Amy Reusch

I think that like CDs, they will only encourage even more attendence... do people not go to live rock concerts because they happen to have a studio recording of the music?

(I'm sorry if this should be asked elsewhere... I took a guess at this forum for the query) It seems I'm headed to Boston Ballet to see Swan Lake for Mothers Day. I was wondering who would be dancing but can't seem to find the info anywhere on their site. This seems a bit odd, as last Fall I was able to find out the casting for Sylphide. Anyone have any leads for me?

Cristian, dancing in those costumes must have been trying, don't you think?! (not to mention choreographing for them!) could even have inspired Wheeldon! (joking)

She couldn't have been so very old? (or has time been flying again) We've lost another light.

Thanks!

If this post needs to be removed because it violates the rules, it's okay... I'm just no longer clear on what the policy is about videos posted on-line as there seems to be open discussion of youtube videos lately. (and it doesn't seem to be mentioned in the Rules section here: http://ballettalk.invisionzone.com/index.php?showforum=215 ) I came across a video of Pavane pour une Infante Defunte on something called DigidanceTv amongst a lot of other dance videos. Can anyone tell me who the choreographer and dancers are? Is this Christopher Wheeldon's piece? http://link.brightcove.com/services/link/b.../bctid537033522

Well, I guess so... I have trouble getting around the choreographer's name as the company name, I guess.. but I suppose that's just my problem.... I didn't have any trouble with The Joffrey doing other work than Robert Joffrey's, after all... Somehow, though I was thinking more along the lines of Ririe-Woodbury, whom I've heard of but never seen, or when Baryshnikov did those Judson reconstructions.... I'll have to re-think Ailey & Limon, I guess. I remember seeing the Graham company do Stroman and really disliking it; it seemed like ill chosen repertory for Graham dancers... although I was sitting next to a former Graham dancer who quite liked it and presumably knew more about what suits Graham dancers!

Would there be a problem with different styles of modern dance... jack-of-all-trades, master of none? Still, I'd like to see it... the masterpieces out there that die when their parent dies sadden me... who might perform outside of their ghost companies? Beyond college students, I mean? We need a few good modern dance rep companies... can't they include dancers with strengths in different styles, just as a ballet company often has dancers with strengths in different types of ballet?

On May 10th in Hartford at the Bushnell, the Ted Hershey Dance Marathon 10th Anniversar concert will present the Limon Company http://www.tedhershey.com/program/

On May 10th in Hartford at the Bushnell, the Ted Hershey Dance Marathon 10th Anniversar concert will present Julliard Students performing excerpts from Dark Elegies. http://www.tedhershey.com/program/

Another company celebrates Tudor's Centennial: Sarasota Ballet http://www.heraldtribune.com/article/20080.../804200378/1661 Company website: http://www.sarasotaballet.org/ Romberg?

There was a brief review in today's NY Times by Jennifer Dunning of New York Theater Ballet's presentation of a pas de deux from Tudor's Romeo & Juliet Rare Revival of Tudor’s Take on Young Love http://www.nytimes.com/2008/04/14/arts/dan...o.html?ref=arts

Joel Lobenthal of the New York Sun weighs in on the Tudor Centennial: Tribute to Tudor http://www2.nysun.com/article/74260 and

Perhaps something in this thread would help? http://ballettalk.invisionzone.com/index.php?showtopic=26808 (posted by Natalia)

There was a beautiful film shown at the Dance On Camera festival a few years ago... "Limon: A Life Beyond Words," ... just dug a bit and here's a link to the movie's site: http://www.limon.tv/ Alas, the video clip doesn't show much dancing, but I remember there is some beautiful footage in the film. The site mentions that University & Museum viewings are free... otherwise one can buy the DVD for $50. More pricey than a Hollywood Blockbuster, but they can use economics of scale to bring their price down... something the independent filmmaker doesn't have access to... that $50 would be well spent.

Performing Tudor came up today at an ABT Teachers' Workshop. It was interesting to hear Raymond Lukens talking about how chassee pushing down through fifth to slide out to tendu (my poor paraphrasing, please don't blame Lukens) doesn't seem to be taught much these days, with tombe taking it's place, and how this makes it difficult when it comes to mounting Tudor work on today's dancers. At the symposium, was there much discussion of changing styles of technique affecting the mounting of Tudor works?

wow! What an article. I liked the final bit:

He most certainly does!! I was thinking "modern", but considering how many ballet companies have mounted "Moor's Pavane", he certainly deserves a thread on Ballettalk! I've always thought Limon the most aesthetically balletic of the moderns... all that circular playing with gravity... while Cunningham and Balanchine (in his Agon, 4Ts mode) may have some similarities, Limon's swings & curves, suspension & releases seem like they'd marry to ballet beautifully.

Thanks Jane! That photo is a treasure!

Oh!! I remember shooting this for Pennsylvania Ballet... and thinking one section with 3 women whisping across the stage was very strange... kind of art-nouveau-ish? ... I didn't know what to make of it... it seemed very mannered like something out of the Edward Gorey PBS Mystery! television series animations... I wasn't sure if it was something that seemed right when the piece was made but now didn't connect for audiences (or me, at any rate... I remember thinking it was a very curious section). Thanks Ray.

Could you elaborate? If it's not too much to ask, I'd be curious to know more about where this imagery is requested.

Speaking of publicity, I notice that ABT is now beginning to publicize the centennial a bit more: http://www.abt.org/insideabt/news_display.asp?News_ID=218

It's so interesting to me that Tudor's following has dwindled so quickly. Do you think it has something to do with the institutions backing the Balanchine & Ashton centennials? Or it it just a reflection of a smaller repertoire? Is it because Tudor's work was somehow linked to a certain time and it's mode of expression is now dated? Is it a money thing? Or is it publicity?

Carbro, I think the issue is that at the top of the Ballets and Choreographers forum there are subforums for the Balanchine & Tudor centennials but one has to wade through the threads to come across this one about the Tudor centenniel. I'm glad Missgoodytoeshoes posted here about Sallie Wilson... it's good to have all the info under one roof. I've been on this board for ages (look at my member number!) and I wouldn't have gone hunting under Press Releases... I would have assumed that like the Balanchine and Ashton forums, there'd be something under Ballets and Choreographers for Tudor. I do hope someone made it to the Julliard event and posts some comments here... (Is there some other board where the Tudor enthusiasts hang out?) I spoke once to Mr. Tudor about Sallie Wilson's work referring to her as one of his disciples and he returned something like "Disciple? Slave!" Someday I have to find the tape of that interview and post a transcription here. He talked about how he had wanted to enter the church but realized he was evaluating everything in theatrical terms and that his home really was the theater. He lived at a zen monastary in his later years, didn't he? I typed up a transcription years and years ago for the producer who organized the interview, but I think it was before I owned a computer and I can find no disk of it" I think it ended up at the NYPL. The video is not riviting but the discussion was interesting (to me, at least!)

I give up! That's the wonderful thing about having a poor memory... everything is new again and one can just approach it from the other side! What question will puzzle me in another 2 years?