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Balletaime

Inactive Member
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About Balletaime

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    old fashioned amateur
  • City**
    MA

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  1. Mme. Hermine, do you know if Nissinen teaches the company class? Is there such at BB?
  2. Rarely if ever has criticism influenced the choreographer or inhibited the dancer. So this is a tempest in a teacup. Yet Leigh has unveiled a chasm in judgment. Is there a chrism? Merill Ashley did stage BB’s Ballo and it’s her ballet. Balanchine left it for her. So what’s the beef? Is Balanchine’s opinion, ““You know, I try before, but no one could do, so now we will do.” an absolute and if now none can meet the criteria, shouldn’t Ballo be staged? What of Merill, the dancer’s concern that this small work can be killed by lack of technique? Well that was in 1978, we’re in a new century! As
  3. Quite correct Mme. Hermine, as my view was short sighted. What I tried to say was that Nissinen has indicated that Balanchine’s works would play a more prominent role in the growth of the company’s status. We might diverge in our opinion of how and whether this can be achieved. In my opinion this would require a stronger commitment to the school and teachers. To dance Balanchine requires the commitment of the AD daily teaching the company class, so that his vision of style is imprinted on the bodies of the dancers. In 50 years, approximately 4 generations of dancers if we assume a 8 year curr
  4. Cliff, Not to compete with erudition, I would like to add my 2 cents. Not to get personal but why do we have five fingers? Five toes? Seems that in some examples of evolution we had six even eight! But five was decided as necessary and sufficient. Same in ballet. QED.
  5. “Those of us whose local companies are Balanchine influenced (passionately so, in the case of Miami) have a stake in this debate even if we can't get to NY as often as we like.” bart, March 28 in the NYCB subforum. One of the changes that Nissinen as AD instituted in BB is a Balanchine component in the annual program mix. In ‘04-’05 Rubies and Divertimento were attempted. A choice ambitious, perhaps suicidal given the proximity of NYCB but interesting in that he seems to view such as a balancing, conservative part, to the works of Kylian, Elo, Forsythe, Morris and Childs. The ‘05-’06 season
  6. “my use of the word "shill" was intended to be ironic -- I've recommended it so often I'm always afraid someone WILL think I have an interest in it!” It was successful! Since I did not buy it on ebay, your INTEREST seems benign.
  7. Hope I'm not distorting, by editing. Alexandra, you had me running for the dictionary – shill –(noun) a decoy who acts as an enthusiastic customer in order to stimulate the participation of others; (verb) to be false, to be dishonest. Who are we talking about? Yes, Nancy’s book is a treasure. Had a hard time finding it. Do you know ‘Ballet Chronicle’ by B.H. Haggin (ISBN 0-8180-0402-9). Apart from the unique text, weekly, monthly, descriptions of performances, has 250 fotos, sequential of a dance movement. The Jewels sequence is superb: Verdi in Emeralds, McBride in Rubies “…’the goddamnest
  8. Thanks Ari for the correction, I’m too eager, want the whole bundle. But realistically “the varying interpretations of Balanchine's work offered by different companies?”, will be more than sufficient and welcome. I attempted to put the question in a context historic opinions and caused the confusion.
  9. In an attempt to catch up with the views expressed in the forums, I found the posts about Farrell’s company fascinating. Unfortunately I have not seen it, nor the Miami City’s Ballet. Perhaps someone who has been fortunate could comment on the differences implied in the following articles: Oct 8, 2004 by RACHEL HOWARD in Voice of Dance “We have entered an age of the Balanchine smorgasbord. You can walk down the buffet line and pick your favorite Jewels as Miami City Ballet’s, your favorite Stravinsky Violin Concerto as San Francisco Ballet’s; your favorite Serenade as Suzanne Farrell Ballet’
  10. Not to disparage the academic analysis of Austen, I have read Emma about 4 times out of pure pleasure. And will probably semianualy, as I continue to find interest and satisfaction.
  11. Sorry, I did not intend to mislead. The original was readilly available and I did indicate that a section that I deemed unimportant was cut by the row of dashes. Again my appologies. -"but the basic language is that of classical ballet", answears the question that I was attempting to pose.
  12. Question for Alexandra, In the March 21 post you wrote,”I think what Marks meant by a choreographer who can "move out from it and expand it" is someone who can do what Ashton, Balanchine and Tudor did. Make something that is instantly recoognizably NEW and, at the same time, Diaghilev could look at it and say, "My God, that's Petipa!" ……. I think Christopher Wheeldon is definitely a ballet choreographer.” Since Wheeldon in your opinion is a ballet choreographer and mentioned in the same paragraph with Ashton, Balanchine, Tudor, and Petipa do you here equate ballet with classical? The inclus
  13. Thank you Alexandra and carbro for taking the time. Especially for the reference ‘The King of Crossover Crosses Back’ There’s a lot to digest. Fusion is a category that has puzzled me for sometime and your comments have raised new questions. Hope that I can share these in the spirit of a debate. Long answers always most interesting.
  14. Would someone please define fusion? What distinguishes it from the genre of modern dance? The implication is that two distinct genres are merged. Is there a limit which genres are used? For a bizarre example, classic and hip hop? And a more important question: is such a distinction useful? Or are we doing the equivalent of a Phd (piling it higher and deeper)? Does the subcategory of fusion help us in determining whether a new work is good/beautiful or average/common? And is fusion as a category permit us to clarify in discussions what after all is a subjective judgement?
  15. In my opinion the State Theater at Lincoln Center is close to ideal. In the orchestra the sight lines even from the side seats do not distort and even from the back rows you do not need binoculars. The rake of the seat’s floor is very good in seeing the expression in the feet of the dancers. That the question is not simply contemporaneous, some historical perspectives: Edwin Denby, Dance Writings, April 1944 “….the Center was not built for ballet. The Metropolitant wasn’t built for ballet either. From the orchestra seats you have a hard time seeing the dancers’ feet downstage, and dance lo
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