LiLing
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Posts posted by LiLing
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If a dancer is learning a role in the last ballet they might be expected to stay and watch, but normally they can leave when they are finished performing.
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Congratulations to both. Great choices. I think this will give Ratmansky the luxury of time to breath and think when and if he needs it. Rushing from commission to commission isn't always the best condittion for developing new work, and he does have a family to support.
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For ballerinas in Czarist Russia wearing real gems on stage was common. In the novel The True Memoirs of Little K, based on the life of Matilda Kschessinskaya there is extensive description of the fabulous jewels she received from her admirers and displayed on stage. Whether the specific jewels the author described were the result of research or imagination, it was certainly the practice then. After the revolution, Kschessinskaya lived for years in France off the sale of her collection.Alas, fan's offerings are more modest today. We will probably never see more than small diamond studs in the ears of our favorites.
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At a NYCB matinee a few years ago, I spotted a man with a HUGE gorgeous bouquet of red roses in the lobby and thought it strange he was carrying it into the theater, rather than leaving it at the stage door. During the curtain calls for Afternoon of a Faun, he ran to the edge of the pit, and tossed the flowers to Alexandra Ansinelli.The following Sunday in the NYT there was an article about a man who is a well know fan of both opera and ballet. He travels internationally to follow his favorites, and throws large bouquets. He sends a bottle of Champaign to the dressing room with a note saying that he will be throwing, so as not to scare them I guess! It mentioned the recent performance of Afternoon of a Faun after which he had thrown to Alexandra Ansinelli.It said many of the opera stars found it annoying, but Ms Ansinelli was quoted as saying she was thrilled! (It was a lovely performance BTW.)
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I would want to teach a history that started with the origins of dance as theatre, imitating animals to tell stories around the fire, down through the evolution of dance pre Louis XIV, especially the highly sophisticated forms in Asia. I've heard so many teachers say ballet is the basis of ALL dance. It makes my hair stand on end!
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One more aspect of this series to complain about. Perpetuating the stereotype of the air headed dancer.At least the other dancers seemed taken aback that Zach had never heard of Napoleon.My question is, why did Sklute assign Josh to learn the part in the first place? That seems cruel if he didn't intend to cast him. And what happens now if Zach is out, and he has to ask Josh to go on for him?
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Around the globe indeed Marga. Several years ago I was sitting in a cafe in Tel Aviv eavesdropping on a couple at the next table discussing David Howard's classes.He was a great teacher. May he rest in peace.
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This first episode doesn't bode well for the 2nd season. Another boring relationship's travails, the two new characters seem extremely unappealing so far, and no dancing to speak of.
I hope we get to see some real coaching from Wendy Ellis Somes. I will gladly (well, almost) sit through all the made for teen audience aspects of the show for that!
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Broadway is full of performers who are triple threats. They have studied acting, take regular voice lessons, and dance classes. Many not only have strong ballet technique, but have a lot of experience with jazz, tap, you name it. While Wheeldon may want to work with dancers he knows, I will be surprised if Jerry and Lise come from the ballet world. The vocal demands of eight shows a week in a lead role have sent more than one film actor down in flames!
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"Muses" is lovely, and Apollonian - presumably, Balanchine would have approved
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It already has its own specific meaning and history though, and I'd be sorry to see that meaning muddled.Someone else can probably give examples, but balletomanes have often used "ballerina" as Macaulay uses it, as indicating the highest level of artistic achievement.
To me ballerina denotes the rank of principle. One's subjective opinion as to whether or not Miss ---- deserves to be there is beside the point. It is a hard earned position, and my teeth hurt when it is used to refer to any girl who does ballet, even a student.As for company members in corps and soloist positions, what is wrong with dancer? It is an honorable title in my opinion. I used to love the way the corps in England was listed as Artists of the Royal Ballet, but now days as pop culture calls anyone who makes the tabloids an artist, not so much. -
I also find this annoying. And the implication, that they think dance isn't important enough to list, bothers me more than the inconvenience.
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I've noticed something lately, and wondered if others have too, and if you know the reason for it: in the last few months, I've noticed that on the front of the Sunday NY Times Arts and Leisure section, where they post what's on the inside pages, I no longer see a Dance category (which used to be there, if not every week then frequently). It will, for example, say Film, p.XX, or theatre, p. XXX, but no longer dance. Even when there is, in fact, a long dance article somewhere inside that section. Today, for example, there is a nice article on page 11 about Daniil Simkin of ABT, but on the front headings, there's nothing to alert us to it. And that's been the case for weeks. Is this a policy decision, and if so, why???
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Starting in the 70s, Maxine Glorsky was Production stage manager for Martha Graham for many years. She also worked with Glen Tetley's co, DTH and many others.
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I loved her autobiography A Time to Dance, No Time to Weep. It spans her childhood and up through young adult years to the publication of Black Narcissus. Her tales of life in India and Kashmir are facinating.
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I have felt the reverse many times with numerous critics who reviewed modern dance with a clear ballet bias. Years ago a critic in London ended a review of Martha Graham's masterpiece Diversion of Angels with "when I die and go to heaven I hope the Angels are on pointe."
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In an American co. when a dancer's contract is up it is up. If either the dancer or the co. chose not to renew it that is the end of it. (Despite public outcry. See NYCB, MCB, Cunningham) Does anyone know if this is different at the Bolshoi?
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Yes, I thought the choreographer slid them apart. They did not slide of their own volition. A subtle comment on Martins' use of dancers?
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The distractingly poor camera work ruined Brandenburgs for me. The dark costumes against a black drop don't help this supposedly joyous dance either. And we got a closer look at the ugly and unflattering women's dresses than we do on stage.
I have no idea how the camera work was for Beloved Renegade. I was so absorbed in the dance I wasn't aware of it. This is one of Taylor's finest works and comes across very well on screen. Complex, beautiful, moving. I can't wait to see it again.
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As for being the ONLY choreographer of the 20th C. to see women as they see themselves, I think that is a ridiculous statement. I personally identified more with Tudor's women than Balanchine's. We humans, women and men are a complex and varied species. Balanchine certainly showed that, and so did others.
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Michele Wiles, and Charles Askegard left ABT, and NYCB to form a co. together called Ballet Next. A good name for this thread too!
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I am especially pleased for Pazcoguin. She is an outstanding actress in a company that doesn't always value that. Congratulations to all!
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This is an interesting poll. I am shocked to realize I have never seen Don Q live! I am so familiar with it from DVDs, that I almost checked it.
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People on their phones are missing out on the experience of live theatre. How can they possibly experience the full impact of a truly transcendent performance unless they are totally concentrated and involved? I think the loss of the ability to concentrate on anything for more than a short attention span is the sad result of the obsession with smart phones.
The end of civilization as we know it!
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I find it sad and frustrating that the only time that ballet is mentioned in the American mainstream media, is when the artistic director of a major company has acid thrown in his face.
Can and should there be another ballet boom that gets people other than knowledgeable devotees interested in this art form?
And to experience said boom, must there be another perfect storm of Balanchine, Baryshnikov and Kirkland-level talent, all performing in a media capital like NYC?
Interesting question. the "boom" wasn't limited to ballet. There was a dance boom in the 70s that benefited all forms. Modern companies toured universities extensively, and the Graham Co. had Broadway seasons.
Now days the audiences for classical music, live theatre and dance are shrinking, and aging. Why? Is it the dominance of electronic media, lack of exposure and education, or simply the high cost of tickets? My guess is it is a combination of all these.
Dear Santa
in Everything Else Ballet
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