
Amy Reusch
Senior Member-
Content Count
2,086 -
Joined
-
Last visited
Everything posted by Amy Reusch
-
Those late 19th to early 20th century ballerinas were a lot shorter than the average ballerina today...those extra inches of height add up to a lot of extra weight for the guys to lift. I don't know that shorter men were correspondlingly weaker, not sure it works that way.
-
Mats Ek retiring his works from performance
Amy Reusch replied to volcanohunter's topic in Ballet News & Issues
It seems there has been a misunderstanding... http://www.nytimes.com/2016/01/13/arts/dance/mats-ek-the-swedish-choreographer-says-his-goodbye-isnt-quite-a-farewell.html -
Like live vs. canned music... I agree. But there actually are some dance elements that look better framed on video than by the proscenium*... But very few... Mostly dance is diminished by the flat screen. However, not many in the theater can sit in those prime seats. I remember going to see ABT in one of your local venues, The Auditorium... A friend in the company let me slip into the top row of sests. The performance was so far away, it felt like it was going on in a building across the street. A good dance video can put you in the best seats in the house... seats I never could have afforded
-
Good point... Four years is significant, particularly the last four years before becoming professional... It would be like not considering someone's Harvard degree significant because it was only four years and they had been to high school after all... It will be interesting to see when the first ABT curriculum start-to-finish dancers arrive,,, how many of these have been graduated yet?
-
Yes, the Kirov Academy has been doing good work, it trains some strong dancers and serves the classic repertoire well. I still am not convinced it is the best training for an ABT school despite the guest artists that grace ABT's stage. Natalia, you could probably even list for us the names of the Kirov alumni currently at ABT. Is it about the same as those produced by JKO?
-
I think it was very clear why JKO needed an American curriculum and the efforts to draw schools around the country toward a system of producing dancers. Our training in America has been a ragtag mishmash of other schools since the very beginning, with teachers insisting "my way is the only correct way" all over the place. How is a parent to know who is right? We do not have the sort of state supported systems and cultural traditions that support the Russian and French schools. One might just as well ask why Britain needed to set up RAD or why after the maestro's death Cecchetti technique w
-
Mats Ek retiring his works from performance
Amy Reusch replied to volcanohunter's topic in Ballet News & Issues
I'm tempted to return the favor and forget his work ever existed. -
Pennsylvania Ballet puts the ballet-haters in their place
Amy Reusch replied to kbarber's topic in Ballet News & Issues
I have a problem with "womanly" being an insult, regardless of the context. I appreciate that football requires more strength than most men posess, but calling a weak man "womanly" does a disservice to strong women everywhere. -
Forgive me for noting the trivial, but the film look felt much like Wiseman's flm on the Paris Opera "La Danse". I actually enjoyed all the behind the scenes views, perhaps more than I would have enjoyed the view from out in the house, and this surprises me. I'm also surprised that they didn't wallow more in the intrigue. There wasn't much mention if Dmitrichenko's history as head of the dancers union...(I forget i that was his exact role, was he head of a union or must some sort of spokeperson for the dancers?). I don't mind that they did not wallow so much in the details, but I am surp
-
These are charming! Kudos to the dancers, The Guild, and the photographer!
-
Where is the "amen!" button?
-
ABT's revival of "Spectre de la Rose"
Amy Reusch replied to cubanmiamiboy's topic in American Ballet Theatre
I think Spectre shows us nothing but what an extroardinairy artist Nijinsky must have been. I honestly believe, never having seen him, that no one owns this piece as Nijinsky did. This is the role his leaps most famously floated in... It is as synonymous with Nijinsky as Dying Swan was with Pavlova. Baryshnikov, Nureyev, Dupond, or Soloviev all performed Spectre, but all are more famous for other roles. We all long to catch a glimpse of Nijinsky's legend in each new dancer to take on the role... but whatever romantic spirit posessed Nijinsky's soft interpretation, it must not be easily -
I felt that whoever came to the theater in Texas to see "There is a Time" would have "gotten it" rather than felt they were seeing sn academic exercise. I cannot compare it to ARB's interpretation, not having seen that, but I felt the Southern Methodist students had bought into the piece. It is a beautiful piece. Thinking about ballet dancers and their general difficulties finding their "deep center", one would think ballet dancers trained by Tudor might manage it a little better... Not that Tudor's work requires the different center weight use that Limon does, but I believe his movement
-
Same here, I remember her dancing as a child with MOMENTA! in Oak Park. It is wonderful to see an artist mature! Meanwhile, I attended Program F today and was happy to see the Limon repertory being tended to in different regions of North America. This was one of the Next Generation performances and it was interesting to see the students in various stages of development. The focus out of the youngest dancers, from Canada was quite extraordinary. [Canadian Contemporary Dance Theater in exverpts from "The Winged", coached by Kristen Foote". It's always interesting to see which dancers really
-
What is a ballet ethnographer?
-
Recently Discovered Materials Regarding the Original Swan Lake
Amy Reusch replied to abatt's topic in Swan Lake
Yes, I wonder what the story was with the archives... I can imagine someone loyal to the old regime having been the archivist, not wanting the material to be lost to history but not wanting to make it especially available.... -
This page has the program info: http://music-tickets.yale.edu/single/Eventdetail.aspx?p=15131 PROGRAM Russian Dance from Swan Lake (music by Tchaikovsky, choreography by Petipa) Seventh Waltz from Chopiniana (Chopin/Fokine) Melody (Gluck/Messerer) Death of the Rose (Mahler/Petit) The Dying Swan (Saint-Saëns/Fokine)
-
It isn't clear if the lectures are open to the public.... Anyone have any info on this? (Someday I will learn to read more carefully. The first paragraph of the news article clearly states all events are free & open to the public. I guess when I read the later paragraph about the performance tickets, I mistook it to mean the lectures were closed events)