4mrdncr

I'll have to think about it and edit this post later to add a contemporary ballet, but for a classic full-length, the answer is simple: Swan Lake. It is my absolute earliest ballet memory (I think I was 2-3yrs old when I first saw a performance) and the music has been a part of me ever since. I was so fascinated by it (and Tasha Tudor's RB picture book) that my mother bought the Angel 4-disk record set (possibly the Nureyev-Fonteyn soundtrack?); I memorized the music and would dance all the parts--(in my head or elsewhere) even though I was still rather young. (I started ballet age 4.) I threw a crying fit at the Ice Capades once because they parodied it--also why I don't think "Funny Girl" is that funny. When I would hear an excerpt on the radio I would cringe because the tempos usually were undanceable. Even now, I don't think I've seen a difinitive version yet. There are things I've liked in various versions, and things I've hated. Some individual dancers I've loved, yet lamented the fact that their partners(hips) weren't perfect. Other than that, I'm a traditionalist--I want both Siegfried and Odette to jump in the lake at the end (together or not doesn't matter as much). And my deepest regret is that I got to rehearse Swan Lake forever, but never perform it. (These days I'd be glad to be in the stage crew or a super, though my muscle memory still feels the urge to dance.) SB I always thought too frothy, and too pink, though I did love the music, and eventually, when I was old enough to dance it, much of the choreography. Spessibo P.I.Tchaikovsky, RIP.

Doesn't everyone watch the Globes to see what everyone's wearing or who's sitting with whom? (I like watching all the British actors sitting together and trying to look like they're actually enjoying the inanity around them.) But anyways, I've had a lot of disappointments in transfers of talent, story, program from the telly there, to tv's here... But Hugh Laurie isn't one of them. I'm glad he was careful, chose right, and is in a program I don't mind watching now and then. (But I still remember him from the PG Wodehouse series on PBS way back when.) Otherwise... ..... Linus Roach is holding his own on ubiquitous L&O, but still hope he returns across the Pond for better fare. But... I remember Patrick Stewart for Sejanus and RSC days, NOT Star Trek! (Save that great voice and layered nuance for finer things please) Then this year there was K.Kidd, R. Sewell, and D. Lewis all trying for series again---horrifying to watch (Rome and BofB were good, but miniseries don't count) And my favourite of all time, Anthony Hopkins, who did the best Pierre ever (this side of Bondachuk) but no one remembers that, only Hannibal It's sad...so sad. So please remember, "All that gli(s)tters, is not gold" even those Globe awards.

If you're really interested in such things...On the internet, I once saw a complete astrological chart drawn up for a dancer, but have no idea if it predicted great things or not. I am inclined to think so, though, so it would look more accurate after-the-fact. Perhaps there are other examples too? Personally, I've always been glad Margot Fonteyn and I shared a birthday. And later I found out David Hallberg does too. :-)

I am so very saddened by this. She was a wonderful generous person. Listening to her in a rehearsal once, I was so fascinated by her insight and detailed criticisms which this "4mrdncr" recognized and agreed with, that I wanted to jump up and say, "Yes!, yes! Your right! Let me try!" As ggobob posted, "she lives on in the technique she taught." But my favorite memory is of the first time I met her, when all I could blurt out was "You're Georgina Parkinson!" and her answer, "Yes, I am." I think that says it all. RIP Ms. Parkinson, and may all who know and remember you have my deepest sympathies.

Oh I believe that! Once, after class, Angel and Adiarys had a 'turning competition' for fun. The class pianist obliged, and ... Angel did Don Q, Adiarys did Black Swan. It was close, but I think she won--not only because of how many fouettes or piros she did, but for the variety and difficulty--some things she did I never saw others do, but maybe Cuba has? (Maybe, some day, I can release this "competition" footage and we can all decide.)

Not sure how much either or both of the reasons below influenced the decision to premiere Swan Lake in Valladolid, bart, but they were probably factors in that choice... 1) There are a limited number of theatres of the size necessary to do a full-length in Spain--something Corella Ballet encountered, and were aware of for some years prior to touring the full-length "La Bayadere". 2) The government of Castille-Leon is a major sponser of CBCL (hence the required inclusion of C-L in the company's name) and another part of that sponsorship agreement was that the company tour extensively in C-L, and also do (some) premieres there.

I've been to Jorgensen and remember noting many of the drawbacks you described. (Though, at the time, I was seated upstairs--balcony?--so at least the view was a "full-shot" if small). I also filmed a Nutcracker at the Bushnell, and remember a few mishaps there too (luckily mine were minor), so maybe it all depends on the companies performing and their perseverence and creativity in the face of adversity? Thanks again for reporting for us (more-or-less) close neighbors, who face many of the same venue problems (or lack thereof).

Recently posted on the Corella Ballet's company website: SWAN LAKE, choreography by Angel Corella (after Petipa/Ivanov) to premiere in Valladolid, February 2010. Link: http://www.corellaballet.com/temporada2.html Please note: The calendar is subject to change. But either way, a Swan Lake that would be very interesting to see. And hopefully some BT members will, and report on it.

Exactly the thought that went through my head when that famous producer (who shall remain nameless) told us what was planned over the next couple years for his production company (and consequently, PBS). I have seen the previously broadcast individual docs on each of the Roosevelts, and would think this new proposed series worthwhile only if a strong thematic thread was established througout it, or astounding new information was discovered and presented.

I've always adored this ballet since the first and only time I ever saw the full-length. (It was probably Dowell, and maybe Makarova?) But I always remembered that pdd, and agree with Alexandra's assessment of it. Thank you so much Simon G for posting this clip with Seymour, I've had so very limited chances of seeing her dance, it truly was "a treat" and much appreciated. How I wish they (RB?) would release a decent recording of it on dvd, or at least let some other companies perform it. ( I believe Dowell prevented this? Or was it some stipulation in Ashton's will or legacy that prevented it--much as Marguerite & Armand wasn't allowed to be danced/filmed after Nureyev-Fonteyn for so very long?) So, in the meantime, thanks again for posting the link.

I remember reading the Lash books too. And later watching the biopic they did on US network (?!) television based on them--starring Edward Hermann and Jane Alexander. I think it later won a bunch of Emmy awards. Makarova Fan, are you researching for yourself? I heard the other day, from a well-known PBS producer, about a planned bio of the family; (Not just FDR but ALL the Roosevelts), but knowing their level of research it could be a few years before the film is released.

I, too, didn't really care for Daneman's article, a little hagiographic/gushy to begin (both about Margot and actor's abilities) and then not near the end. I'm also having a very hard time viewing the clips and stills from this new film. Maybe it's because I'm so aware of how they can cut to hide things, but no matter how tight the angle on the actors, their upper bodies simply do not ever move like a dancer's. People worry about whether an actor can dance on pointe?! I wonder whether their upper body's plastique, line, etc.etc. match the real dancers. And, that rarely, if ever, happens. But then again, it's only MHO, and I'm probably more critical than the general audience viewing this.

But regarding FILM: What about '3-stripe Technicolor'? That too, took 3 (red, yellow, blue? Or is it yellow, cyan, magenta?) different colored versions of the same image and combined them to create "glorious Technicolor" so visible in "Wizard of Oz" and "Gone with the Wind"---and after the system was sold to China (in the 70's?), a lot of "glorious" color Chinese films to this day. (It's also why those old Hollywood films retained their original colors, while the newer ones with 'vegetable dyes' faded to pink and then needed much money/processing to restore to true color. At least digital saves us from that.)

Well sort of... (I am NOT a video engineer, but this is the basic idea of how old-style tv images were created by ancient cameras--and their even more ancient directors :-) a) The light reflected by the subject into the camera was split by a prism (or was it a dichroic mirror?) into 3 component colors--red, blue, and green--which corresponded to the 3 pick-up tubes of the camera. b) When the image was recreated on a television screen, the pixels--red,blue,green--which are arranged on a CRT into 525 lines in the US system. (Sorry, don't know how many pixels per line, but all 3 colors are present) are illuminated by an electronic beam that recreates the original light in the order it was received. c) This beam scans horizontally across, first the odd numbered lines (illuminating the pixels in the original order) top to bottom. This creates a "field". d) Then the beam stops and there is a "blanking" so the beam can return unseen to the top, where e) It then scans the even lines creating a second "field". Two fields = one frame. Generally NTSC is 30 frames/second. PAL has 625 lines at 25fps. f) Today, the number of "scanlines" still determines, to some extent, the quality of the image; more lines equals more info and/or a better image? (This difference in scanlines and frame rates between NTSC, PAL, SECAM was also due to the difference in the power systems used), but I think most other info is communicated thru the digital world of 1's and 0's, which aren't horizontal or vertical at all. (Tangentially, though, it's also all related to the interlace vs. progressive arguments of the digital world.) APOLOGIES TO ALL for any technical inanities above, and being majorly OT.

I do think the body aesthetic has changed regarding dancers' weights, which would affect our perception of what is pleasing or acceptable. However, though the shape of screens and pixels have changed with the digital age, the apparant extra weight of performers in the past is also due to the tv cameras then which required enormous amounts of light to function properly. For example, I remember doing a 'reflective baselight" reading across a set once at 250+ footcandles, (it was much higher at the individual "incident" level readings). I think cameras now use about 25 footcandles. There was also a 'lovely' phenomena known as "bloom" if someone was wearing light-colored clothes, which gave everyone an extra halo/aura; white itself was banned, so camera tubes wouldn't get a "burn" which permanently destroyed the tube's 'pick-up' at the burn point. (Chrome on passing cars, snow, beaches, even bald heads, all were problems. Did I mention "Swan Lake"?!) High-contrast clothing also caused problems. So hooray for progress, better cameras, lighting, and trained bodies both before and behind the camera. Hope this wasn't too OT.

Thanks for all the replies, I've wanted this one too, but held off because of exhorbitant prices. In the meantime, I have a VHS copy of "Dancers" and if I fast-forward halfway through the film, I get most of Giselle with Ferri and Baryshnikov in what eventually became ABT's version. This film is also out of print, but probably available on ebay or elsewhere for a lot cheaper than that Amazon/La Scala dvd. (Other ABT dancers who appear: Leslie Browne (Myrta), Lynn Seymour (mom), Amanda McKerrow (Moyna/Zulma?), Julie Kent (corps).

naomikage, thanks so much for posting these links. I enjoyed the pictures, and the amusing translations my computer attempted of the various articles related to ABT's performances in Beijing.

Thanks Nanarina. I, too, look forward to finishing the film/releasing it--it's been a LONG process. (nearly 2yrs now). Yes, the documentary will definately have English subtitles if I want to broadcast it here (USA) or Europe; it's required. In fact the film is about 50-50 English & Spanish. At the moment, I'm trying to translate 12 interview transcripts from the original Spanish--v.slowly as I'm not fluent by any means. Corella Ballet HAS funding from the government (and it's several national/regional/local layers)--but especially that of Segovia/La Granja and Castilla y Leon. In fact, the amount of support increased earlier this year, despite the economy. So, after 7 years of effort by Angel and his Foundation (2000-07), CB's tours of Spain (2008-09), and Angel continuing to win honors and acclaim (he just won the Premio Galileo 2000 on Oct.24th) from various national & international organizations /governments, I'm sure the Spanish government will realize what an asset he and his company are to Spain, (and of course us too.) FYI: I receive NO funding from any of the above--as per required "editorial control" standards--so thanks for the advice, I will do as you ask.

Thanks Carbro for providing the "backhistory" links to my documentary and trying to link to its trailer. I'm grateful. But actually I didn't withdraw the trailer from dancemedia.com, because I still believe it is (as I originally requested because of the contractual and copyright issues) "read only" there. However, I did request that footage of a performance I had shot, but not released, be removed (by the choreographer who had posted it)from YouTube because of music rights issues, which I believe has now been done. Problems viewing the Trailer, are usually due to dancemedia.com's server problems. Several times, access was unavailable because of this. I had originally thought it was non-computer-techie-me, or my ancient computer. But as you see, others have difficulties too. Hopefully, Ray, this link will work... http://www.dancemedia.com/v/1528 I hope you enjoy it. ALL comments welcome here . Progress Report: Rather slow, mostly due to the economy, and my need to spend time on survival rather than the film, but nevertheless, moving forward.

This is one of Wiseman's gifts, or perhaps more accurately, a product of his skills as a filmmaker -- he captures some very naked moments in the environments he studies. It's fascinating to see when it's a world I'm familiar with -- when it's a place I don't know well, it's even more stunning. His work is perhaps the closest to actual cinema verite that we have. I've always admired Mr. Wiseman, his work, and verite methods. I also admire the 'honesty' he elicits from his subjects/participants. But apropos, there are many U.S. (and European) journalistic and broadcast standards that regulate "editorial control" to prevent the subjects of documentaries from trying to control what is said, how, when, or where, or consequently turning a documentary into a "puff piece" or propaganda. So, if Mr. Wiseman followed those rules--and I'm sure he did--then, I'm not sure Ms. Hermann could have asked/or required that particular phone conversation be edited from the final production. Personally, I am glad she couldn't or didn't, and that Mr. Wiseman kept it in. It is an 'honest' view of the sometimes protracted negotiating that happens behind-the-scenes to give us the illusion of an effortless company performance. I applaud Mr. Wiseman, and ABT for that. Unfortunately, the subject of my doc (or his lawyers?) did not understand this principle of 'editorial control' and it has taken many months of (normally unnecessary) expensive legal negotiating to convince him/them that their original request for what could and could not be shown,or veto power , (beyond following normal standards of "privacy"), would prevent my being able to broadcast the documentary on PBS or anywhere else such journalistic standards exist.

Talk about serendipity, synchonicity, or whatever allignment of facts resulted in this topic at this time... This past week I learned footage I had shot (and edited) of a performance of Corella Ballet was posted on YouTube without my knowledge or permission. This is an infringement not only of my copyright in the footage, but I am also concerned because, though the music (P.Glass) may have been cleared for the performance--and actually I'm not sure about that (the choreographer was a little vague), I definately haven't cleared it yet for exhibition in the film. So this YT posting not only infringes my copyright, but possibly the music as well. The choreographer originally requested the video to promote his choreography, and (trying to be nice) I originally agreed to its "internal use"--ie. direct to theatres/dance companies who might be interested, but NOT worldwide public exhibition on the internet/YouTube! Especially, since it was a MAJOR investment on my part to make the film, and if it's posted like this, with no credit or permission, it doesn't look like I will recoup those costs. Meanwhile, the choreographer and company get a free video of their production and free promotion while I get nothing for filming it or allowing it to be used. When I posted the trailer to my film (for which I DID clear all rights for choreography and music, AND provided detailed credits), I did so with the restriction that the trailer be "read only"--ie. anyone could view it, but not download or copy it, which is also why I did not post it on YouTube. Until I knew my rights as the filmmaker were secured,AND the component parts of that film--choreography/music/visuals--were secured, then I would not risk the liability of just posting it on the internet or having a million downloads negate the eventual release of the completed film. It would also set a bad precedent for me, if I wanted to clear rights for future works or exhibition/performances. Then there is also the question of compensation; several filmmaker forums have complained that YT is not equitable: 1M views netting only $1K or less to the copyright owner. I've also discussed this issue of who owns what rights to internet postings with several lawyers, and broadcast producers, and even Mr. Kirshner at one point. So, though I am saddened when works are pulled from YT--since I, too, have discovered many performers/performances there and tried to buy tapes/dvds based on those discoveries--I am also quite aware of the other side of the story and understand some of the reasoning behind it. THANKS to all who posted this, and the links to the ArtsJournal and DHC articles.--I've passed them on to my lawyers.

He (or his foundation) also support a lot of PBS programming. (Kind of odd, if he really is a right-wing conservative?)

I thought Corella was scheduled to dance DonQ already on May 28th? And don't believe the Corella Ballet online schedule which so far only lists the one performance date in June 2010...Last year, the schedule also started with few performances listed, but then quickly filled in, resulting in at least 1-4 performances EACH WEEk until the end of the year. In fact his CB vs. ABT schedule was v. tight last year, and will probably be so this year. (One example of that schedule from 2008: He danced "Giselle" with Nina, (his final ABT perf that Met season), flew the next day to Spain, 2hrs after landing he was in a 4hr rehearsal with his company, followed by a company photo-shoot for the programs, and then that night hosted a VIP/press conference at the Royal Palace of La Granja prior to his company's debut performances the next night.--when it rained and then iced the outdoor stage because the temp dropped. He never mentioned any jet lag, but i know I felt it every time I picked up my equipment.) So like those TBAs, we just have to wait and see. PS. Corella is usually v.good in R&J, and with Vishneva.

I went to see the Saturday matinee of "Giselle" with mother. (I would have liked to see that evening's performance with Erica Cornejo (for obvious reasons), but mother prefers matinees--especially when driving 2+hrs into the city) Having only seen BB and ABT live recently these last few years, and the recent Cojacaru/Kobberg RB dvd this year, there was still much to compare favorably (or not) about this performance: SAT. 10/10 matinee at Boston Opera House - Misa Kuranaga, James Whiteside, Lia Cirio, Lorin Mathis First: THE STAGING (Maina Gielgud) Scenery/Lighting: I actually prefer much of BB's to both ABT's and RB's. The first act's scenery and lighting is much warmer, richer and denser. The cottages of both Giselle and Lors/Albrecht are much more substantial and detailed--they look aged wood with shingle roofs (not plaster/cardboard). The wings/grid flys/drops are also denser and make it look more like a forest village. But the second act's was really amazing. I've always LOVED ABT's set/lighting visible in the film "Dancers" and to slightly lesser affect live (lighting isn't as good), but BB's set/lighting is much spookier--esp. in combo with the dancing (see below)--it has some lightning flickers and, like act1, much denser wings/overhead flys/drops so this glade lies truly DEEP WITHIN a forest. They don't fog the stage at the beginning of Act2 like ABT, but rather when Myrta "raises the dead"; again, this has to do with BB's choreographic staging (see below). Choreography: Yes, most of the steps are extremely familiar, but the generic actions in between make more sense in BB's version. For example: Hilarion leaves the stage soon after his entrance (and meeting G's mom etc.) because he kindly offers to take the bucket from mother to fetch her water. So he then has an excuse to come back (with the bucket) and inadvertantly see G&A's little tete-a-tete (sorry can't do accents on this computer.) And then later, he actually pauses to think what to do before deciding to investigate that empty cottage--which he uses his knife to break into. Interesting also, that Giselle's costume was pale yellow instead of the traditional blue. It blended better with the other peasants in shades of pumpkin. Only thing I didn't like was the major lack of harvest/grape baskets carried in by the peasants (none that I saw) or in the wagon G gets propped up on. Why have her crowned 'queen' if there is no harvest to be seen? Act2: Wow! First, Hilarion didn't make a cross, just came in with a lantern and peered around, discovered the grave, cried a bit and then got scared off. BB's best: The Wilis wear LONG veils--waist-length or more--throughout the entire first ensemble dance! So all thru those fwd/backward cambrai's and travelling arabesques. And when they first appear, behind the back scrim, very dim except for the occasional flicker of lightning, clumped together and slowly rising up thru the mist--well it made me glad they weren't 'real' ghosts. They were also both THE most precise and SILENT Wilis I have seen in 20 years. Either they have a great stage, or someone really pounded those pointe shoes to mush! I was in sitting row M Orchestra and I didn't hear a thing! Not once, glissades/assembles/jetes/sautes nothing. Their lines were straight vertically/horizontally/diagonally, and as tight & precise as a drill team. AND someone coached them in correct 19th c. Romantic technique (unlike the principals-G/A/M-who tended to forget.) Most of the time, their heads were tilted down. When those Wilis did their travelling arabesque hops across the stage, their heads were DOWN and arms slightly rounded. (Anyone remember my old post about Romantic = circular/round, in, down; Classical = straighter, up, out?) That was amazing to see. Hooray! DANCING: (Remember, this was a matinee cast.) The dancing was rather bland. Giselle was very sweet and shy in action, but facially was very blank--especially when required to emote. Ditto Albrecht who was rather stiff and even more opaque in acting. All the steps were there and cleanly performed but I felt like I was watching a rehearsal, ie. people just going through the motions. There was not much interaction/'chemistry' between the two. A lot of the time, they forgot to look at each other. Or one would be emoting playful joy and the other trying instead to remember the steps in the correct order. A disconnect, that only slightly improved in the second act. The peasant pdd had a height differential that was v.noticeable, but luckily didn't affect the partnering too much. Again, it was cleanly performed but bland. I already wrote about the Wilis above, but Myrta was something I've never seen before: robotic. It was SO sharp, stiff, mechanical, punched--I felt one of the Act1 dolls from Nutcracker, or a Star Wars Stormtrooper (white armor I guess) had excaped to this performance. She was powerful--like an advancing tank or artillary piece is--but Romantic technique got thrown not only 'out the window' but out of the theater! An interpretation/technique I've never seen before; am not sure how it survived to be performed this way (when the corps were SO correct); and hopefully won't see again. Her make-up was a true pancaked whiteface with deep dark circles around her eyes and black hollows down her cheeks--a skull-like look which, from the balcony, probably looked similar to The Green Table's Death. All in all, a VERY interesting performance which, in many ways, is much better than "the big 5's" versions. Though I sorely missed the "presence" and acting abilities of ABT etc. (Wish I could have seen the evening's cast too, esp. Erica C.)

One summer I was working in a library cataloguing books in a room that essentially was a high walled cubicle--ie. open at the top--so I could clearly hear the noise and commotion from the children's room next door. To counteract this, I would play some of the records stored in that room--and especially Alicia de Larrocha's Mozart Sonatas. (My way of rebelling by playing classical music vs. the 'boomboxes' next door.) Once, after a particularly noisy afternoon--and the occasional "nerf" ball sailing over the wall onto my desk to disturb my music and peace, I heard a loud laugh above and looked up to see a maintenance man on a ladder fixing a nearby light. He told me he had heard the music, and then saw my serene countenance change to a deep scowl as the noise (and footballs) inserted their presence into my sanctuary. So he laughed. It made me smile, despite myself. I now own many CDs of Ms. Larrocha, but the K.525 always sticks in my mind because of that afternoon. Gracias Sra. Larrocha. RIP dear lady.