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Amy Reusch

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Everything posted by Amy Reusch

  1. Rats. I liked the hyphenate... it keeps the history of the company tied together... eventually there will be a generation who have no idea that the Maryinski had anything to do with The Kirov...
  2. I've been wanting to say film & I want to say opera, but of course I have no evidence except intuition... things seem odd about it, like it's not a real stand alone ballet company but an opera's company (and I don't mean the Paris Opera)... maybe it's the prompter box thing... maybe it's the sets... maybe it's that the ballet looks to be of a certain era but doesn't resemble anything I've seen photographed before... they might be Italian... they definitely look overcrowded, as if what they're doing wasn't designed for that stage (even though it looks like a well appointed house)... some
  3. A considerable bit of further prying of the internet, and I think what I'm looking for is a manual of Delsarte gestures... (which I now have some leads on).. Thought I'd respond to my own post, in case anyone was following this thread. Wikipedia on Delsarte: http://en.wikipedia.org/wiki/Fran%C3%A7ois_Delsarte I think I remember poses from Ivan Nagy's staging of Giselle that almost quote some of the illustrations at the bottom of the page... particularly the "mourning" one... but I'm not sure. http://www.musikinesis.com/Delsarte.htm
  4. Okay... this is not technically a ballet question, and maybe it really belongs on the sister site, but I thought perhaps one of the dance history buffs who haunt/enrich this forum might have some clues for me... I believe in dance history class, I was once lectured that Histrionics were a codified set of gestures for 19th century actors... and think I was shown some slides depicting the histrionic gesture for say "wrath", "despair"... or some such thing... Now I'd like to find a book on the topic, but googling seems to only bring up the now dominant "over-acting" meaning of the word "hist
  5. Todd Clark is a highly competent lighting designer himself... was LD for Hubbard Street for years....
  6. If you still have your program handy, I wonder who designed the lighting for Pavane? (or who apparently interpreted it, if it seems like a name that wasn't likely present at the tech rehearsal?) I don't know if the LDs I knew in Chicago in the mid '90s are still active, but I'm curious to see if I recognize the name.
  7. I'm wondering if this is that new venue where I hear everyone looks down on the dancers... at a sharper angle than perhaps one normally would? Would this have effected the perception?
  8. It just seems a little sad to me, that training a dancer exquisite in one of those techniques to have no new work created on him/her... I'm not sure that the contemporary evolved mix of techniques is the same as someone specially trained in one of them... (yes, a great dancer is a great dancer, but... ) With all the techniques mixed, and blurred, some of the imagery becomes blurred too. After posting I found myself thinking that in a way Limon was a choreographer working in Humphrey technique (and expanding on it) more than say Cunningham could be said to be expanding on Graham technique
  9. I'm going to ask a dumb question. If Graham & Humphrey are accepted techniques that we have generations of trained dancers in... why aren't other choreographers working in the techniques? Or are they, in the same sense that Balanchine worked in Taglioni's technique, Cunningham works in Grahams's? Do you have a technique if the shadow of the originator is so great that no one else can create in it? Or am I ignoring a huge number of perfectly valid Graham & Humphrey choreographers? I wouldn't ask this if I didn't think Graham & Humphrey techniques to be the beautiful articulat
  10. Any interest in the opening ceremonies' physical costs? http://news.yahoo.com/s/ap/20080819/ap_on_...s__sacrifices_1 and http://www.nytimes.com/2008/08/15/sports/o....html?ref=dance I think the director sounds a little out of control. 51 hours? I understand why it couldn't be done with several shorter rehearsals instead of such a long one...and I understand the pressure that was put on these particular Olympic Games (hey, lighten up, China!)... but, it makes me understand just why we need unions.
  11. I was wondering about Alma Mater, and if it would humanly be possible to do a ballet about football today. I decided only if all the pads, etc. were transparent. But Stars & Stripes is as close as I ever want to get to a ballet with cheerleaders.
  12. Are "showcase for stars" and "choreographer's vision" mutually exclusive? Did showcasing blockbuster superstars like Baryshnikov do wonders for the box office but sink the company once Tudor & choreographic company departed? ABT always showcased stars, didn't it? Why has no choreographer been resident since Tharp left? Was Tharp's rehearsal process so expensive that they were loathe to go there again? Why is there no resident choreographer?
  13. I'm interested in seeing the best athletes in the world compete... their nationality is of less interest, .(.along the lines of did they come from a small town, big city, their age, their family, etc... fun background color but really not the prime reason for watching...) perhaps I'm odd, but I'd think interest in sports would mainly be interest in seeing them well played... getting hung up on medal counts seems like compulsive gambler's take on it... or perhaps evidence of national insecurity. Any competition where the winner is far ahead of the competitor(s) seems boring to me. There w
  14. Thanks for the new word! (For the clueless, like me, here's a wikidictionary link: http://en.wiktionary.org/wiki/chack ) I thought the screen painting dancers were very succesful, but the traditional chinese dancers where hard to get much of a feeling for because of the attention deficit disorder like camerawork. I think the pre-ceremony secrecy may have gotten in the way of directing the broadcast. I was rather impressed by the dancing of the color guard as well. Unfortunately, it appears one can only watch the live stream if one is a cable subscriber.
  15. I was fooling around with something called Google SMS... it seems to be a search service available via texting on your cell phone... looks very handy, by the way... one of the things it apprarently offers is a glossary/dictionary service... I tried a few words, "glossary iconoclast" came out okay, sort of... something else didn't (wiped from my memory already)... then I tried "define ballerina" just to see what would happen: Glossary: BALLERINA: Baltic Sea Region Online Environmental Information Resources for Internet Access Source: maritimecompliance.com/glossary.php (I suppose when
  16. I couldn't be more delighted with the exposure youtube is giving to dance... think of how few people fit into a grand opera house compared to the huge number that check out the clips on youtube. I don't know if one is allowed to selectively police copyright? If you don't police all instances of infringement you are proven aware of, do you weaken your right to police bad ones? (I can't imagine what youtube clips are doing to the union archival waivers... I've been off the circuit since youtube's rise)
  17. If you respect the artist, then you must respect their copyright.
  18. Well... what started me on this thought was learning the variation recently in class... but admittedly it was Dennis Nahat's version, which while similar, was perhaps less like Petipa than the youtube links above. Will reconsider.
  19. What fun! Love her attack on those pique turns and even on some of the other steps that wouldn't normally attract as much attention ... like those little pique steps (not sure how to explain where)
  20. I'm not sure if I've got the right section named properly... but I'm wondering about Raymonda's variation with the hand claps and all the bourees... Is it by Petipa? It seems so different from his other ballerina variations... didn't he farm out some of the national dances to Shirayev? Would that have happened with something like this? I notice the Wikipedia entry (as of this post) on Raymonda says: I know there are a lot of variations, having watched a few on youtube recently... but what is this 1941 reference? Here's a youtube clip of Guillem in the variation: http://www.youtube.co
  21. I'd like to add to this, a slightly rough "openness", which is perhaps missing in the modern european interpretations (I see plenty of youth, cleanness, leanness, speed, flexibility these days...) but the freshness, the hope... is perhaps less there? I don't think the women were necessarily rough... but there was something to the energy then that's different now... Did Peter Martins hit this as well in his dancing, or did he fill some regality need, a pedestal off which to display Balanchine's "ballet-is-woman"? Is Serenade equally neoclassical? Oddly enough, I don't find Stravinsky to
  22. Perhaps it's entirely me seeing things into them... but it's really hard for me not to see New York City's imprint on 4Ts and Agon, etc., with it's modernism, skyscrapers, big broad American daring new movement... I wonder if neoclassism in Paris would have looked the same. Is there a difference in the neoclassicist style of Apollo to the later works? There is a discerinble style in different nation's modern art, dispite the abstract intentions of the artist, don't you think or am I way off base? Did he create anything on the Royal Danish? (I have this approximation of a memory that he w
  23. Considering Americana and Kirstein's goal of developing an American Ballet... While far from Americana (except perhaps a few like Stars & Stripes and Western Symphony?) I've often felt Balanchine created the quintessentiallty 20th Century American ballet style with works like Agon and 4 Ts... but isn't peculiar that this so "American" style should have been developed by a Russian?... is it really American or is it really Russian American? But thinking about how Balanchine could see a dancer's capabilities and tendencies and create just for them... how he might create something very
  24. So many Koreans... 6 out of 20... 5 Chinese, but then it's a bigger country... What gives? Is it because it's a competition and this resonates in Korea or is there a big ballet movement going on there?
  25. How Nouveau? We can't mix eras? If we could time travel it would be... Bouder, Lacarra, Fonteyn, Ulanova with an alternate for contrasting ballerina styles: Whelan
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