... without warning she just swept up & back, no discernible effort... so like floating... And I was so happy with the Bruhn staging after seeing Boston Ballet's a few years ago. This is much more the ballet I remember seeing 40 years ago as a child... the setting was so beautiful. Unlike Macaulay, I liked the light tartans and the even the beautiful em
  23. Thank you! (and now I know my spouse wasn't inventing new universes).
  24. My husband asked me to find out how much one was expected to tip the person who shows you to your seat.... i've never heard of this, but then I've never been to the ballet outside the US... Is there a tradition of tipping the ushers? (Was there ever?) So looking forward to taking 10-year-old daughter to see POB do La Fille Mal Gardee on Saturday 6/27! Thanks, Amy
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