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4mrdncr

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Everything posted by 4mrdncr

  1. Cannot write more now. But suffice to say, my first impression: Less philosophy. More dance. What is/was the purpose of this doc? A history of ballet, or a history of ABT? Neither was integrated well. Both got shortchanged. Overall it was quite boring to watch... a) Because of the repetition of slow-mo shots/footage, and endless abstract philosophizing obstructed the momentum and flow. b) And if the "T" in ABT means theater - ie. drama: there were no conflicting views, or consequent interactions, or struggle of the company against: a lack of dancers/funding/audiences? In short, there
  2. The first thing I was told about any Kickstarter campaign is that 1) It is almost a full-time job 2) You need to be hooked into 'social media sites' on a daily basis to interest people, communicate progress, and 'drive' them to the website, by postings, blogs, film clip uploads, incentive/premiums etc.etc.. 3) You need a team, you cannot do this alone. I know how to film ballet and dancers, I know how to construct and edit a doc. But I am not an expert at social media, and don't have constant access to the internet. I have also been working alone for 4 years. All of Which explains why I
  3. Ok, I had to wait until 8pm tonight and the press release was made, but there it is...Starting in September 2014, Angel Corella is to be the new AD of Pennsylvania Ballet. According to the press release, the company's current artistic director, Roy Kaiser, will remain with the company for the transition period and then become AD Emeritus.
  4. Good idea sandik, and actually the same occurred to me. But everything also depends on the scale of the production; both the one being peformed, and the company filming it. PBS uses an average of 7-9 cameras (including the remote/booms) for a Great Performance/Live from Lincoln Center type perf, but I've also recorded performances single camera from different angels on separate nights and then edited to create a simulation of multi-cam productions. So, to do a full-size production with 'remote' production vans (think tractor-trailer size) takes logistics to schedule around a country - even
  5. Sorry, dblpost, so deleted since mostly same memories.
  6. There are 4 "cineplexes" within 20 miles of my house. Two showed Met b'casts, and two showed "Ballet in Cinema" and "Opera in Cinema" (i.e. La Scala, ROH etc.) broadcasts. Then those two theaters stopped, and switched to Met broadcasts only. So now I have to travel a minimum of 3 hrs from home if I want to see any ballets in a movie theater. This may explain why I only saw ONE ballet last year at a cinema - the YAGP 'live broadcast' (NOT First Position film) and only because AC was supposed to be in it - he was, briefly. I also only went to ONE ballet in NYC this past season (ABT). No mo
  7. Angel has been at the University of Hartford- Hartt School Community Division's "From Studio to Stage" program since June 30th. He has been teaching, coaching, and setting the full-length "Don Quixote" on the students there (who were accepted into the program through national auditions, and later auditions for the parts they hold.) The students range in age from pre-teen to college age. The final performances will be on July 26th at the University. I have been filming the rehearsals and coaching sessions as a 'coda' to my documentary film about the creation of Corella (Barcelona) Ballet.
  8. Best: (chronological order) 1. Watching Angel Corella take class (NYCC March). 2. Seeing Barcelona Ballet's Swan Lake in Detroit (Mar/Apr) 3. Finally receiving a donation/ and encouragement that actually helped my film. THANKS ALWAYS to pnj. 4. (Sort of related) - Getting my passport renewed (silly me thought it expired on my birthday, not the night before) last-minute, last-person able to do so, in Detroit so I could attend the Toronto HotDocs conference the day after Barcelona Ballet's last Detroit perf. ) VERY MANY THANKS TO ALL KIND U.S. GOVT OFFICIALS in DET for doing that., and th
  9. Saw the broadcast and noticed... The dancing: 1) Tiler Peck danced Other Dances like a Balanchine dancer, not Makarova; it was fun, but was not NM's movement or technique, though it was the most complete and joyous performance for me of the night. 2) Part's fouettes appeared rather 'flat' to me--ok to not do the multiples, but they looked perfunctory not exciting or building to a climax--or was that because of the cutaway/reaction shot breaking it up? (I agree with a previous post that Sarah Lane would have been a more recognizable casting for clueless general auds, though less a tie-in to
  10. I'm SO looking forward to viewing this long over-due tribute to Makarova. She has my sincere congratulations, warm wishes, and gratitude for all she has given. I am also glad for the posts and reports viewable here because I'm rather pessimistic regarding the commercial networks in the US, and have visions of an hour-long tribute to Led Zeppelin and 5 seconds of ballet. Please notify us somehow how we may view the pertinent sections if the worst happens. Is there anyone at CBS (producers or editors) we can lobby to keep the ballet segments and make cuts elsewhere?
  11. Just wondering...Did anyone from ABT say hello to AC while they were in town? Or visit his new studio/school? (sorry, I've been away for so long. Computer access issues, business trips away, and now weather. Hope all BA members on East coast have suvived/are surviving these recent storms. My home was ok--only small puddle in basement and a few branches in yard.)
  12. Why were Richard Cragun and Marcia Haydee the first partnership to register on my consciousness after Nureyev & Fonteyn? Because they mattered, and they made it work. With some wonderful memories, and sadness at this news. RIP PS. Thanks for sharing the above links.
  13. I wondered about the lack of ABT on PBS in the last couple years as well. But there were earlier complaints that PBS (being a national 'network' ) should also showcase other national ballet companies - therefore, we had SFB in "Little Mermaid" and MCB in their triple bill last year etc. Personally, I'd like to see that PNB "Giselle" reconstruction (or even BB's which I also thought v. interesting and scarier than most others). RE: Dancers, I guess I'll have to keep pushing for funding to finish my doc, and then you can all see & keep Herman, Angel and others for posterity.
  14. This reminds me of that controversial final chapter/Afterward in "Apollo's Angels" where the author said much the same thing, though she cited Diana Vishneva, Angel Corella, and Alina Cojocaru as the examplars of those with "a wider vision" in addition to their stellar technique(s).
  15. Matching challenge grants have been a standard fundraising tactic at public radio and tv for many many years. No surprise that NYCB and others are doing it too.
  16. Ah, but you didn't see Angel rehearsing the swans... he knew what he was doing, and how to get the results. BTW: I really liked this production, and the way he utilized the corps in the fourth act.
  17. Many thanks cinnamonswirl for the detail and definitions, I wondered too whether the "Italian" derivation was because of a distinct school or interpretator, and because, I don't think in my training anyone ever defined or called them anything other than fouette turns (with the distinctly different starting positions you noted above). Nevertheless, I do remember practicing them, and practicing both en dehors and en dedans versions too.
  18. When I was small, I would hum the entire score to Swan Lake. Now, whenever I'm stressed or nervous about something, I'll find myself humming (sometimes subconsciously) the Act3 waltz of the princesses from Swan Lake. It's like a pause--a serene center--in between 4 acts of highly emotional drama and dramatic music. And therefore, it helps to calm me too. I will add more later. Suffice it to say, I ALWAYS have ballet music in my head whether I am consciously aware or not.
  19. Not yet. There was a sort of wistful request I received, but I would have needed a longer lead time to prepare, (day of, was rather short notice) and more time & money to negotiate with the NYCC unions. But of course I would be interested to do so if a future opportunity arises.
  20. I'll write more later after I've seen Swan Lake, and attended the Toronto Documentary film festival to tell all those filmmakers, studios, distributors what they're missing.
  21. Yes,I was there all week to see the NYCC performances, and of course promote the existance of the film and need for completion funding. But unlike 2010, I wasn't allowed to screen the trailer (which includes Corella-Barcelona Ballet's 2008 debut performance of "Bruch..." on the outdoor stage at the royal palace of La Granja de San Ildefonso)& performance excerpts in the lobby monitors, but instead was relegated to a 'concession booth' in a corner of the City Center main lobby and either my 9" portable dvd player, or a semi-functioning 15" laptop. But hey, a few people did come over to in
  22. Of course, and I may still do it (though I've been warned that: (a) 90% of your time must be devoted to social networking--something I'm not that fluent with--to get people to the Kickstarter site and/or to donate. So little time is left-over to actually work on the film, and (b)that self-contributing is not unheard of to reach a goal in the desigated time allowed). But more importantly, there already was a way to support the film... Since January 2009, the trailer to the doc has been posted at www.dancemedia.com/v/1528 (run by Macfadden Perf.Arts Media conglomerate which publishes Dance
  23. I guess this might put a premium on the 80hrs of footage I have (and irony of ironies, still not fully edited due to continuing funding issues.) If anyone is interested in contributing towards the completion of my documentary, (and every penny counts now) maybe we'll finally have a broadcast or DVD to view and remind us of his amazing talent as a dancer and entrepreneur in the intervening days/months/years when we can't afford to visit Spain or other closer venues to see him or his company perform.
  24. Hooray, and thanks for the heads-up. Now I can watch Tavis for more than my usual L.A./PBS fix.
  25. Having filmed the Makarova version of La Bayadere (also viewing it and the RB/La Scala versions several times), and particpated in interviews with Ms. Makarova where she described her reasoning for including some dramatic actions and especially a last act (I may edit this later to include her quotes), I can say that... 1) There is a specific moment where Nikiya points an accusing finger at Gamzatti after being bitten by the snake, and a reaction by Gamzatti (though the reaction--either feigned shock that Nikiya dared accuse her, contempt, or nervous guilt--depended on who performed the role)
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