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julip

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About julip

  • Rank
    Member
  • Birthday 04/04/1976

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    rabid fan, teacher, dancer
  • City**
    WA

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  1. Curious if there is insight on this... One of my worries in seeing the Balanchine Nutcracker at PNB was having to watch the single raised fingers in Chinese. Last weekend I didn't notice them, and then with the Chinese instagram video posted, yup, they took out the fingers. Has NYCB been doing this? or is this something new just for PNB.
  2. Well, you just inspired me to say more! I went again last night (Saturday) and I saw Dec in the PdD. I actually (shock coming) preferred her in the role to Imler. I can't believe that I just typed that. I hate to say it, but I think it might have had something to do with body type. Normally I'd rather watch someone with Imler's body on any given day, in any given role, but she just didn't look right in alot of the movements. Sense of Doubt, however, still didn't do it for me. Sandy M., I wish that I could agree with you on it, but I just can't. But, as Peter Boal kept saying in the
  3. I rarely ever comment on the shows I see (at least in this forum), but dang this show is worth commenting on! Starting from the beginning, oh lordy why did I sit through Sense of Doubt yet again. Seeing it last year I just didn't get it. Not only did I not get it, but I was bored by it. A friend of mine said it all when she stated that "the only thing I'm doubting is if I just watched a ballet class or not". Watching it this second time, I was able to decipher a bit more why I just really don't like this piece. During the pre-show lecture, Doug Fullington was talking about how the title
  4. For me, it is the Sendak designs that make the production. It really is a visual delight. I do love the ideas that go into this production, and honestly I don't think it's as bad as some people make it out to be. It is the only Stowell work that I like...at all. I like the fact that it tries to find new ideas in the Tchaikovsky score. It's not an easy thing to do, and for the most part I think the ideas have the potential to succeed. In my ideal world, the production would remain the same, but the choreography of the individual dances would be tackled by someone else. The OP has s
  5. One of the reasons that Moore's interpretation worked so well for me, was that he seemed to be willing to make that sacrifice --over and over. There were many times throughout that I was convinced that this would all end in death, but he kept overcoming it to strive forward once more.
  6. For myself... I saw friday night's performance with Rachel Foster. I feel badly for saying anything negative, because to just get through this piece...wow. I really, really wanted to like it. I really did, but she just did not hold me. There didn't seem to be a connecting thread there. It did seem truly abstract, but not in a good way. I do have to say that a big problem for me that was distracting was the lighting...which afterward at the Q&A Peter Boal stated that the board had malfunctoned, and I am completely willing to blame my whole experience on that. I went back to see
  7. I am so, so very excited for this festival. I've been looking forward to it from the moment it was announced. It's a dance-geeks dream. I can't go on the weeknights, but I'll be camping out for the third weekend. Pre-Show, Post-Show, Inbetween Show (how exciting for the Crispin Spaeth group!) I'll be there. Between the RedHook and the trail mix, I'll be set. Although for the first time ever, I'm planning to watch something from the lobby. I'm excited for Pacific, but last time I saw Carmina I had a hard time not commenting throughout the whole thing. I'll just watch it from the lobby
  8. I believe that I saw this a few different times on the Arts channel. The design looked as if it were in a swamp or other muggy environment with the tree of dead turning and turnning. There was a corps of dancers who more or less hung out on a platform around the tree, and there were a couple of soloists who would, indeed, run back and forth alot. Everyone looked very dirty. I found it to be quite beautiful, in a disturbing sort of way. It was very mesmerizing. If it is what I'm thinking of, it was a scene from an opera...but I cannot remember what it was. I'll keep an eye out for it,
  9. I have this sudden image of George Bush doing the Roddy McDowell speech (as Augustus Ceaser) in Cleopatra. "Show me the way to war! Show me the way to Egypt!" while holding the spear aloft in front of the crowds. (I hope I got that quote right)
  10. I had a great long think in the car driving the last couple of hours, and I have a couple of thoughts to add to the conversation. -Does anyone do truly original Petipa choreography anymore? I was going through my mental checklist and I can't remember how much of all that I've seen were Person X after Petipa, and how much of it wasn't, if any at all. - How much of my seeing Petipa as uninteresting stemmed from my finding the music uninteresting. Not including the three Tchaikovsky ballets (though there are points during those where I want to pull my hair out), all of the music just seems
  11. (oh yay! fun conversation! I have to actually put on my thinking cap this summer) But does fun to watch equal good ballet? Simply because a movie is fun to watch, does that make it a good movie? Is Petipa done so much because he was a good choreographer, or was it because he was in the right place at the right time and the Czar liked what he did. Do we accept his choreography as great because it was, or for some other reason. When I say that he isn't relevent, I mean he isn't to the world and our lives today. I do understand that his steps were relevant to the subject matter of ballet,
  12. Oh! and what would be a good ballet? I wish I knew. Those art theory classes were an exercise in redundency, going around and around in circles about what isn't art ... I wonder if we ever actually got to what art was.
  13. This all comes from my experience in an Arts College. In theory classes there is a mixed group not only of dancers, but visual art, theater, and music majors. So start off by imagining a militant art major sitting next to a bunhead. When I watch a Petipa ballet, I enjoy it and appreciate it. But it's not the choreography that I'm responding to, it's the technique and performance of the dancers. To me, if you focus on the choreography, there is neither intrest, relivence, or creativity. There is a stringing together of steps and style that is already set without it moving forward to f
  14. If you were to discuss Petipa ballets in a modern day Art School forum, I'm sure that the general attitude toward them would be that they were a bad ballet. And I must admit that if I weren't a dancer I would think that true, but I love them.
  15. Robert Barnett was from Wenatchee. He didn't choreograph alot, but I know he did about three works for Atlanta Ballet. I'm not sure if Pat Graney was born here, but she's definetly part of the Seattle scene. I could rattle off probably a dozen plus locals who are doing wondeful things in Modern dance, but I don't know if you're looking for ballet/nationaly known only. And why hasn't SandiK piped in on this yet?
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