vrsfanatic

So sorry for the misunderstanding. I did not mean for you to withdraw from the discussion at all. Your input is very valuable. Often I feel out of my league as I read these discussion, but I always learn something. Your input is always wonderful.

vipa, this is not the correct forum to have a discussion of what is or is not Vaganova training or the evolution of the school inside of Russia or outside, I can however assure you that Balanchine was not trained in Vaganova schooling, he was trained in the Petrograd School, with the Imperial schooling very much influenced by the French school and Cecchetti. The paths of Balanchine and Vaganova most assuredly did pass however she did not begin teaching in the school until 1921, the year Mr. Balanchine graduated from the school, still known as the Petrograd School. She became the director in 1934.

The program of study named for Vaganova has been handed down quite purely by the methodology department within the Academy since her death in 1951. A panel of pedagogs work endless to examine and re-evaluate the program of study all the time, meaning all day and everyday within the school. It is an amazing thing to watch. Changes are made, yes, but if you read Vaganova's writings from the beginning of her work until her death, you will find that she herself changed many things. In the study of the program as a teacher in St. Petersburg we are told not to think of it as a dogma, it is a living breathing body of work that will indeed change with time mainly due to the demands of choreography.

As for the "hands" and "epaulement" being the same in Vaganova and Balanchine training, no they are not alike at all. The Balanchine hand is held as if holding a golf ball or a ping pong ball between the middle finger and the thumb, a hand used in some character work in Vaganova Academy. The classical Vaganova hand is a more flattened hand that blends into the line of the forearm and wrist. It continues the line of the arm rather than end the line of the arm. The thumb is indented toward the second joint of the middle finger which lays flat, pointing toward the center of the hand. As for epaulement, the turning of the head does not epaulement make. It is more of how one uses the upper back and torso in relationship to the lower body and diagram of the classroom plan. The two schools of thought are very far apart. Balanchine schooling teaches inclinations of the head from the start and the twisting of the torso while Vaganova schooling does not teach inclinations of the head until midway through the training but it is connected to the inclinations of the body. As for the twisting of the body, it is used in choreography but not in the academic schooling with the exception of 4th arabesque.

As for speed, the speed in the upper levels of training in Vaganova Academy are quite comparable to the speed of the work at SAB. Please do watch th 7th and 8th year offerings on youtube. It is quite astonishing. I finished my studies in St. Petersburg in 1995 however the tempi requirements for the upper levels have been in place since my late husband left is pedagogy training in the late 1970s, if not longer.

Catherine, I await your book with happy anticipation. When will it be available?

Having watched quite a few "stars" in their youth until their arrival at the top internationally, there are those who are more obvious than some at a young age, however this is not always the case. Bowing out now as I choose not to participate in conversations discussing particular dancers. It is however interesting to know what the audience thinks as they watch a young dancer grow from a member of the corps to a fully developed artist. Thank you for your input.

Having been a ballet teacher for many years, I am interested in your comments atm711 regarding the progression and development of a member of the corps de ballet, through soloist to principal levels. As we all know, performance snippets on Youtube are no comparison to live performances. I go to the ballet often times without prior knowledge of casting or anything about a particular dancer. Living in an area of the country that does not have regular availablity to performances of ABT, NYCB, The Joffrey Chicago, PNB, Houston Ballet, Boston Ballet or San Francisco Ballet (to name a few),does not allow for in person impressions to play a role in my viewings of ballet dancers in new roles on Youtube. Youtube is a wonderful tool, however I try very hard not to formulate opinions of a dancer from what I see in a snippet on Youtube. That being said Boylston is a former student of mine, therefore I take myself out of the running in discussions of her particular performance, however I am intrigued as to how the ballet loving public thinks a dancer develops from the corps, to being a soloist, to being a principal dancer.

If a dancer is never given the opportunity to show the principal roles publicly until the role is "star" quality, the dancer cannot develop themselves as true artists. Dancers need to perform roles publicly to develop themselves. They need to be seen by their ballet masters, director and coaches on that stage in order to be advised as to how to look even better the next time. It can take many performances. This was Ms. Boylston's second performance of Theme and Variations, the first having been in Havana (up until now, still no footage). There is always room for growth in all dancers, however comparing a corps de ballet member who is just beginning the journey to a seasoned performer such as Farrell is a large step indeed. Ballet dancers of merit always have an interest too improve themselves. They are guided (sometimes misguided) by teachers, ballet masters, coaches, directors and of course their own instincts. Experience is the best teacher of all.

I have no idea if it is Moscow or Havana, but thank you so much for this.

Very interesting. Thank you.

A fantastic evening. Totally inspirational. A must see for anyone who loves ballet.

Thank you Amy for posting this. Jana was a lovely person, a wonderful dancer and a talented woman. A loss to the dance world. Rest in peace Jana.

I will be there too bart. The HARID Conservatory students are in the documentary as well as a few of our alumni. Looking forward to seeing the film! Of course Mr. Caras is a wonderfully entertaining and talented man.

Cristian our students, male and female, do reverence at the beginning of each class. With time permitting, they also do reverance at the end of class. Reverence in Vaganova training always maintains a very regal, highly lifted upper back for both the male and the female dancer in the classical role. Kneeling to the knee is reserved for only stage work and even then is performed sparingly. I have noticed that each culture has it's own reverence and customs associated with the movement.

I was not at the lecture for the NYCB Balanchine celebration (I had to work), although I was at the matinee on Saturday. The reverence was glaringly different and awkward. I am glad Mr. Martins did address it. It must be one of those things that evolved over time because it was not that way in the 1960s and early 1970s. I am sure I would remember being taught to bow in this way had it been "the way" of the time or at least I would remember being taught not to bow in this way in my later involvement in ballet.

Is reverence necessary in ballet? Yes, it is our way of showing gratitude.

Thank you. I will look into that. Sound like a wonderful day.

Hello Paula. It is wonderful to have you join us here at Ballet Talk. Happy Holidays to you and your family.

To my knowledge, ilyaballet is still up and running. So is ilyaballet1.

http://abt.org/dancers/detail.asp?Dancer_ID=232

Cuban born dancer, Alberto Velazquez. In the US,trained at The HARID Conservatory and JKO, now in ABT II.

I am totally out of it. Ms. Tuttle is a dancer I knew as a young member of the corps, followed until she left, but this is the 1st time I have any inclination that it was not voluntary. WOW. A great interview of a lovely dancer and person. May she find her place in the ballet world. I am sure she has much to contribute.

Has anyone seen footage of Isabella Boyston in Theme & Variations with D. Halberg? There is a small snipet in the Cuban Broadcast, but not much.

Thank you. I had never seen this one before. Very enjoyable.

Martin Fredmann did quite well in 1988 or '89 for Tampa/Colorado Ballet. It was in One Act. I will have to check on the music, scenery and costumes.

Great look for sure, but difficult to read online. Looking forward to the new season.

Actually, you did a great job Helene. I thought I might introduce myself to a few of the members interested in this thread so that they would know I am only connected as a former teacher of the dancers in question. My identity is not a secret. I think it is in my profile, although I should double check. It is good to be open about this thread. I do understand the issues with reviewing students. BT does a wonderful job of monitoring.

I hope the following information will clarify a few issues. I have no professional relationship with the School of Boca Ballet Theatre nor Boca Ballet Theatre as a company. I live in Boca Raton, work at the HARID Conservatory and 3 of our alumni are performing in the production. I am interested to hear how they did, which is something I read on BT all the time with their respective companies. I am not able to attend the performances. The ballet world is very small. I do know the AD of Boca Ballet Theatre well.

Hopefully perhaps there can be a discussion of the production in general and the professional dancers. If not, I understand.

So, can we get back on topic? Did anyone see Boca Ballet Theatre's Giselle? They opened last night. Please remember they are a school so the review might also take into consideration the corps and supporting cast was compiled of non-professional dancers for the most part. Waiting to hear. I cannot attend although I was able to see a few of the later rehearsals.

Waiting anxiously to hear. As you can imagine, this is a big deal for Boca Ballet Theatre.

Yes, they will.

American Ballet Theatre principle dancers Julie Kent and Marcelo Gomes will be performing in the Boca Ballet Theatre production of Giselle July 30, 31 and August 1. ABT corps member, Sarah Smith will also appear in the role of Myrtha. For further information is the link below.

http://www.bocaballet.org/index.php?src=events&category=%2An&srctype=detail&refno=212