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Amy Reusch

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Everything posted by Amy Reusch

  1. I was surprised to discover a few years ago there was a distinct PA Ballet style, but indeed there is. I would have had to sit and analyse it quite a bit to describe it, as it was subtle, but the company that performed in the videos on it's anniversary this side of the millenium looked surprisingly like the company of twenty years ago... and was distinguishable by that style from Boston Ballet and PNB even though there were a lot of reasons for these companies to resemble each other... perhaps it was the influence of constistent ballet masters & repiteurs, but it was there. While it is l
  2. I suspect Roy Kaiser might have very much been a "dancers' director"... he shepherded the company out of financial crisis, kept the repertory and style intact, and built the institution up from within, filling the positions of ballet masters/mistresses with retiring principal dancers who had been with the company since their apprentice years and who knew the repertory and company style as only one who has been with the company all one's professional life could... It is a model that very much reminds me of the structure of the great ballet institutions of the world: Paris Opera, Maryinski, Roya
  3. Out of curiosity, of the 43 dancers, how many were there before Corella took over? Didn't he add a few fairly quickly? If he added, say, 5 dancers, would that mean a higher percentage of the previous company has left?
  4. Ruth Page perhaps should be added to the list of choreographer/directors. If we include non-ballet but still western theatrical dance, then Doris Humphrey serving as artistic director/choregrapher for the Jose Limon company might be worth considering as arguably the biggest talent performing would have been Jose. It may not quite fit your search as Humphrey was also a stellar dancer (though perhaps she was not dancing by then?) and Limon was a masterful choreographer.... but... Do Tharp's works do more to showcase male talent? I am not sure I could go that far... Almost, but maybe not.
  5. This is wonderful!! So very happy they found a way around risking the copyright of the choreography to do this!
  6. Beautiful! I often find myself watching footage from this show... What is it?
  7. Come to think of it, perhaps it was the Bolshoi that was referred to as a ship? Maybe the metaphor has been applied to both behemoths in the last year.
  8. We've discussed many an artistic director and many an Institution over the years here on Ballet Alert, but have we directly abstractly discussed the dynamics of the artist vs, the institution? It seems successful artists gradually grow an institutions like a carapace, and that this shell can survive longer than the artist and take on new residents as if the shell selected the hermit crab,,, Without an institution to handle producing, artists cannot seem to survive for long... Self producing artists eventually burn out if they don't build up an institution, but sometimes even these self built
  9. I find the strapontin seats fascinating...they seem like they would surely violate the firecodes here in the US. Are they less expensive than the regular seats? Where do the ushers keep the strapontin patrons until the last minute seating?
  10. Kbarber, it's been a long time, but I have this vague memory of being told once that an easy way to deal with PAL was to playback the DVD on a computer rather than to a TV. I don't think I've ever had a PAL DVD to test out this solution. Do you knowif it is a myth? [edited later to add: My spologies, I joined this discussion late and did not see the earlier post about the DVD not playing back on computer]
  11. I loved the live stream... So wonderful to see Square Dance from that perspective and through a wide angle lens... One really gets the social dance aspect in a way one doesn't from the flatness of a proscenium presentation. Next time perhaps they could be persuaded to put a wireless mic on Peter Boal, he was difficult to hear and it would have been nice to hear what he was saying to the dancers. It was eye opening to watch the run up the platform in Prodigal.
  12. The company will look gorgeous in Balanchine's "Midsummer Night's Dream", in my humble opinion.
  13. 30 years is a very long time in dance... Not many can perform that long. I wonder, how many "generations" there would be in that long a period... What would you say, is 4 years a generation, or 5?
  14. Is the Dupont appointment permanent or interim?
  15. I wonder what quality ballets Martins would be turning out if he were not doing all those other things? There are two pieces of his that seem to get done by other companies, Calcium Light Night (1977) and Fearful Symmetries (1990)... Are there others? 1977 was before he was Artistic Director and in 1990 Jerome Robbins was still part of the picture... I really do think being free to focus on choreographing instead of on the managing of the company must help some choreographers.
  16. I don't think Kirstein & de Valois were quite "staff", though surely Petipa must have had something like that? Maybe the way to think about it would be to consider the number of POB directors who have been major choreographers? Lifar, was he prolific? I am not all that familiar with his oeuvre, I can call to mind a few pieces, but did he create several pieces a season like Balanchine? (I just checked Wikipedia which says he was director for 3 decades but only lists a handful of pieces even though stating many were choreographed). Nureyev mostly seemed to do re-stagings (involving a
  17. Let us never forget that Balanchine had Lincoln Kirstein... which freed up a lot more of Balanchine's time/energy for creative work.... (Doesn't everyone wish they had a Kirstein?) Petipa had the deep pockets of the Tsar... Is much written about how much of his time was taken up managing the company? Ashton had de Valois? I'm not defending Millepied... I'm just not sure a choreographer should lead the Paris Opera... though Nureyev's choreography demanded a certain skill level and Balanchine's demands demanded a certain skill level... when a living choreographer isn't intimately invol
  18. Roberto Bolle? Help, I can't temember his connection to the Paris Opera... ?
  19. Thanks, Frail Dove, that was well said. I'm still not sure about the primary training showing through. I must not have framed my question correctly. A graduate from the Vaganova Academy dancing Balanchine is going to look different from someone trained at SAB dancing Balanchine. Very few can absorb the style without the years of training. It may look beautiful, but it will not look the same. What I would like to know, is whether a dancer that makes the switch at age 13 will still show the elementary training of the original school in their movement signature, will it show like a foreign
  20. Yes, I would agree with that, vrsfanatic. Also, any student with a more serious start, say such as one starting at the Vaganova Academy or at POB, would not likely "finish" at some other school, I would lay bets. But there are relatively some good schools (usually attached to companies) around the U.S. where a student might train more intensely than two or three times a week, successfully audition for say SAB or JKO, and "finish" there. In such a case, would their earlier foundation show through much? Boston Ballet has a pretty strong school and I would guess has had students move to bot
  21. I would be interested to know the significant differences in the first four years of training. I imagine it might show up more in the dancers arms and shoulders, or in the transition steps, than in the virtuoso steps or positions of the legs... In other words, in the little things... And then only if the early training was daily and significant?. If "serious" daily training only began at a "finishing" school, would the early training show in the finished dancer? Does it influence the movement signature of the dancer? My apologies, vrsfanatic, for using "finishing school" as a term before
  22. Wasn't Carlotta performed by Brenna Monroe-Cook? In regard to the training aspect and length of time working in a genre, should it be noted that she has been studying modern dance since she was a child? I believe she was in the Stodelle coaching tapes, but I would have to check.
  23. Amy Reusch

    Kathryn Morgan

    Well Cecchetti was under 5 feet tall.... Dubrovska was considered freaky tall at 5'6"... Royes Fernandez told me that at 5'8" he was considered a tall dancer (founding principal dancer at ABT). In the late 1970s, ABT was still cutting girls from the scholarship audition line if they topped 5'6"... now I think a great many of the superstars of the 20th century would have been cut for not making the minimum height. So let's see, if 5'6" was freaky tall... would would be average, 5'3"? Here is a picture of Cecchetti teaching large-528148-enrico-cecchetti.jpg Gelsey Kirkland is 5'1" acco
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