Jump to content
This Site Uses Cookies. If You Want to Disable Cookies, Please See Your Browser Documentation. ×

Amy Reusch

Senior Member
  • Content Count

  • Joined

  • Last visited

Everything posted by Amy Reusch

  1. 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
  2. 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?
  3. 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: T
  4. Her bio & photo on ABT's website : Jennifer Alexander My heart goes out to her family and friends...
  5. 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?
  6. 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.
  7. 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...
  8. 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 sho
  9. 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 ph
  10. 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
  11. 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.
  12. 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? O
  13. 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 fin
  14. ,,, and Lev Ivanov.....? And the Christensen brothers....
  15. 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?
  16. I have mixed feelings. I was at SUNY Purchase when Jacques d'Amboise was Dean. At the same time, he was still dancing with NYCB and running his National Dance Institute. While his presence drew a lot of talent to the school, and he was on campus a great deal (I can't recall if he was there every day, but he must have been there several days a week), there were some communication and administrative problems that I feel wouldn't have been there if he had been able to give the school his full attention. The students ended up on strike trying to focus attention on resolving the problems but
  17. Thanks Mme. Hermine, that explains my confusion... I didn't realize the Ruth Page Company had played NY.
  18. Yes, but I suspect one of the things lost with the compression would be the difference between black and nearly black... it would all become black. In my time I shot a great deal of very dimly lit dance costumed in black tights against black floors and black cycs... it was hard enough to see the difference between the legs and the background in wide shots in the camera-originals... I can just imagine what happens with "lossy compression". I'd like to see how this MPEG2000 handles that kind of issue. Is it discussed? (will have to hunt the 'net a bit myself I guess). Interestingly eno
  19. Perhaps it is because of complex contracts involving recording rights that would have to be re-negotiated. My guess is that it is too costly to justify the expense. (Unfortunately).
  20. I wonder if it's a mistranslation of something like "vault", as in "archival vault"?
  21. My eyes blinked at the following quoted in yesterday's news links: So there are sarcophagi under the stage? Who all is buried there? (Article from Russia Today on Bolshoi renovations: Moscow's Bolshoi renovation: preserving or ruining history?)
  • Create New...