Amy Reusch

Ooooh... I would love to be in the best sets. All the same, thanks for the typo alert! I am not a fan of presenting something from the wings when it was designed for a proscenium stage presentation, exciting though it might be, it does not seem to honor the choreographer and artists intent.

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.

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?

I saw a lot of ballet on PBS as a child and found it inspiring, and there certainly wasn't any ballet in the public schools in my area. I am a strong believer in STEAM over STEM, though I don't undertand why the study of English has become so devalued.

I don't believe Catherine Hurlin began at ABT... I thought she started at a competition school in Westchester... Was she at ABT before she was Clara for The Rockettes Christmas Spectacular?

Well, that's more than nothing! Glad it's not a drain. Too bad there isn't a breakdown of how much of that comes from the summer intensives. I'd like to know how much tuition the actual school generates.

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

I'm tempted to return the favor and forget his work ever existed.

[thank you]

Wonderful job of setting JKO up on a strong foundation. It could have been done badly, but it was not.

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

And there is Marina Harss' article for The New Yorker: http://www.newyorker.com/culture/culture-desk/the-power-plays-at-the-bolshoi-on-film

These are charming! Kudos to the dancers, The Guild, and the photographer!

Where is the "amen!" button?

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?

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)