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Amy Reusch

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Everything posted by Amy Reusch

  1. Just received word... Assume obituaries will follow: Thank you Ann for all the dance you saved for others to see... rest in peace.
  2. La Fille Mal Gardee because it's such a wonderful one to bring children to...
  3. I wish they would all do a sort of Repertory in Review format for souvenir books. They could add in the new rep each year. Someone should bring this up at a Dance/USA conference... that their audiences wish they'd do this! Isn't printing cheap enough yet to accomodate this sort of thing? How about a deck of repertory in review cards? It would make adding new rep not so difficult; it would be a collectible trading item; and it would help audience education (and an educated audience is probably a more supportive audience!).
  4. I suspect there's also a lot of archival material that goes missing in the confusion when administrations change... there is so much turnover in the dance world... not that necessarily the outgoing administration has absconded with the material, but the guard on the archives may be lax at these times. Also, it's really hard to find time to go back over old material... there are usually so many emergencies and deadlines that are being dealt with, that if stuff isn't well labeled and archived as it appears, chances are it won't ever be... unless there's a big "anniversary" at which point someone
  5. I've always wanted but despaired of owning this book, since it always seems to go for a few hundred dollars. So when rg posted this, I quickly bid only to find my bids instantaneously outbid... I fairly quickly gave up, figuring I'd try once more the actual day of the sale. In the meantime, I went to see what it was selling for these days by checking it out through the Amazon link above. To my delight, there was a copy for sale at $29.95 which I quickly bought! The dust cover, if not in mint condition, was in excellent condition. If you too have despaired of owning this essential Balanc
  6. I wonder if they might have been something Ann Barzel shot... have you checked with the Newberry Library?
  7. I don't know if this is an appropriate place to put this, but I thought it would be interesting to some readers of this forum. There is a weekly cable television show out of Boston all about dance, and all of their shows are apparently available from their website, should you have missed them. To the Pointe: http://www.to-the-pointe.org/shows.html Some of them might be of historical interest.... for instance, the show I'm listening to as I type this is all about dancing with Nureyev... his revision of Don Quixote, etc.: Oct 10, 2006 - "Dancing Don Quixote with Nureyev" : Shirley Frawley
  8. Or maybe, at least, they could borrow & display the Noguchi bust of Kirstein the Wadsworth Atheneum has in Hartford.
  9. Going for the demolition derby angle of attraction?
  10. I think there is this problem that contemporary productions have to deal with... some attempts at solution are awful, but that doesn't mean the original problem didn't exist... our frame for looking at these century old pieces is very different than their original intended audiences... and the dancers we're setting it on, "the instruments" if you will, are very different than those used in the original production. Current audiences are used to seeing a wider range of movement in the dancers. Sometimes things that were knock-you-down virtuostic when they were first done are just insignific
  11. Thanks Helene, that helped. And now, I need some further info... could you name some current (successful) choreographers who are not considered neoclassical? Would that be Eifmann? (By "successful", I'm only looking for a name I might have heard of). (You see, to me, I have trouble throwing some of those choreographers into the same group... perhaps because I don't have someone current to contrast them with).
  12. Oh darn. I just erased a very long post just as I was finishing it. I don't have the steel to re-write it. But, Helene, with the exception of Miami City Ballet, I have trouble with classifying those companies as neoclassical powerhouses based on their repertoire. Unlike NYCB, when they stage full length ballets, they tend not to do Balanchine's versions (with the exception that a couple of them do present his Nutcracker). The Kirov lists many Balanchine pieces in their repertoire and ABT performs Balanchine this spring every month that they perform. Could you qualify your definition of
  13. Well... there are principal dancers who perform with small companies in order to work with living choreographers... I don't know how very often they resign to do so, the money situation tending to be more secure in the larger institutions... I guess I'd be hard put to list 5 regional companies that are neoclassical powerhouses... the regionals tend to mix their repertory. But, could we list 5 choreographer driven companies that have had dancer-initiated guestings from major classical companies? I think that might be much easier. It is hard to know who approached who though...
  14. It always seems to me when a dance company shows signs of being Board driven, that its engine has begun to stall, and one might want to put one's seatback in the upright position before the nosedive. Sometimes the pilot can regain control, but there's an awful lot of crash & burn in the dance world.
  15. There's one difference with baseball (at least, I think there is... )... often dancers voluntarily leave the "big leagues" for the "minor leagues" in the interest of doing principal parts or different repertory... I don't know if baseball players move to the minor leagues by choice. I'm not sure all companies have the same amount of "upward mobility". ABT used to be sort of famous for importing foreign stars rather than promoting domestic ones. NYCB seemed to lean in the opposite direction. (Though this may have changed in the last decade). Also, the repertory makes a big diff
  16. It seems more a question for Ballet Talk for Dancers, doesn't it? Maybe on the Cross Talk forum? Ballet Talk for Dancers
  17. There is trouble, too, in moving the repertory on to the college scene... Have you ever seen college reconstructions that have an extremely careful "studied" look to them? The movement is so "studied" that it has no life? Nothing seems like death so much as considering a work a museum piece. The dancers look like "this doesn't feel right to me, but I know I'm supposed to move in this fashion for it to be right". I think it's wonderful for college students to study the work and perform it. I'm just not sure what the formula is to get inspired performances out of them. Inspirational
  18. I think I must clarify "brand new choreography" not to mean 'flashy trendy brand new' but rather choreography created on them -- not new choreography acquired by their company but created on other dancers. Dancing in someone else's footsteps isn't quite the same creative process as originating a role oneself. I hope I'm now sufficently reprimanded for saying "brand new" instead of "original".
  19. Uh oh. What on earth? It seems like an odd thing to be a virus. Oh well... at least I can get around it.
  20. It's very exciting for any dancer to have a talented choreographer create choreography on them. That doesn't necessarily mean the stars are wishing for different movement vocabulary, like say something from the modern dance world. Is that what you meant? I wonder how often a year the typical principal gets brand new choreography to perform.
  21. I've never had it act up with Ballet Talk's board software before, so I have a pretty strong feeling it's a bug with the new Internet Explorer version. As you saw, I can get it to work by circling around, but it no longer works as it was intended to. I'll have to wait until someone else with the IE software tries it and has a problem, I guess. However, if it really is the IE software, invisionzone is going to need to do something about it, considering how widely Microsoft's browser is used (by default more than choice, I imagine).
  22. Okay... this is a test. I tried to put a link to another website in another post, and the buttons didn't behave normally. Right, so, what to link to? Hmmm... The entry on Ballet at Wikipedia I typed the above text, highlighted it and hit the link button expecting a little window to pop up in which I would fill the URL (as I always have done it here in the past). BUT instead, I get a little dialog box (? is that what it's called even if it's a monolog?) with a warning exclamation point in a yellow triangle saying "You Must Enter an URL" along with a little "ok" button. Well... oka
  23. Sorry Carbro, I'll to the appropriate forum re the link thing.
  24. Re Meditation & Suzanne Farrell, the NYCB website lists the copyright as belonging to her. http://www.nycballet.com/company/rep.html?rep=319 (by the way, the board's software about links seems a little strange... the link button didn't work but I see the URL turned automatically into a link on it's own)
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