Cabriole

I did watch the tape again. As compelling as the principals are to watch, with the exception of Maynard Parrish, I always felt I was watching them play the role. I never forgot I was watching Mr. Richardson the dancer or Ms. Tan the dancer, play the role. Did these people ever love each other? I understand that this flaw my not reflect the dancers' abilities (rehearsal time, direction, choreography, etc. all play a part...), however, the result is almost a caricature. I believe that Mr. Parrish also managed another small, but crucial detail... his character showed some age ! Time passes and the other principals are still as athletic and supple in movement. There is no more 'weight' to their steps. Yes, it is hard to ask dancers, so beautifully in their prime to relinquish those qualities for the sake of the storyline, but isn't that the point?

I have very little to add other than an echo of Ms. Leigh's comments, though I probably will watch the tape I made again (sans audio ;) )just to watch the principals. The score is a horror and the choreography too literal (8 bars of this followed by 16 of that...)

Peanut butter (as a protein source...I'm a lacto-ovo vegetarian) and popcorn just to feel 'filled up'. At least I had roommates who were students at Juilliard who knew the acting students who threw great parties with lots of good food:D

Ravinia is legendary; I remember it being hot, humid, raining followed by a feeding frenzy with mosquitoes. It was torture not to be able to swat or scratch! Not mention the ones that got caught in our false eyelashes:eek:

Originally posted by BW

Treefrog, I think we're all so subservient here in the big city to our cultural icons that we are just thankful to get seats.

When I ordered my tickets online for Alvin Ailey at City Center, I could pick my seats before confirming purchase.

I can't believe it; we (Chicago area) are actually getting this on the same date (June 18 9:30pm). We are also finally seeing the ABT Born to be Wild on both June 29 at 3:00pm and June 30 at 2:00am (though I have already purchased the video).

Oh, I second the vote for Ms. Fonteyn! I had the priveledge of seeing her preformance towards the end of her career...wow! She no problem convincing the 4000 seat theater that she was 14.

I am proposing this litmus phrase:

Does the situation nurture talent or exploit it?;)

Originally posted by Hans

That is a matter of opinion, citibob.  I was taught that the point of a jump is to...well...jump.  While one does move through a certain position in a jump, the point is not to reach a split; the point is to fly.

Yes Hans, a jump must have an arc , not go 'splat' in space:eek: Oversplits and the resulting 'jumps' are very popular in rhymthic gymnastics.

Oh, I think I need to clarify my intial remarks as everyone picked up on one word:eek: . I can only speak for American companies and as I personally know the ADs of most of the large ones, I think the prevalent view is that a dancer of color (remember that this is a phrase that covers ethnicity of many) attending an audition (in it's many variations) is as likely to receive the contract. But ballet, as with many activities, is economically unfeasible for large parts of our population. How many parents can see this life, with it's many economic uncertainities as something they can sacrifice for? In the Chicago area, after several decades of schools moving out to the more affluent suburbs, several of the major metro schools have begun community outreach programs to bring high quality dance education to areas of the city previously under served.

When I danced professionally, we couldn't get tan lines or else we had to use body make-up for smooth coverage, but I think the 'color' issue is generally dead (or at least I hope so!) as dancers of all colors have definitely distinguished themselves in companies all over the world. Personally, I think the teacher you quoted is very much behind the times...

Two qualities that stellar artists who can also teach: curiousity and a sense of humanity (Ms. Farrell and Mr. Villella definitely have both!). I can't speak for the opera, but I sat in on classes conducted by Yo-Yo Ma and he too, brings a joy and focus to his young students.

I have maintained for years that Mr. Klein should underwrite the ballet as he has made millions from 'borrowing' from what dancers wear daily (can we say "inspiration"?;) ).

Originally posted by fendrock

I think it is an interesting question, because I want my daughter to get a "good" ballet education, and I do believe that takes more than one class a week, even if she has no professional aspirations.

For those who are opposed to recreational training, are any opposed because they feel it is not really possible to train recreationally and learn ballet in a significant way?

In my original post I mentioned that the venue was, in my opinion, not the issue in determining quality dance training. I guess I was less clear in my position, as grace pointed out, is probably more with the semantics of the word recreational . I think Treefrog was closer to it, by acknowledging intensity of schedule, etc. not quality of training. So, yes, fendrock , I DO believe that significant training can and SHOULD be available for those not necessarily on the pro-track.

From a business prospective, I would think that a studio owner with a qualified staff could indeed find exemplary training profitable, as such training is quite addictive;)

I will state flat-out that I do not believe in 'recreational' training...period ! Good training is good training regardless of the venue. There are various ways to go about this, but as soon as you lower your standards/expectations, you have determined your outcome. This does a great disservice to the participants.

My initial training was at a community center, but the teacher was an accomplished teacher/choreographer who was working his way from one coast to the other and stayed in this program for several years. When he moved on, he placed all of his students with good schools and we did not have to 'relearn';)

I do not believe that discipline, structure or technique have to be dry, oppressive experiences and I also believe that when people understand how to use these tools, that they will actually find joy in the process!

That said, a technical teacher may not be better if she/he lacks the skills to communicate effectively. I can't, however, fathom that a community would prefer joyful well-trained dancers to happy mediocre dancers;)

Treefrog, I too feel your pain! I couldn't wait, so I ordered a copy from WNET (they said it should arrive next week).

Though I remember some wonderful performances, my clearest memories of Baryshnikov's musicality were from classes with David Howard. There were one or two guys who could go toe-to-toe in terms of the virtuoso steps, but it was the way he tweaked the timing of the preparations or take-offs that helped create the illusion of a greater arc, height or suspension. He heard the phrasing differently and this was even more apparent when there were several dancers doing the identical phrases at the same time. It was also apparent that unlike some of the others, he was not afraid to hear the silence in a phrase.

I've read the Pushkin biography, "Alexander Puskin: Master Teacher of Dance" by Gennady Albert and re-read, "Zen in the Art of Archery" by Eugen Herrigel.

Film is called Ballet by E. Wiseman. I know my local PBS station aired it a few years ago. You might want to check with your local library.

Film is called Ballet by E. Wiseman. I know my local PBS station aired it a few years ago. You might want to check with your local library.

My teen/adult beginning classes were packed after Center Stage (and Save the Last Dance) came out. We were even moved to the large studio, replacing the hip-hop class:D True, many only lasted one semester, but many have stayed on (I remember this also happening after Turning Point).

Personally, I prefer Wiseman's documentary of ABT: the truer sense of tedium, fatigue that we know to be 'company life'. Also, to be able to hold onto Ulysses Dove a bit longer and watch Ms. DeMille fight to remain choroegraphically vibrant despite the odds.

My teen/adult beginning classes were packed after Center Stage (and Save the Last Dance) came out. We were even moved to the large studio, replacing the hip-hop class:D True, many only lasted one semester, but many have stayed on (I remember this also happening after Turning Point).

Personally, I prefer Wiseman's documentary of ABT: the truer sense of tedium, fatigue that we know to be 'company life'. Also, to be able to hold onto Ulysses Dove a bit longer and watch Ms. DeMille fight to remain choroegraphically vibrant despite the odds.

LOL...George Balanchine's Symphony in C

Originally posted by Leigh Witchel

leg-work is like fine embroidery

What a wonderful phrase!