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LiLing

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Everything posted by LiLing

  1. Not having seen this revival, I am wondering if the problems some of you have described have more to do with the current production than the original choreography. After Martha gave up the role, Clytemnestra was performed to great critical acclaim by Pearl Lang, Mary Hinkson, Takako Asakawa and Yuriko Kimura. I also wonder if the supertitles (sounds like a horrible distraction to me) aren't resulting in an expectation of a very literal depiction of what they describe, preventing one from being caught up in the drama. There was definitely an assumption on Graham's part that the audience has a basic knowledge of the myth, although when Clytemnestra was performed in Asia, audiences were very enthusiastic, and they for the most part don't have Greek Mythology as a reference. Perhaps their theatre forms prepare them to be open to an experience that can't be taken in all at once and there is an expectation of understanding more on repeated viewings. I guess I shouldn't be ranting on when I haven't even seen this production, sorry!
  2. Well said Simon. I am in total agreement. Several years ago a critic reviewing a Cunningham performance with a couple of new co. members remarked that it seemed to take about two years of dancing the repertoire for a dancer to look at home; and of course dancers joining the co. have been studying the technique intensively for some time. It is unreasonable to expect that a ballet co. can do justice to these works. Sadly, if the studio and co. are not to continue, I would rather not see the work at all, than diminished by unworthy performances.
  3. While performing at U of A on tour some of us took his classes. My memory is of a real gentleman of the old school, and a fine teacher. May he RIP
  4. Congratulations to all the dancers. I am especially thrilled for Teresa Reichlen. She has been deserving of principal rank for some time IMHO!
  5. Reading this thread I'm struck by how differently various people react to the same work. There are such contrasting opinions on all three works. The only thing everyone seems to agree on is the excellent level of dancing. Art is in the eye of the beholder? Thanks to all for your reviews.
  6. " the wild-eyed maestro's authority " Oh dear, it sounds to me as if perhaps Ms Ibbotson has been called out one too many times for being flat! I see the financial issue as a universal one that has come into focus with the current economic crises. There is an ever widening gap in compensation between those at the top, and those at the bottom, whether it's Wall Street, or Walmart. Paying a premium for a name that sells tickets is much like the banks that were bailed out justifying the huge bonuses as necessary to keep "top" executives. This situation exists in almost every field, education for example. Some university football coaches salaries and perks are many times that of professors, because winning teams bring in alumni donations. Never having played in an orchestra, I can't speak to that, but I will say I can't imagine a ballet co. orchestra managing without a conductor. For one thing, the conductor often takes cues from the stage, starting a variation when the dancer is in place, holding at the end for applause etc. Most importantly, tempos are always a huge issue for dancers. Subtle differences are crucial to dancers, more so than musicians. This is what most of the orchestra rehearsal is about. A bad tempo can literally make it physically impossible to do the movement. I guess if symphony orchestras do away with conductors, they will all have to work for dance companies!
  7. Fall River Legend was actually choreographed on Nora Kaye, but she was ill or injured, and so Alonso danced Lizzie in the premiere. Kaye came back to make lizzie one of her signature roles.
  8. Fraildove, I did see Kirkland, and I'm afraid I am not capable of the verbal poetry necessary to describe her Giselle. All I can say is, it was one of the most memorable experiences I have had in the theatre. I was emotionally drained, and haunted by it for days after. I have seen many highly acclaimed Giselles since Kirkland, and have never experienced one that matched that experience for me, although I don't like comparing dancers, and try to value each for what they bring to a role. On the question of definitive performances though, I think there are two points to consider. First of all, no two performances by a dancer are exactly the same. Some make notable changes in their approach when they go back to a role in future seasons. Different partners will elicit different responses. Tempos are not exactly the same every night, even with the same conductor. Many dancers deepen their interpretations of roles as they mature and accumulate more life experience. Therefore, the performance you saw is not necessarily the one someone else saw, unless you are talking about a video. Secondly, we all experience works of art differently, depending on what we bring to them. If one is old enough to revisit a novel, painting or ballet you loved in your salad days, and don't find it satisfying in your present state of mature sophistication, or now "get" one you didn't when younger, you know what I mean! So, I say let us treasure memories of great performances, but keep an open mind, we might be in for some suprises.
  9. Had he never written a word, the dance world would still owe Francis Mason a huge debt of gratitude. From his efforts to promote American companies during his days at the London embassy, to his years of service on the Graham Co. board through both days of triumph and trial, he worked to promote an art form he loved, with no thought of personal gain or credit. I hope he knew he was appriciated, may he rest in peace.
  10. You can COUNT on a good time at ABT.
  11. Oh, Makarova drove me up the wall with her crazy tempos. I once saw her finish a variation a whole measure after the music ended. At ABT the conductors were expected to follow her. However, I did see her give a glorious performance of Swan Lake with the RB in London, where she was one with the music. Apparently their conductors set the tempos and dancers ignore them at their peril. Kyra Nichols was one dancer all the critics seemed to see more in than I did. I enjoyed her performances, but was never swept away and couldn't understand what they were raving about.
  12. There is an Alastair Macaulay review in today's NY Times of two works to the same Reich work, Double Sextet, shown at the Works & Process series at the Guggenheim. Mr. Reich, along with choreographers Larry Keigwin and Peter Quanz, took part in the Q & A after the last performance. Mr. Macaulay calls Mr. Reich "among the most choreographed of living composers."
  13. I didn't know him well, but I loved to hang out in the Ballet Shop, and rarely got away without acquiring something, so I too owe my large collection of dance books to Norman Crider. I was heartbroken when the Shop closed. What a fascinating life he had. May he rest in peace.
  14. I think we have to distinguish between creative and interpretive artists. Many children and teenagers have vivid imaginations, and an intense emotional life. Those are two of the components that mark a talented performer, so it doesn't surprise me when a young dancer shows a high level of artistry. What I do wonder at is how they hold on to that through the years of technical training. Years that can sometimes be stressful, competitive, and for some, soul crushing. Miraculously, some do, and if they also have the passion for hard work, musicality, and a suitable physic, we have a ballerina. They will mature and their work will deepen with more life experience, but the great ones seem to show their special qualities very early on.
  15. Some of my favorites, a purely subjective list: Autobiography Theatre Street, Tamara Karsavana Dance to the Piper, Agnes DeMille Dancing in St. Petersburg, Mathilda Kschessinska Irina, Ballet life and Loves, Irina Baronova Early Memoirs, Bronislava Nijnska Chance and Circumstance, Twenty Years With Cage and Cunningham, Carolyn Brown There are so many biographies of dancers, especially contemporary ones that I wouldn't know where to start. The last one I read, Margot Fonteyn by Meredith Daneman, I found a page turner, though maybe not one I'd recommend in terms of quality. Collected Criticism Arlene Croce, Edwin Denby, and Deborah Jowitt are my favorites. They each have at least two collections published. And finally, a must have for dance lovers, Reading Dance, edited by Robert Gottlieb subtitled "A Gathering of Memoirs, Reportage,Criticism, Profiles, Interviews, and Some Uncategorizable Extras" This book is a feast of various writings on a wide range of dance.
  16. I once slunk out of an ABT performance after Dark Elegies for that reason, skipping the closing "send em home happy" ballet. Guess who I ran into at the bus stop. Mr Tudor!
  17. A lovely tribute Kathleen, I hope the dancers see it. It is a huge accomplishment to dance with a company of the caliber of NYCB. The corps is full of talented artists. They should know they are seen, and appreciated.
  18. Reich's music was very popular with modern dance choreographers in the seventies. You could hardly go to a dance concert without at least one piece to either Reich or Glass. The work I remember most vividly was Elisa Monte's Treading. It was a mesmerizing and sensual duet as performed by Monte and David Brown, a bit more athletic when transferred to the Ailey co. I thought it was a wonderful use of the music. Sorry I can't remember which piece she used, but I know it wasn't Drumming.
  19. This is an interesting question in relation to the issue of dance being independent of music. When Graham and Horst were no longer working together, and she started commissioning scores, she and the composers worked independently. When the composer came in to a rehearsal with the piano reduction some adjustments were usually necessary on both sides, but I think it worked in part because the choreography was in some places allowed to stand independent of the music. Of course this isn't independent of the music in the way Cunningham and Cage mean. For Graham the music is meant to be an integral part of the total theatrical impact, along with costumes, sets, and lighting. I always thought it was interesting though, that in works created during the time Merce was in the company, the movement wasn't always "set" to the music. Even in Appalachian Spring, the most rhythmically danceable of scores for example, there is a point when the followers skip circling the stage, going against the music.
  20. Horst...............he came into his own as a teacher of music composition and the composition of beats and meter in dance forms. ........................ To claim rather breezily and whistfully that his influence is seen througout the current dance world is stretching it a bit - because one thing that modern dance had to do to grow up is get beyond the belief that a step of dance equals a beat of music. Simon, I don't know where you got the idea that Louis Horst taught that a step of dance equals a beat of music. Certainly not from Louie! He would come down hard on a student who mickey moused the music. Louis Horst's method of teaching dance composition evolved into three courses. Pre classic forms in which the movement qualities as well as the formal structures of gigues, sarabands etc.were explored. Modern Forms consisted of earth primitive, air primitive, Medieval (religious & secular ) cerebral, americana etc. Craft was primary ( for example, if the form was ABA, God help you if one eye blink you did in A showed up in B ) , There are books out that explain these, in detail, but the work used the structural techniques used in music, theme and variations, theme and devolvement sonata form etc. And finally for those who survived those, Group forms. While the object of the classes was to learn craft, Louie had no patience with students who showed cliched or derivative movement. He valued originality, and of course Graham being his standard, he was constantly disappointed. He had an eagle eye, a sardonic wit, and a great gift for nurturing talent. Through his teaching, and written criticism in his magazine Dance Observer, Louis Horst served his belief, that dance was not a frivolous entertainment, but a serious art form that deserved respect. To answer Amy, I'd like to believe his influence is still felt.
  21. Odile's fouettes! These don't faze dancers today, but there was a time when you held your breath. They were known to be Fonteyn's bete noir; she had a tendency to travel. In a review of a NYC performance a critic said "last night Miss Fonteyn took a Cooks Tour of the Metropolitan Opera stage". ( Cooks being a British travel agency ). I still hold my breath for Aurora in the passing of the roses. I once saw Gelsey Kirkland GELSEY KIRKLAND! come down off pointe, and I get so nervous as it approaches you'd think I had to get up and do it myself.
  22. Ruth St. Denis and Ted Shawn can be seen as the "parents" so to speak of a modern dance family tree. They actually established a school and Company with a method of training. Two of their "children" were Martha Graham, and Doris Humphrey, who went on to develop what we today see as classic modern dance. Their grandchildren----- Merce Cunningham, (Graham) and Jose Limon, (Humphrey). Many contemporary dancers can trace their lineage directly back to Dennis Shawn. While Graham and Humphrey moved on from the ethnic subject matter that Denishawn favored, I do think you can see some Asian influence in the technique that Graham developed, the use of the flexed foot for example.
  23. I saw A Month in the Country with Lynn Seymour and the rest of the original cast the first season. I'd love to see Jennifer Ringer in this, although it seems a better fit for ABT. What I remember of Seven Deadly Sins is Allegra Kent being carried in on a platter, it must have been gluttony. She was certainly one of a kind, but I think the ballet would hold up to different performances in the role. I'd like to see what Janie Taylor, and Maria Kowroski would do with it.
  24. I became a huge Rachel Maddow fan during the Long run up to the elections. Now I know she is indeed a kindred spirit. What an inspiring speech, especially so coming from someone not involved in the arts. I sometimes feel real despair at the lack of understanding of the value of serious art in this country!
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