Cabriole

For me Red Angels was the standout. Dove had a wonderful sense of juxtaposition...what a loss... Aside from enjoying the dancing, I liked bits and pieces of many of the works, but was left wondering why choreographers can't/won't use a 'choreographic editor', much like authors make use of? It often appears that few have the ability to edit and tighten their work. How and when to use repetition, cutting the extraneous, etc. are all skills that most of the choreographers appeared to lack. Several of these works could really shine with some editing.

Not all by dancers, but maybe worth considering: Dance is a Contact Sport by Joseph Mazo (out of print) At the Ballet: Onstage, Backstage by Sandra Lee and Thomas Hunt (gorgeous photos of SFB) Suki Shorer on Balanchine Technique

Not all by dancers, but maybe worth considering: Dance is a Contact Sport by Joseph Mazo (out of print) At the Ballet: Onstage, Backstage by Sandra Lee and Thomas Hunt (gorgeous photos of SFB) Suki Shorer on Balanchine Technique

My feeling is that turmoil is far too harsh a word, though the school is indeed going through changes. Mr. Tomasson has moved rather slowly in adjusting school staff so that it reflects the needs of the company, focusing first on the changes with the company itself. I'm sure there were many factors involved in this. I can't say that the quality of training has in anyway lessened.

Ah, but isn't the purpose of technique to support the personality? Personality with a minimal technique means usually means a minimal range of expression. I will tease my students with: "Which would you prefer, the box of 8 crayons or the box with 64? Even if you never use, or rarely some of the colors, you want them should you need them." As with any artist, a dancer wants the largest 'palette' to choose from. The more supportive one's technique, the clearer the possibilities for articulate expression.

Ah, but isn't the purpose of technique to support the personality? Personality with a minimal technique means usually means a minimal range of expression. I will tease my students with: "Which would you prefer, the box of 8 crayons or the box with 64? Even if you never use, or rarely some of the colors, you want them should you need them." As with any artist, a dancer wants the largest 'palette' to choose from. The more supportive one's technique, the clearer the possibilities for articulate expression.

I'm going to jump in here and say that I think Helgi Tomasson at SFB is heading in that direction.

Oh, I think Lieb got it just right! With Balnchine, the choreography is definitely about the music! With the little of Robbins that I danced, it was, as taught to me, more about 'a way of moving' with the motivation of the dancer, much like an actor, being the the effect that he sought. [ February 15, 2002: Message edited by: Cabriole ]

You should commend yourself for recognizing that this attitude is not in your best interests as either a dancer or a person. You do not have to fall a victim to the negativity! True success comes from enjoying the process and not making the goal the complete focus. People who are only goal-oriented often find, upon attaining the goal that there is a sense of emptiness...Training your mind to stay in the here-and-now is a learnable skill and a skill that will serve you well in any endeavor. As an aside: a look inside the class of any major company, and you will see a wide range of body types (even in the companies reported to like a particular 'look'). [ November 12, 2001: Message edited by: Cabriole [ November 12, 2001: Message edited by: Cabriole ]