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whitelight

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About whitelight

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    former student, current viewer, sometime choreographer and writer
  • City**
    New York, NY
  1. From the website: Link: http://dancefilms.org/ There's some cool non-ballet dance films, too. I've seen Nora, and it's quite good, and they're screening some Busby Berkeley and other revivals.
  2. Indeed. She has been a great help in getting a young male friend of mine to come with me to City Ballet performances. He calls her "Legs," as in, "Legs is dancing tonight? I'll come!" I admit, it's stuck in my mind and I've started calling her that--sort of like Big Red. I know this wasn't directed at me, but I can't resist. I'm sure I won't be the only one to say that Bugaku is fabulous for her. And my friend and I both loved her in Violin Concerto. I'd like to hear what other ballets people particularly enjoy her in, since I base most of my attendance decisions on casting. ...and
  3. Thank you so much, Ray! These look like great recommendations and I will definitely be checking them out.
  4. I've been re-reading Susan Bordo's Unbearable Weight: Feminism, Western Culture, and the Body, and working on Jared Diamond's Collapse. Both are brilliant.
  5. I've seen billboards for this and I kind of want to see it just for Elizabeth Berkley. It looks hilarious!
  6. Hello, Ballet Talk members! It's been a while since I've been here, and it's nice to be back. I've always been a dance history enthusiast, but as I'm largely self-taught, I'm embarking on a project to fill in the gaps and deepen my understanding. I'm reading about the development of Western dance, in depth, chronologically. And I'd appreciate your suggestions. Right now, I'm in the very early stages-- I read Leonie Frida's bio of Catherine de Medici (which has very little to do dance, but painted a vivid picture of the era and politics that produced Ballet Comique de la Reine) and Mark Fr
  7. I'm late to this discussion, but I just want to add how sorry I am to see Deborah Jowitt go. And say what you will about the Voice and what they've become, but I would have thought that they would be committed to arts coverage. The whole thing makes me deeply sad.
  8. She did and sorry, it's just MY personal impression/opinion, She didn't move or emote me. I watched her and was MISSING KANDAUROVA (big RED).... Besides, "the Beatles" Osipova & Vasiliev, i was not impressed and greatly disappointed (after almost daily attending the Kirov tour)... but it's just my humble opinion. Also, again, just my personal opinion, I found the program VERY INAPPROPRIATE for the gala where there were so MANY CHILDREN. Could someone sensor what was to be performed on the stage? There are other places in NYC to watch "love making" then the children's competition.....
  9. I remember reading that, too, and I also had forgotten it. To echo carbro, how fortunate for Wheeldon to have reached this point. His presence will be missed, though I imagine he'll continue producing work for City Ballet. I am a bit curious as to who stages his existing work on new dancers...
  10. I guess I'm not surprised either, though I am disappointed. I fear for a spike in new Martins work as a result of Wheeldon's departure... what do the more seasoned viewers think will happen as a result? More Martins, more guests choreographers, or a new resident choreographer? I can't think of anyone poised for the role. And I was also sort of hoping Wheeldon might succeed Martins, so I'm disappointed to hear that it won't be happening. Despite my distress, I recognize that this is a very good thing for Mr. Wheeldon, and I have admired him from afar since before he started getting notic
  11. I apologize-- this is the second time this month I've posted a ticket available the day of the show. I have a ticket for ABT's show tonight in the rear mezzanine for $15. Please email me at mhodges@ardorny.com if you are interested. Thank you.
  12. That does sound really interesting. I wish there were more events like this.
  13. Can I just say that I adore Malcolm Burn? He is a tremendous asset to Richmond Ballet, and I hope you have a wonderful experience working with him.
  14. In response to the Croce quote, I actually agree with her to an extent: I absolutely hate what gets passed off as "art" or even "worthwhile" because of the cause it supports. I do believe that great art has a higher purpose than propaganda. On the other hand, I think that Bill T Jones is a great artist. I saw his new work, Blind Date, supposedly his most political in a long time, a direct response to the Iraq War. However, on seeing it, I would say that as usual, he is not content to make a dance about this war, but rather, War. Not to mention Nationalism. I capitalize these to make a
  15. In all seriousness, Degas didn't try to capture dancers in movement (for the most part). His dancer paintings are more like his washerwomen-- he catpured them in rehearsal breaks, bowing, tying their shoes, etc, more than in the flow of movement. It reminds me of a page from a dance history book I have (is it Jowitt's? All of my books are in boxes right now) about Isadora Duncan. A photograph of her is next to a few sketches of her. Since photography was nothing what it is now, Duncan had to stand very still for the picture. The caption reads something like, "the artist's sketch tells us
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