amitava

When viewing some of the marketing literature and web sites of Ballet companies, I saw a few mentions of being X of the top 10 Ballet companies. Does anyone know the source of this information? I am sure that Dance/Pointe magazines probably features articles or studies at some point. I tried googling and could not locate anything specific on the source. Of course, in the worst case I can contact the press/marketing groups of the companies. But I prefer to locate a souce that I can follow with time. Let us not get into what "top" means..but I am interested in a lot of aspects - budget, artistic sensibilities, audience size, number of presentations, size of company, etc. etc. Thanks in advance

Thank you so much for the detailed advice, especially chrisk217 and carbro. Carbro, I was not looking for photogenic moments so much so as to get a general feel for the ballet, in terms of the movement mood transitions, number of people on stage at a time, whether there is more drama or dance, etc. I never base my shots on tapes. The moment in the theatre determines the quality of the photos. But the point that there is no one archetypal Romeo Juliet helps. That should make this project an interesting one, to see the three choreographer's different takes. Dominic Walsh (ex Houston Ballet dancer) is also working with Mercury Baroque to present a RJ. I am not sure what the performance will be like. The music of course will not be what people expect, and DW's style is contemporary. I did go googling for the libretto and discovered the following notes at http://www.balletmet.org/Notes/ROMEOAND.HTM. http://www.national.ballet.ca/Performances...meoSynopsis.php also provides a scene by scene description. Do they generally match the flow of most choreographers seem to follow? I am still trying to decide which two DVDs to get. I am leaning towards http://www.amazon.com/exec/obidos/tg/detai...?v=glance&s=dvd (Galina Ulanova, Yuri Zhandov, Gennady Rozhdestvensky, Bolshoi Ballet (1956)) and http://www.amazon.com/exec/obidos/tg/detai...?v=glance&s=dvd (Ferri, Eagling, Jefferies, Drew, Hosking, Macmillan, Lawrence, Royal Ballet). I hope these are the right versions that Chrisk217 mentioned. I am tempted to go with the POB version also, just to see the filming/angles. Also is seems to be a different type of choreography. Sincerely

The Carolina Ballet, Texas Ballet Theatre, and Ballet Austin are going to present Romeo-Juliet as a part of the 2005-2006 season. Since I have never seen the Ballet, I would like to experience 1-2 versions on DVD before the live performances. I did a search on Amazon and came up with a huge list of options. Can folks thrown in their 2cs regarding which DVDs are the "best"? I looks for deals.. and could not resist thisone specifically. Any recommendations? Thanks in advance.

While browsing their web site.. I came across the 2005-2006 season, even though it is not on the main pages...You can view it here http://www.texasballettheater.org/season05.aspx Romeo Juliet, Nut, 2 mixed programs, and Cinderella.

I am not a dancer - nor a critic by any means, just a lay observer. So take my opinion with a sack of salt. I got exposed to Kylián's work last year at Dance Salad in Houston. I saw 27’52, Birth-day, One of a Kind, and Blackbird. This was followed by Petit Mort in ABT's Texas tour last Fall. This year Dance Salad presented Double You. All were presented by a couple of dance companies (Kylian Foundation being the most prominent) from Europe, and trained first hand by Kylian. I got a brief moment with the dancer Václav Kunes, about how he trained for Double You, but did not drill him about Kylián. I think it is an interesting question as to how a choreographer sees themselves. I am sure it changes in time.. and the answer may depend on who is talking to him. I will make it a point to remember to ask that question of other choreographers when ever the appropriate opportunity/situation arises. I would tend to agree with Leigh Witchel. As much as I enjoy and admire Kylián's works, I would say he is more contemporary than classical. Now I admit I have not seen the full body of his work. I visited the Prix De Lausanne web site and see that Kyliyan's works are a part of the repertoire for selection in the contemporary section for 2006 contestants. Perhaps all of us will get to see the interpretations by the different contestants on the web cast. Kylian dark? Tough call. Yes some of his works that I have seen do seem dark, but that was bad lighting I think I have a dark personality, so probably don't see it! Just kidding. Seriously, some of his works do seem dark..but he seems to be contemplative, humorous, satirical, and serious as well. Duatos' Remansos, Men’s section and Por Vos Muero were also performed in Dance Salad this year. Duato on the other hand, I think, has a stronger classical feel in his works from the little that I have seen. I am almost tempted to purchase the "Symphony in D Workshop Video", as I have not seen any of his "classical" works. In addition to rehearsals and a performance of the piece, Kylian talks about his role as a choreographer/dancer. Anyone seen that? As to the comparisons to Christianity... hmm I have to let that thread go. As a heathen, my ignorance in such matters is best left unexplored.

Yep. Gina Patterson from Ballet Austin won a Choo San Goh award in 2004 for her choreography of Free to Fly, inspired by themes in Freida Kahlo's life. Are any of his works (both performance and choreography) available publicly? Thanks in advance

Thanks I like these examples where connoisseurs consider it acceptable..hell required clapping. Looking forward to other examples. I have not seen any of these pieces. So I need to make it a point to try and experience the scenes on video at a minimum. I have no idea when a "live" experience will happen! I know it is not the same.. but at least I will try and see if I get carried away a little..After all I can always clap in front of the TV.

I don't deny that applause under certain circumstances seems appropriate, but I come across those special moments very rarely. But then I have not attended many live performances. I was more concerned about two factors (1) does the sound drown the music (2) does it break the concentration of the dancers and musicians. One of the responses was interesting that some dancers may actually worry if there is no clapping (3) Does it disturb other audience members? Most times it does disturb my concentration and breaks the spell, primarily because the music is drowned. Also, applause, like laughter seems to be infectious/instinctive. Many people seem to clap because someone else if doing so..and from watching them, it is not that they are thinking about clapping...they just do it when they hear the sound. During a rehearsal of a Balanchine Pas de Deux at Dance Salad, I was surprised to hear a loud clapping behind me when Zdenek Konvalina was doing his Manege thingies. Well upon turning back I discovered it was Maina Gielgud guiding the time of the leaps and landings

And it looks like Ballet is overdue in getting recognition soon! Last one in 2000!

Yes males..Magege, the way you describe it and with females, the variety is a great deal more. They do leaps, spins in circles, rotating continually in a single spot, etc. Thanks for the Russian encore explanation. So I guess it is not a stereotype. Yes I have seen only USA/Europe based companies, and 2 encores are usually a big deal. The Metropolitan Classical Ballet in Arlington TX has 6-8 Russian principle dancers. I need to stay back for a live performance and experience this milking. But Marqa is right, there is something very different about Russian dancers in their form, that I cannot quite put to words. They seem to be much more in "form", have a very beautiful and consistent way of executing leaps. I am not sure if it requires a lot more effort. But I don't know if it is me or I have seen only a certain batch of dancers - their mime is so cold to me. Response to Paul "stopped the show and made the performer do that whole variation again -- "Bis! Bis!" they'd cry, and Sublimova would "have to" do her variation all over again; it used to happen all the time.". In certain Indian music forms this is also a custom, rarely in dance. And it is appropriate and appreciated by the performer when they know that the audience is of high caliber. It is not that I discount the effect of a clap, but it seems to appear only during certain standard moves. To be honest, if it was acceptable to clap, I find many transition movements, choreography sequences, and manner in which even seemingly simple moves are made, far more impressive than 32 turns. Somehow I cannot but help that a lot of the audience may not appreciate the true core spirit of the choreography, and get carried by the more pedestrian (well perhaps not the best word, but you know what I mean) aspects of the dance. It would be nice to have soft murmur type of bravos as a compromise I guess for special moments. Usually the murmurs I hear are when a dancer falters! I just get carried away in the dancer's movements and forget that I have hands - until the spell breaks. But I do go "wow" in my head. Unfortunately during photographing a performance, I cannot indulge myself! Sigh. I definitely understand that audience feedback would and should enhance the spirit of a performer, and as a member of the audience it adds to the excitement as well. But in most cases, it has left me cold wondering as you put it - do the "dorks" really appreciate and know what is going on in the performance as a whole! Do they think ballet is running round in circles and leaps only! This is not a peeve, just something I just need to desensitize myself to as I begin to appreciate the art more. Thanks for the insight. Paul, the improvisation/variation point is interesting to me. Has this subject been discussed in some other thread before? I cannot believe it has not been broached before.

I do not get to see many live performances with an audience, and I normally watch during a tech/dress rehearsal. But the few times that I have attended performances, I have noticed that many people start clapping during some "exciting" action on stage, before the sequence/section of choreography ends. I do not know the technical terms for these movements, but usually these are moves that are repeated in succession ..and the clapping started 75% to 80% into the sequence. Is this normal etiquette or are Texas audiences a tad on the rusty side? Does this bother the dancers or encourage them? I usually wait for a bow to show my appreciation, as I am not a premature clapper...hope that came out right Also some folks have informed me that "Russian milk the applause". What exactly does that mean? Is this a stereotype? I don't get to see Russian dance troupes very often.

<{POST_SNAPBACK}> Thanks for the response Helene. I have seen the awards on TV for the past few years, but did not recollect the dance community. Great links. Now I have another reason to stay on the internet for a few more hours! Sheesh.

It may be my ignorance in being new to Ballet. So please bear with me. In India, there are annual awards presented on a National level, the Government (the President of the country) to artists from many walks of life. Usually these are in the classical arts, literature, humanities, science, etc. and are given to individuals who have made a significant contribution in the field. I have heard of similar title and/or awards in Great Britain. Does the USA as well as other nations have similar honors/titles presented to exceptional individuals in the arts? Who are some of the Ballet dancers/choreographer/artists recognized in this manner? edited for spelling

I think this is more of a publicity project than probably a real sales deal! I thought it was amusing. It is not that there are potential buyers out there, but I cannot think of a reason other than publicity for such a venture. Yeah yeah ..it is possible that they will get a new sponsor out of it. Can I tempt someone to bid after seeing the 2004 production photos? It was the first time I saw Nutcracker. So I now compare all others to BA's Nut. Direct URL is OK as I own the gallery.

BA's next season is up. Besides Nutcracker (duh), it is the usual mix of the Classical and Modern. Carmina Burana / Sep 30, Oct 01 - 02 New American Talent / Feb 17 - 19 Director's Choice / Mar 31, Apr 01 - 02 Romeo & Juliet / May 12 - 14 Details at balletaustin.org I have also seen ads in the Pointe and Dance Magazine for a new choreographer's contest, next year. The rules and application can be found at www.balletaustin.org/newamericantalent/index.html Enjoy

During the last ABT tour in Texas, I noticed that there were two Orchestra Conductors in the performance... (not for the same piece thankfully ) I would think this an additional expense for ABT and the presenters. Does anyone know the reason(s)? for such a decision? I realize that a conductor may have more of an affinity/connection with certain music/dances/dancers, but I had never experienced this phenomenon before. Is this common in the ABT performances in NY during a regular season as well? Does only ABT do this or other companies who can afford to across the world? Or did I just come across a one-time phenomenon? Thanks in advance.

Well things have settled nevertheless and the two companies do share the Bass. Texas Ballet Theatre is the resident company, and thus gets dibs on the dates for the Bass. http://www.texasballettheater.org/ and as you saw above http://www.mcballet.org/ TBT, the larger company of the two, has not officially announced its 2005-2006 season I think, but I know that Romeo and Juliet is definitely being performed. MCB's season was announced during its last performance, and the web site reflects the performances. To be honest I am glad the two companies manage to survive in Ft. Worth. Each has a very distinct repertoire and artistic flavor. I have only seen TBT's Swan Lake, but have attended several of MCB's performances in the last year and a half. Being new to Ballet, it is great to be exposed to the Bolshoi style by first generation artists. I hope to rectify the lack of my attendance of TBT shows this year.

I don't wish to deviate the thread, but I am curious as to what factors bring about change in such cases? Please let me know if there is a thread in Neverneverland somewhere that has discussed this issue. 1) Choreographer egos and/or lack of research of a piece? 2) Change in taste of audience? 3) Changes in aesthetics? This "loss" phenomenon seems to happen in all art forms. I have felt the pain in other forms of the performing arts I am more familiar with. I hope we are not just old nostalgic farts, who cannot accept evolution. However in this case, the objective at a minimum should be to keep the original choreographer's vision as close to reality as possible.

Thanks for the somewhat lucid descriptions. The point with Paul Taylor is very clear. I was referring to that idea as "vocabulary" i.e. specific poses, movements, transitions. Style still is a bit of mystery - since you mentioned that it is the way that dance is taught...which I would think of as technique. I personally like to see the same piece of choreography danced by different dancers, especially if they are trained in the same manner, and see how they compare. I assume that "interpretation" will make the dance seem different as will a dancer's abilities. I was watching the Prix de Lausanne competition web cast, to try and figure out the style mystery. It has not helped much. I think I may have to see a substantial number of dances and dance companies to unravel the subtleties of style. Would the preference or a approach to choreography, in terms of the way movements, poses, and pacing are sequenced be considered an aspect of style as well?

I am not sure it is quite an obsession, but a nice warm passion for the time being. I had been to a few Ballet performances before 2003, but the purchase of a camera and the curiosity to photograph a performance started it for me. But little did I know about the aesthetics! I shot a tech rehearsal of a Ballet and being more familiar with Indian dance forms, focused a little too much on the upper part of the body (assuming mime was very very important). Well the Marketing Director educated me on that mistake - " You cut off their legs". Hmm, it was a very valuable lesson - something that I forgotten. Every art form has its own framework of aesthetics that a viewer should be come familiar with, to truly appreciate the subtleties. That is what caused me to research and begin to appreciate ballet more. That led to modern/contemporary dance.. pop dance.. etc etc. It has been terrible. In 2005 I will probably see close to sixty to eighty dance performances. Ballet will be about 25% of them. It is not an obsession. I am not in denial.

They will be touring Texas next year I think and I cannot wait. I was completely taken by Revelations when I saw it the first (and only) time, years ago. Wonderful music, choreography, costumes, lighting, etc. And I am not even a Christian. It made me buy a biography of Ailey..and yes I finished reading it. I think that the piece has a universal appeal. If I recollect, they did do an encore. I think they are prepared for it usually. At that time I though it was spontaneous, but was to learn about the rehearsed bows...and pre-planning of various other aspects of presentations, as I learnt more about the world of dance/theatre. This brings about another minor question. Do you think the dancers hate repeating the dance ..over ..and over...and over? The reason I ask is that professional ballet dancers (and artistic staff) seem to moan/groan and roll their eyes when asked about the Nut. They have done it so many times and so often, that the joy is not quite there!

I attended two Graham events during their last visit in Austin. One was a Masters class (I was only observing) by a company member teaching aspects of the Graham technique to the U.T. Dance students. The next event was a performance followed by a QA session. One of the major topics that was discussed during the QA was the Graham Technique. It was made abundantly clear at the Masters session and various other sources that the dances came first followed by the technique. Not being a dancer, but being very familiar with music, I am aware of the concept of technique. My observation is that technique seems to enforce vocabulary, and create strict boundaries within which variation is permitted. Watching the dances after the Masters class, I noticed that a lot of "techniques" turned out to be movements/poses that were being practiced as a part of the training. So I am a little confused as to what the differences would be between X's technique...X's vocabulary...and X's style. Are they the same thing on some level? X can be Tharp, Graham, Limon, etc. etc. Eagerly awaiting some slaps.