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Amy Reusch

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Everything posted by Amy Reusch

  1. You'll find all sorts of things! I recommend going to Lincoln Center if it's not difficult.
  2. I also didn't shoot the Two Dances mentioned... I've shot Day on Earth, but no coaching, only in performance. Piece involves a child performer as well as adults, if I remember correctly.
  3. With My Red Fires is very interesting... has kind of a soviet-realist style heroine ... and a corps, something less often seen in modern dance... I did shoot footage of Ernestine coaching this, as well as a live peformance, I think as part of a Dance Chicago festival, but it hasn't been released and the recording you mention isn't mine.
  4. This one was made before I came into the picture... I've seen it, but now can't remember much of it... mostly I seem to remember an interview... but honestly my memory doesn't serve here. This was a Doris Humphrey Society production though... if you do end up in contact with them.
  5. This most certainly was the video we made... but it wasn't LaGuardia, it was out in Oak Park (Doris Humphrey's birthplace), Illinois and it was student dancers & professionals dancing at a Momenta! summer workshop performance. I'm not sure if the 10/28/28 date was the date of the filming or the first performance. Doesn't it look like a church? Could be I'm just forgetting, but with the LaGuardia credit, I'd check first. Ernestine was one of the dancers in the film, so... darn... I'm going to see what I have... Well... I don't have the info on the original film, which I remember someo
  6. Let's see... that's a lot of material! I believe the Dance Notation Bureau has some of the footage as well. I believe Ernestine was the required coach on some of the scores and the video was intended as some supplement for when Ernestine was no longer able to coach. You might want to open communication with the Doris Humphrey Society too, they have some interesting things in their library. Just a footnote, but you might not be aware that the head of Dance Horizons, Charles Woodford, is Doris Humphrey's son... What can I tell you about The Shakers? The tape or the dance? The dance por
  7. Hi Papeetepatrick You would perhaps like to see all of the tapes the Doris Humphrey Society produced with Ernestine Stodelle. In addition to Air, we did The Shakers, Water Study, The Call/Breath of Fire, and Two Ecstatic Themes. The idea was to preserve as much as possible of Ernestine's coaching, and I'm delighted that you enjoyed watching it. La Guardia students? I assume you watched this live, as it wasn't part of the footage. Regarding With My Red Fires, I know I shot some coaching and performances, but I never edited it. Perhaps someone else finished the project (I had a young c
  8. One of the problems is that some of us only know these dancers (beyond their legend) from whatever film remnants exist... not always the best evidence.
  9. It's very curious! The poses all seem inspired by photographs, but the movement in between is so unnatural... as if the animator studied stills but didn't have a live dancer for inspiration. Lovely & charming!
  10. If you watch Virginia Brooks' documentary about the children in Nutcracker, in dress rehearsal you'll see Balanchine catch Marie's slipper! (much to everyone's surprise!)
  11. Thank you thank you Paul! This troubled me for years because I thought I remembered being taught that Sugarplum Fairy was originally composed for glass harmonica... but when I brought it up about 15 years ago at a ballet company performing another piece to glass armonica, was told no, no... the celeste... and I must be mixing up Tchaikovsky with Mozart. But I see in Wikipedia Tchaikovsky's first draft called for a glass harmonica! (although apparently probably not Franklin's instrument but some sort of glass "xylophone").... ???. At least I don't feel quite so silly now...
  12. I vote a little that pointe technique is changing and some of it has to do with the cost of the shoes... at what they cost nowadays, no wonder beginning students (and their parents) are leery of breaking them in enough to be quiet and supple... and perhaps what starts with beginners continues as a trend as the students become more advanced... (and shoes like Gaynors don't actually break in, though they are perhaps quieter)... it all leads to a different technique if you can't roll quietly through your shoes or you're letting the shoe do the support work instead of the muscles... one tends
  13. Why do only 500 audition? It seems Vaganova would draw more... or is it on a first-come, first-served basis, with only 500 being allowed to audition each year?
  14. well, the problem is, if they don't ever produce any new choreography, then they're just a museum... ? ... but... I guess I'd rather they saw their role in providing new choreography more as providing a laboratory or workshop for emerging choreographers, with a small production budget, than in commissioning big new pieces to present.... couldn't their repertory of Humphrey & Limon sustain the company in larger productions? I mean, Ailey seems to draw strength from Revelations over & over again... ballet companies do Swan Lake & Nutcracker ... the Limon company has beautiful dan
  15. Whose production of Nutcracker was ABT presenting in 1947? That's a beautiful photo of Alonso & Youskevitch in it... or was it a studio pose not related to the actual choreography? Alicia Alonso & Igor Youskevitch in the American Ballet Theater production of "The Nutcracker."
  16. I find her arms beautiful and charming... except I'm struck by how her elbows jut out in the transitionary position and find that surprising in an aesthetic so attached to roundness & softness...
  17. Wouldn't Imperial Style be less acrobatic than Vaganova, with more modest extensions, etc., in keeping with the aesthetics of its era? Wouldn't the differences between Vaganova and Soviet be merely that "Soviet" has ceased to exist, while the Vaganova Academy continues and therefore continues to evolve? Weren't "Soviet" & "Vagnova" synonymous when they were concurrent?
  18. Hasn't the field gone as far as it is interesting to go with technique and physical instrument... I mean, so many dancers are now beyond flexible into practically contortionist range...(who really wants to see an oversplit? At what number of does a series of fouettes begin to lose interest?)... Isn't it time for the pendulum to swing back? I never tire of musicality, but simple technical virtuosity after a while leaves me jaded... There is nothing wrong with dancers having personality, and there's nothing wrong with providing a plot vehicle for personality either. Who is the "new Tudor"?
  19. Could we evoke National Treasure and bring in the Library of Congress? Or at least Nicholas Cage?
  20. And now I know there's a Joffrey College program! Wonderful news about the chief of staff... dance major at Sarah Lawrence... there must be someone on this board who knows him! There are usually so many inaugural events, parties, etc... perhaps more than one Chicago troupe could perform... how about Joel Hall's group too?
  21. I can't tell you the best... but if you're collecting recommendations, some people have been very fond of Ernestine Stodelle's Deep Song, out of print but I found several availble used when I googled.
  22. Even if it is murky, it's a beautiful shot.... so full of moment & movement... I almost hear the music.
  23. Snowflakes. (If they don't dance all that well, just toss more confetti!) The Mice in Nutcracker or Kastchei's monsters in Firebird? The Mice! (More charm, more strategy!) Flying birds - Bluebird or Firebird?
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