Amy Reusch

I keep wondering about the framing. It must be wonderful for the wide shots, but I wonder how it affects the tighter shots... are they as strong? Watching football on HD the other day, it seemed like they've decided extremely wide angle lenses are the way to go, exagerating the closer subjects but still keeping a full background... adds a lot of movement but in a rather distorted way... is it too much for classical ballet? I trust there are no problems with the music marrying to the image at this high quality compressoin? I find it very annoying when the music drifts to a different time than it actually happened. What might seem very minimal with other subject matter would be subltly destructive to the artistry of a dancer's phrasing.

It was a wonderful thing to see these films, so rare. I was fascinated by how Doubrovka moved as she taught... such an interesting way of moving... so light. She was trying so hard to get her students light on their feet, as if she could raise them vicariously just by rising herself as she watched them... Every major ballerina has a special way of moving unique to herself, and Doubrovka almost fluttered it seemed. I wonder how she looked doing something as earthbound as Les Noces. Watching Allegra Kent talking, it was equally fascinating, as if she's still so full of movement that it's difficult to keep still. Spessitzeva was so different from how I imagined... so natural with a very fresh energy... she really looked as if she lived in the moment. I guess because of her beautiful line in the photographs of her that I wasn't expecting such a human and free quality. And while the narration might have been overblown, it was nothing compared to the Tchaikovsky bearing down on poor frail elderly Spessitzeva. (I don't think they meant it as an illustration of what had driven her mad, but rather to honor her as a ballerina; though the former was more where it was headed) I'm still surprised to hear the library wouldn't want the unedited Doubrovska footage. I should have asked how many minutes of it there was. I guess they can't allocate shelf space to camera original rushes, but digital copies shouldn't take up so much? It's unfortunate there isn't grant money to cover the cataloging and transferring of such treasures. Afterward I was trying to talk Virginia Brooks into releasing the film on DVD with some of that extra footage added on as a special feature. I'm sure there were extra clips she wished she could have included had time been no object. Now with the internet, it seems like it would be easier to distribute the video to it's niche target audience. The writer, Jody Armstrong, was also trying to convince her to release it on DVD, so perhaps with enough lobbying it will happen. Regarding the Briansky video, they certainly were charming, but thought Oleg kind of hijacked the film out from under the filmmaker... but that added to the fun.

Thank you so much!! I wasn't getting very far with my digging. I bet the exercises are brutal...

After the Jan 5th Dance on Camera screening of Sleeping Princess, a documentary on Olga Spessivtseva, there was mention in the discussion of her writing a book of her practice exercises. A voice in the audience called out claiming to have a copy, but I didn't see who spoke. I thought perhaps it was you, rg? I'm very curious what might be in it, for, while obviously technique has developed since then, I suspect there are some things which have been lost, particularly in pointe work. I wonder if the book(let?) is decipherable to one who doesn't read Russian? I tried to see on-line if the NYPL Dance Collection had a copy, but couldn't quite figure it out from their listings. Perhaps they do, but I didn't know the keyword to search for it. Spessivtseva seemed to bring up a box of correspondence and a book, but it didn't seem to be an exercise book. Are there pointe exercises listed in it?

One more... Todd Bolender's Souvenirs ?

Here is the obituary: ERNESTINE STODELLE KOMISARJEVSKY CHAMBERLAIN Ernestine Stodelle Komisarjevsky Chamberlain – celebrated modern dancer, author, teacher and one of the foremost chroniclers of modern dance in America – died on January 5, 2008, at the age of 95 in California. Born May 6, 1912 in Oakland, California, Mrs. Chamberlain studied ballet as a child at the Metropolitan Opera School of Ballet in New York. She began her professional dance career as a member of the pioneer modern dance company of Doris Humphrey and Charles Weidman, becoming a soloist with the Humphrey-Weidman Dance Company at the age of 17. She later became a partner, dancer and choreographer of original works with Jose Limon. During that same period – 1929 to 1935 – Mrs. Chamberlain also performed as a dancer with many symphony orchestras, operas, concert programs and in Broadway shows in Philadelphia and New York. From 1935 to 1939, she was in Europe, introducing American modern dance to enthusiastic audiences by presenting solo recitals and lecture-demonstrations in Paris, Salzburg and Geneva. It was in Europe where she married her first husband, the internationally-known theater director and stage designer, Theodore Komisarjevsky (1882-1954). They returned to the United States at the outbreak of World War II, opening a studio of dance and acting in New York. She soon afterwards formed the Ernestine Stodelle Studios of Modern Dance and, for the next fifty years, Mrs. Chamberlain focused her energies on the training and development of the careers of many talented dancers, many of whom went on to professional careers in modern dance. During those years, Mrs. Chamberlain also focused on reconstructing the dances of her mentor Doris Humphrey and teaching the Humphrey technique. She reconstructed the early works of Doris Humphrey, beginning with Air for the G-String and Two Ecstatic Themes for the Jose Limon Dance Company. In addition, in 1990 she premiered the reconstruction of two dances originally performed by Doris Humphrey and Charles Weidman in 1929. At the request of others, she staged Humphrey works in Canada, England, Switzerland and throughout the United States. Mrs. Chamberlain also gave lectures on modern dance history and technique with an emphasis on the Humphrey-Weidman and Martha Graham techniques. Following her first husband’s death, Mrs. Chamberlain married John R. Chamberlain (1903-1995), nationally-known author, columnist and syndicated writer, and moved to Cheshire, Connecticut, in 1956. She moved her dance studio to Cheshire, continuing to teach modern dance to both children and adults, while becoming a noted author, university professor and critic of the dance. Mrs. Chamberlain published two books: The Dance Technique of Doris Humphrey and Its Creative Potential (Princeton Book) and Deep Song, The Dance Story of Martha Graham (MacMillan). In addition, she was a free-lance writer for The New Haven Register, Dance Magazine, Art Times and Ballet Review. She co-edited two books on dance research with Patricia Rowe of New York University: Dance Research Monograph One and Dance Research Collage. Mrs. Chamberlain was also an Adjunct Professor at New York University, conducting courses in Dance Criticism and Aesthetics in Dance, starting in 1970 through 1991. Mrs. Chamberlain is survived by 13 great-grandchildren, 20 grandchildren and six children: Elizabeth Chamberlain Huss; Margaret Chamberlain Davis; John R. Chamberlain, Jr.; Tanya Komisarjevsky Metaksa; Benedict Komisarjevsky; and Christopher Komisarjevsky. In lieu of flowers, donations can be made to: The Doris Humphrey Society c/o Stephanie Clemens 605 Lake Street Oak Brook, IL 60302 (708) 848-2329 501 © 3 not-for-profit -- Tax ID #36-3709638 ########

Now that it's been mentioned, it perhaps ought to be pointed out that he was not a blood relation as his parents had adopted him. We were all horrified, first by the crime and then that it touched Ernestine's family. Worried for her, I asked someone close to her how she was surviving the ghastly situation and was given to understand that by that late stage in her life she was no longer much aware of current events. I would hate to see remembrence of Ernestine turned into a discussion of Joshua.

Oh God! How could I do that?

I'm cross posting a link from the "obituaries" forum for Ballettalkers who follow Modern Dance but might not regularly check the Ballet News and Issues obituaries subforum. We lost Ernestine Stodelle today. A short note is here: http://ballettalk.invisionzone.com/index.php?showtopic=26336

Lichine's Graduation Ball Lynn Taylor-Corbett's Great Galloping Gottschalk... [corrected] Balanchine's Western Symphony? The Concert Must be some deMille thing as well... Ruthanna Boris' Cakewalk I'm not sure... how about Fancy Free? Is Don Quixote too stiff?

I learned from the Doris Humphrey Society that Ernestine Stodelle passed away earlier today in Santa Barbara. I'm afraid I am not sure of her exact age, but she was in her 90s. Ernestine Stodelle carried the torch for early Modern Dance through to dancers of today. She was inspiration for many dancers and scholars of Doris Humphrey's work. Many knew her from her teaching of dance criticism at New York University. In 1999 the Congress of Dance Scholars gave her the award for Outstanding Leadership in Dance Research. She wrote two major books... a biography of Martha Graham: Deep Song: The Dance Story of Martha Graham (link to Anna Kisselgoff review)and The Dance Technique of Doris Humphrey and It's Creative Potential (now even available as an e-book) As a young dancer she was there for the first wave of modern dance. I met her in her 80s as she coached Doris Humphrey masterpieces on dancers for Pew Charitible Trust's National Initiative to Preserve American Dance. [reviewed here by Robert Greskovic] Watching her inspire both novice and master, to carve meaning and depth into the movement, was a privilege I'll never forget. Her coaching was so valued, that I believe her name was written in as the required coach on some of the Dance Notation Bureau's scores of Humphrey's work. Modern Dance has lost one of its lights.

Her bio & photo on ABT's website : Jennifer Alexander My heart goes out to her family and friends...

Wow!!! Why is it the final year? It didn't seem to say in the press release... Carol Sumner used to have some connection to the Palace... does this production have something to do with her?

I rather thought that the dance world and young children both demanded full time attention... making a conflict at some point all but inevitable... but isn't there a lot of buzz right now about Paula Radcliffe winning the NY marathon... athletes coming back after giving birth... creativity & exhaustion... never sure how those two intermix... Can kids trip up her career drive? Maybe it depends on the kids, the career, and the support team the mother has available to her.

And the pas de trois where the Sylph keeps distracting James from Effie... is that in Bournonville as well? Or was it only in the LaCotte? I see there is an Eric Bruhn with Carla Fracci video out there... will have to check it out.... hmmm... in that version the scarf is green... not the light gauzy thing I remembered...

What is remendous? I found this old thread looking for information on La Sylphide. I had just come from a disappointing uneven rendition (for instance the Reel was a pleasure). What disturbed me most was the Sylph's pointe technique. Her feet were so flexible and soupy (they would have looked beautiful and expressive in some other ballet) and weak that she was positively clunky on pointe... as if she were sinking into the muck rather than hovering above it. Effie was way more floating and light-footed than the sylph. Modern pointe technique seems to rely so much on the support of the shoe... and then the ballerinas dutifully wear soft shoes for La Sylphide... but don't have the strength in their feet to support themselve properly... so disappointing... and the petit allegro didn't hover above the ground either... Women aren't trained to jump as they used to be... it isn't just Firebird that requires a ballerina who looks at home in the air, La Sylphide needs it too. It seems like a weakness around the metarsal, comes into play both in the pointework and the petite allegro, but not the grand allegro. This ballerina accomplished some nice floating grand jetes... but not regular jetes. And shouldn't it go without saying that a man in a kilt wouldn't lift his leg above a certain height? There must be something to romantic technique for the male too... this James needed to build more presence with his back and arms... sure, lots of focus on footwork, but none of it directed toward extensions. And such a nice dancer, it was a shame to see his role at all spoiled by an apparent coaching failure. Whose fault that might be, I'd have to watch the other casts to figure out. Hmph...

Just saw Boston Ballet's La Sylphide, and was disappointed not to see the pas de trois between James, the Sylph & Effie... is that only in the Lacotte version? Serenade was on the bill as well, unfortunately before La Sylphide... which seems kind of unfair to Sylphide... Serenade seems sort of like Les Sylphides... it would have been lovely to see afterwards... whereas before it kind of stole some of the sylph's magic. The only other La Syphide I've seen live, I'm afraid, was Erik Bruhn's version for ABT many decades ago with Royes Fernandez as James. My memories of it are hardly photographic, but I remember it being a much bigger deal than Boston's... I remember a much bigger scarf floating up... and I feel the memory of the death of the sylph as being a bigger deal. Also, I prepared for Boston's Sylphide by reading the entry in John Gruen's The World's Great Ballets and missed some sections... such as Madge's big moment of scaring everyong and then disappearing up the fireplace. In Boston's she simply walked out the back door... rather quietly... th lighting hardly changed for her scenes... she was much more just a beggar in the Hall, never quite became a witch. Does the La Sylphide Erik Bruhn's set on ABT exist on film? (Other than archival, I mean?)

As a chld I saw my few ballet performances from the nosebleeds... It was a fascinating experience to be at the Met (of course, watching curtain call after curtain call for Nureyev was a fascination of it's own)... or the State Theater... all those velvet seats.... Used to love wiggling those beaded curtains and study the descending waves... watching the chandeliers raise... for a child, there's more to going to the theater than just the choreography... it's a whole new world... there's exploring opera glasses... watching the other people in the house... etc. etc... the main thing, probably is to be taken by a relative or friend to whom one wouldn't dare complain.... And the tickets were cheap enough (I think my mother kept comparing them to the price of a movie) to allow it. ... and I still became a balletomane in spite of the poor view. Possibly it wouldn't have happened if it were recorded music.

Thanks. I think my interest stems from wishing they were still common practice today... I'd love to collect these of contemporary dancers I admire. Eliot Feld put collector cards in his programs in one of the early Joyce concerts, but no one seems to have kept up the practice. Seems like good publicity/branding... We still have baseball cards after all.

Wikipedia is such a surprising resource... I should know by now to turn there first... but sometimes my consciousness is stuck in the pre-wikipedia world... However, http://en.wikipedia.org/wiki/Carte_de_visite doesn't really answer something I've been wondering about. They weren't really used as visiting cards, then were they? The "visite" was the famous person's visit to the photographer's studio, or just because it was the same size as a calling card? I understand that they were collected, but how were they distributed... did people get them at the theater? So they were a souvenir? Or did one just buy them at a newspaper stand or book shop? Still, ViolinConcerto, you took the notes... I had a pad & pen in my lap but found I had to concentrate too hard on keeping up with the speed of the info with foriegn names coming out of Souritz while deciphering the accent to be able to keep notes... Not a problem with the round table, and I should have bestirred myself, but by then I seemed to have settled into a different mental mode. Anyway, Thanks!

I caught about half of the first evening, (unfortunately had rehearsals and couldn't catch 2nd day) and must say that Greskovic's photo collection was glorious on the big screen... much different than viewing it at home on the computer, even if they are high resolution images! And one rather dim question, I should have asked there (but was intimidated by the amassed scholarship in the audience)... is a carte de visite a calling card or a souvenir? Looking forward to reading the papers on-line, if that's possible... somehow it's easier to be overwhelmed by the wealth of information and find it more difficult to process the accents while trying to remember the names involved.... and even if there is no accent involved, for some of us whose recall isn't brilliant as ViolinConcerto's, it would be lovely to go back and go over the information again. The round table with Garafola, Scholl & Morrison came through with no s/n problem... but I don't suppose that will be available on-line? It was nice of Garafola to take up the cause of the "unknown" dancers... ... I'm not sure how a capital's company can be considered "provinciaL' but I suppose NYers have complained about Washington DC dance that way... why culture grows at gateways/ports/borders more than in capitals where presumably the money & power sit... or maybe money & power tend to settle different areas?

Thanks rg! I'll look them up.

,,, and Lev Ivanov.....? And the Christensen brothers....

So, I wonder... will the Joffrey be commissioning new work off of guest choreographers or will they have one in residence long enough to build a work out of the company rather than just hanging it on them?

Does he choreograph?