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Amy Reusch

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Everything posted by Amy Reusch

  1. I think we better include this link here: The Salt Lake Tribune, 5/20/06 Ballet director says he was forced to quit
  2. Class isn't the kind of choreographic context in which overdancing can be considered to exist. Class is pretty much about technique and shape and not about nuanced interpretation...
  3. Is Graham's company the oldest in America? Or just the oldest modern dance? Or did the early part of San Francisco Ballet's life as an Opera ballet company not seem to be the same troupe?
  4. What, no red heads?
  5. People used to complain about dancers over-emoting (which curiously enough, I haven't heard much about lately). I think dancers over-dance from lack of understanding the choreography and that encompasses the insecurity of not trusting the choreographer or audience, but also includes those over confident types who are pretty sure they're doing it "right". Yes a certain amount of maturity helps, but not if the dancer is determined to Peter Pan, in which case we end up right back in Leigh's insecurity realm. Ballet technique is so difficult, it's almost paradoxical that we could have trouble w
  6. - Jennifer Dunning in the NY Times about the 1,2,3 Festival at the Joyce April 27, 2006I've been wondering, lately, whether we've entered a new stage of technical prowess to the point where at times we've gone too far, and dancers can now be said to be "over-dancing" the choreography... by which I mean the rhythms and shapes are so emphasized that they are over emphasized... similar to over-acting a part. 50 years ago, perhaps, there wasn't such an abundance of extremely physically gifted dancers, and nuances in energy were more in evidence... artistry had to fill in... or, I don't know, t
  7. My first thought was : how about a home for modern dance at Lincoln Center? It is kind of odd that it's been neglected there... but I can't seen any one company in residence the way NYCB is... however, I could see 1 or 2 week annual runs... Would audience be more likely to come to Lincoln Center than they were to go to City Center? City Center always just about financially breaks those companies trying to have a NY season, doesn't it? Fortunately, The Joyce came into existence. It would be nice if there were a subsidized house halfway between The Joyce and the State Theater. And my
  8. ~ Ed Siegel in The Boston GlobeOkay, I'm willing to concede placing the composer's name after the title but before the choreographer's name in the program, following the conceit that the music probably came before the choreography... but... "changing the name of the production from "Tchiakovsky's Swan Lake"...! If you want to go to a production of Tchaikovsky's Swan Lake, go to a Symphony concert... if it's a ballet production, don't presume shock at the choreographer being credited! Or am I over-reacting, and the Matthew Bourne production was originally titled "Tchaikovsky's Swan Lake"?
  9. .... I'm just wondering, did Shaker melodies travel out beyond the Shaker communes? It is a nice tune. For some reason, at some time in my life I was taught different lyrics to the melody ("Dance then, wherever you may be for I am the Lord of the Dance said He and I'll lead you all, wherever you may be and I'll lead you all in the Dance said He" is about all I remember)[since having made this post, I've discovered those lyrics came about circa 1963, but my question still stands.] Is it remotely concievable that the tune might have been used by non Shakers at a wedding?
  10. Hands can be so expressive. If you would prefer that they not talk so much, you might ask that they hold a shape, say to display imaginary rings on the fingers... this would make them more of a shape element rather than a dramatic device... and holding that less natural shape in the fingers might lead to a certain tension that would tend to break at the wrist... whereas hands that were supposed to speak the heart might seem to be more attached through the wrists and arms to that organ. [though assumedly most corps work would also not want a lot of chatty hands] ... just a theory. Was Gels
  11. I understand that Virginia Johnson will be in before the month is out to coach Con Amore on Ballet Academy East for their spring show... Ballet Academy East Spring Show info
  12. I was very curious to see what "stuff" was (listed in the top bar menu on the website). I confess I was hoping there might be some video footage (Vasiliev took my breath away!). The word you're looking for is "Staff", not "stuff" "Staff" would mean the employees of the ballet, the people working for the ballet. "Stuff" means "lots of non-descript things" Nice photo choices, though.... very striking. Too bad English isn't a simpler language when it comes to spelling. Believe me, we native speakers all suffered learning how to spell English when we were younger.
  13. It's funny, but even though NY is home to ABT, I can't say I've ever thought of it as a "New York" company. I wouldn't be surprised to hear someday that it had dual residencies in Washington DC or Orange County, CA. Come to think of it, has it never been the resident company at Kennedy Center? It doesn't have a home like NYCB does at Lincoln Center. I agree with people in the past who have said perhaps it's name shouldn't be "American Ballet Theatre" but "International Ballet Theatre", but otherwise I do think perhaps it's closest to being America's national ballet. I think Joffrey is mor
  14. I don't have the NYer article in hand, but in it Pete Seeger suggested that his father, with his interest in Appalachian folk music, had perhaps influenced Copeland in his composition of Appalachian Spring. If Copeland didn't know of the "Appalachian" in the title until just before it opened, then it seems the connection between Copeland's composition and Appalachian folk music is slight. The shaker tune isn't considered Appalachian, is it? I'm almost sorry Graham choreographed the piece, because I think it makes it difficult for anyone else to use it for dance. Why I don't feel this abo
  15. A question for those with access to the old Ballet Review editions: I am aware that Graham suggested the title... and that the piece was originally titled something like "ballet for Martha"?? I assumed the title came afterwards... is this a misunderstanding on my part? Did Graham suggest the subject and then Copeland write the music? Is there a connection between Appalachian folk music and the melodies of Appalachian Spring? I ask because in a recent NYer article on Pete Seeger, he suggests that his father might have influenced the composition, and to me this seems unlikely if the name c
  16. It will be great for whatever places ABT does their residencies... How will it be for the dancers, though? I guess the barre is always "home" for a dancer. I assume they'll be returning annually to these residencies or are they just short term? I'd spend a good portion of it on audience outreach... Oddly enough, I wouldn't spend it on acquiring new repertory... just on encouraging the audience to "get" what they can out of ABT already has to offer. By outreach, I mean finding as many angles as possible for audiences to connect with the dance (if they're doing residencies at Universities
  17. And then there's this one: http://www.dailyutahchronicle.com/media/st...ahchronicle.com Is there possibly a worse angle for shooting an arabesque?
  18. The road show of Rent is non-equity? Surely the Broadway production is equity? I still haven't seen it, though I feel perhaps I'm betraying a friend, I also suspect the production's got to have moved away by now from it's creator's influence. Just weird twinges of feeling (and finances) have kept me from rushing out to see the show. If it is non-equity, I have an anecdote about Jonathan Larson and Equity: He had me set up to shoot his staged reading of "Tick Tick Boom!" his monologue inspired by his 30th birthday (incidently a card I sent him that day had a little something to do with
  19. It is so interesting to see what still comes through and works and what is now almost incomprehensible. The Dying Swan seems to hold up better than the Fairy Doll footage, but I'm not entirely convinced that's free of media influence. I'm assuming these were both silent films shot at a different frame rate? Does the Dying Swan hold up better because it was slower to start with or was the footage somehow manipulated to correct the speed? I find if I focus "on her heart" with the rest of my attention on her being sort of peripheral (rather than studying her line or her turn out or watchi
  20. Okay, I must be vulnerable to descending set pieces... the flag lowering in Stars & Stripes is pretty spectacular too.... (alright, I'll start thinking about "choreographic" final images).
  21. As far as earth and water being together... has anyone encountered the type of dancer who is extremely supple with good balance for posing but who doesn't seem to have enough tension to be able to jump?
  22. Foreign to whom? Could we perhaps instead name them simply Correspondent from France and Correspondent for Russia, etc.?
  23. Christopher d'Amboise's "Franklin Court" when the non-descript set pieces suddenly conform into the Franklin Ghost House sculpture...
  24. As far as too many dance performances are concerned, the only bad competition would be a performance that drives the audience out of the theater. Wouldn't you rather go shopping for shoes on a street with 6 shoe stores than on a street with only one? The more Chicago becomes excited about dance, the better it is for everyone. The more advertising out there subliminally reinforcing the idea of going to the theater to see dance, the better. My only concern for NYCB is the bias in Chicago against anything from N Y C. Moving to Chicago from New York after a short 2 year stint in Philly, I qui
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