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I, too, watched it on YouTube and agree with all miliosr's comments. I also enjoyed those late night conversations over tea (or..?), the excursion to St. Petersburg, and Wheeldon's own "talking head" (literally) interjections. In short, I'm glad it wasn't just a doc of class, rehearsal, ballet. But, like that picture of Cromwell, good to see 'warts and all' of everyone and not a "puff piece". PS. I don't think "to sleep perchance to dream" is the most famous Hamlet quote, as Wheeldon says in the film; but rather, "To be or not to be?"

I've tried emailing the dancemedia website's web director (but if their server is down maybe that doesn't work either?). But as of today, no replies, and I still cannot access the website (5 days now), though the error message has now changed to: HTTP 500 - internal server error I'm beginning to detest computers and be extremely disappointed in their (dancemedia's) website management. Or lack of response, when so many are having problems. Any technical experts out there who would care to advise?

According to their website the Wadsworth exhibit starts FEBRUARY 19 and continues to MAY 24. A good exhibit and only 30 minutes away from me, hooray!

Thanks all. At least I know now, it's not just me.

Has anyone else had trouble connecting to or viewing videos at dancemedia.com? I keep getting a "bad gateway" message that references an upstream server at their site." It's troubling because my trailer is there, and now no one can see it.

I had always heard the ball was held too early for Odette to assume human form at midnight. (Or is it sundown?) Therefore, the image of Odette that appears in the ballroom scene is NOT a spirit. It is the swan at the window trying to get Siegfried's attention. (Though some Odettes boo-hoo a lot too.)

I've seen what happens when a tutu was folded like a hard taco shell for travel--it never quite unfolded in time for the performance so the sides did droop and the back stuck up more than was normal. Don't know how much the audience noticed--they still cheered the performance--but it must have felt strange for the dancer and her partner.

I'm glad I wasn't the only one who had problems with the nomenclature, syntax, and blindness (or nonexistance of?) an editor. Luckily, whenever my faith in grammatical usage is broken, BT restores it.

I'll give one guess: All the above listed works are "proven" works with a "track record" of bringing in audiences and money to fill a declining bank account. They are easily understood by most audiences--even those with limited classical dance experience--and therefore most are money-makers for the companies that produce them. And like Hollywood, most big-time producers (or large classical ballet companies) prefer to "greenlight" a writer/director/actor (or choreographer) with a proven track record before taking a chance on the unknown.

And oooooh that long scarf! Isadora anyone? (Even if the Trocs have a small corps, seeing the end 'girl' runaround to start the line again at the other side of the stage (lots of panting I'm sure) makes me smile. Yes, Rebeccadb, endless possibilities in every act for all concerned.)

I just saw a performance recorded for archival/reference purposes in a "quad split". Though each image was very 2-D, as a reference tool I thought they had "all the angles covered" and wondered who had requested or decided on the 4-cameras, the production house that filmed it, or the AD? I also wondered about the expense. (They didn't use HD, but had a full crew.) Would such a complete video record negate the future use of several repetiteurs/stagers or other human experts? (Personally, I don't think so, though it may negate the use of quite as many people as before to teach a new work.)

I was able to attend a pre-screening of this program attended by the producer-director and writer at the Dance Films Association's Dance-on-Camera Festival at Lincoln Center January 16th. I can highly recommend the 2hr film to all. Of course, it's always a toss-up whether my local station will air it too. If they're in pledge then it can be delayed by several weeks, and then rarely publicized as to when it will finally be shown. (Which was one reason why I made sure to attend that early screening, despite the 4hr bus/train ride each way and expense.)

I've seen every one of the examples above used when I observed Corella Ballet learning Makarova's "La Bayadere" last year. Susan Jones used prodigious notes, and demonstrated as well. She taught them the complete ballet in 2wks. The Ballet Mistress and Master then refined the details of technique. As did Carmen Corella, who of course had also danced it at ABT. Then the choreographer, Natalia Makarova, herself provided the exacting details of technique and interpretation in the week before the performance. There were two video versions available, but only referred to rarely, or if there was a conflicted opinion. (And usually the consensus after viewing, was that the choreographer had altered steps slightly depending on the dancers or company performing it.) Angel, himself, was present throughout all the above rehearsals, at first with all levels--corps,soloists,principals--and then more selectively coaching smaller groups or individuals, before returning to the large studio to oversee a run-through. For example, I saw him explain or demonstrate technique in the Shades scene to the corps, teach the Scarf pdd to the men, demonstrate partnering skills to the 3 casts of principals, and finally work one-on-one with individual principals to refine interpretations. The amazing thing was watching him switch from role to role, or between corps/soloist/principal, or step to step, completely from memory, never referring to a video or notes, and only rarely to a repetituer/repetetrice present at the time. I have the most amazing footage of an amazing experience. A learning process for me and them.

Coming up in March 15-21, 2010, is a visit to New York City's City Center. I did notice some economizing with travel arrangements for CB compared to last year, but so far, financially the Company is doing well. The Junta de Castilla y Leon is a major sponsor, but not the only governmental sponsor, and the total amount received for 2009 is greater than the year before. There have also been more offers from corporate sponsors. All of which is due (as I posted earlier) to the fact that everyone can now see what Corella Ballet is capable of accomplishing, and its quality level, but most important, is the fact that Angel is there to oversee the Company, perform in it, and do the necessary p.r. to support it. Regarding individual donors, they are very lax in providing the accostomed documentation necessary for such donations in the USA etc. and despite numerous requests over a year, don't seem to understand the necessity for tax purposes here. Hopefully, with a larger, more experienced staff, this situation will improve. RE: The Barcelona performances at the Tivoli: In 2008 Corella Ballet performed 3 days, this year it was expanded to 5 days. Last year they did two works, "Celaje" and an adapted "Corsaire Suite", this year they did 5 works. However, "Caught" was NOT performed due to contractual issues with David Parsons, not because of any lack of technical expertise. (Angel has performed it before in Spain before his own company was formed.) Instead, Angel performed "Tchaikovsky pdd" first with Natalia Tapia, and then with Adiarys Almeida. And wouldn't it be great if a NYC screening of my film could coincide with those CC performances?

QUICK ANSWER (from v.jetlagged me): Corella Ballet is doing okay. Despite the world's economic woes (and Spain too of course), there have been many more offers of support now that the government, corporations, and populace have seen what a large, talented, and viable company can accomplish (as Angel always believed), and that it's star dancer and AD is there to oversee it and support it.

Thanks, but FYI: there is no team. I was also the key grip, dolly grip, gaffer and best boy, and called the shots for my editor (of course he was much quicker executing them on the NLE (nonlinear editing--ie.computer) system than I will ever be). I got to be a gofer too when I could pause. Now I´m learning to be the marketer-publicist-p.r. person as you may have guessed. I just hope some day I can be the fiscal officer too. PS: Thanks for the lovely flowers emoticon, this computer took 2 days to render but they still looked lovely and fresh to me.

And that was actually the 2nd time. The first downpour occurred 4hrs before the performance, so we all mopped and squeegeed (sp?) and then 30mins after we finished, it poured again (2hrs before the performance) so we delayed the opening number 45mins. Then the temp dropped to 30 degrees F. and the staged iced. But they still danced Bruch Violin Concerto, Clear (shirtless of course), and In the Upper Room. Oh yeah, my camera froze (literally and figuratively) at one point, so I had to ¨"bearhug" it all night so my body heat (not much, I was cold too) could keep the camera running and the HD tape rolling. The following night it didn´t rain--it hailed that afternoon instead, but the condensation and ice and cold were the same. It was a very memorable weekend in a lot of ways.

Thank you everyone for kind comments, and special thanks to carbro for providing the direct link to the trailer, and to bart for the link to the Corella Ballet website. I tried to watch it on my hotel´s computer, but it doesn´t have audio, so I don´t know if anything is even in sync. (Good thing I remember every note in my head, where of course sync is perfect.) Some ot the CB dancers have tried to watch it, but the link is slow here. I don´t think Angel has had time to view it yet; yesterday, I interviewed him again (one year to the day since the last time) and he mentioned how intense his schedule has become trying to do it all as AD and dancer, and international entrepreneur trying to raise funds to support the company. (Something I can definately understand.) Yes, that was Makarova. She was at La Granja to rehearse the Company the week before the debut in Madrid, and then of course at the performances. She was so very kind to Angel and the Company, and of course extremely pointed and detailed in her coaching. Did you also see ABT´s Susan Jones who worked tirelessly with the corps? Much of the studio footage of their perfection is due to their own discipline, and hers, Carmen´s, and Angel´s excellent coaching. I am working on creating a website for the film, and eventually the dvd, but meanwhile I still need to raise funds to complete it. But I am glad, the word has finally gotten out to the world, and that you enjoyed viewing the trailer. Gracias to all concerned.

The preview trailer to my documentary of the creation and development of Angel Corella´s "Corella Ballet de Castilla y Leon" is now online at Dancemedia.com. Sorry, I couldn´t post the link, I´m in Spain with limited computer access. Moderators, please delete anything if necessary, and hopefully people will still find it. I know everyone has been patiently waiting for many months. I wanted to post here first, and then on the CB thread, but didn´t want to duplicate anything. Hope all interested BT members enjoy it, you are my most critical and knowledgeable audience. All comments welcome.

I didn't see a hernias happen, but twice I saw a danseur get injured (back and neck) when the ballerina in the overhead lift, tipped. She was saved, no headfirst crashes, but at his expense. Any male danseurs care to comment how to save oneself (or one's partner) from such disasters? Just a note: One of the most memorable "partnerships" I saw this past year was when Angel Corella and ABT Ballet Mistress & Repetiteur Susan Jones demonstrated pdds from La Bayadere for his company. She was so graceful, and he was so attentive, that despite the differences in age and technique, and consequently, the lack of pointe shoes, tutus, or lifts, turns, or other major physical displays, it was truly beautiful watching them move together. I kept thinking how transcendent ballet is; to convey so much, despite those missing elements.

So many of the comments on this thread resonate with me. PAST: *As a young dancer with my first soloist part, learning to trust my adult partner, who was much larger than I, from a different culture, and speaking a different language. *Then learning how to time a sissone lift (think white swan pdd) so that I didn't counteract the upward momentum, but worked in tandem so the motion was upwards, the split moved upwards, and the lift itself moved upwards, before finally subsiding back to earth. *And finally, how to center my weight over my standing leg when doing the standard 'develope en avant fouette into arabesque', (a la Giselle and much of Petipa) so i could pdb back without pulling myself or my partner off balance. He had to know how far apart to stand to maintain tension holding my hand as a counterweight, while i had to think "centered & up", even though I was leaning (or in S.L. eventually falling) backwards. PRESENT: Seeing how timing can affect the two 'angel lifts' in Act2 of Giselle: Done right it is seamless from Giselle's first tendu/ step back and turn into Albrecht, to the top of the lift, so she floats up in one complete move; as if you were drawing a circle in the air starting with Giselle on earth at 7 o'clock, and then drawing a single arc back and up counterclockwise to heaven at noon. Similarly, in between/before the second lift, when she is lowered and then almost hugged: A matinee cast's hug looked constricted/scrunched & grounded, the 2nd lift heavy; the evening's cast flowed: from a man gently trying to hug an insubstantial ghost that drifted away, but then turned back to him, to be lifted in a weightless arc that floated skyward. A single movement from beginning to end, and a brilliant demonstration of partnering. In short, if you can break that lift into its component parts, and see the dancers calculating each of those parts, it won't feel right, or look right. It's not an acrobatic lift, but here timing and placement are everything. I also heard a funny anecdote from an Albrecht trying to convince his Giselle NOT to jump first, but instead "do nothing" and just let him do the lift(ing). After many tries, and a few mistranslations (both were from different countries), she did as he asked, and the rest was history. FUTURE: I have some really amazing footage and comments from several rehearsals of the pdds in La Bayadere, but you'll have to wait until the doc is released. (Or catch a few clips in the trailer online.)

Happy New Year and sorry, for the delay posting the trailer dvd...wanted to avoid holiday mail rush and chance it might get lost: I'm sending dvd copy direct to website so they can upload it at "highest quality" (it was shot HD) "view-only", rather than non-computer-techie me trying to do it. (Unfortunately, can't do anything about that website's banner ads across it. (Ugh) So far, the few people who have seen the 4-min. trailer (balletomanes, and not) have liked it. PS. Will be returning to Spain (Barcelona) this month to finish filming. (mostly interviews, maybe a performance excerpt?) It's been exactly 1yr since I started filming, and is my 5th trip to Spain. Gotta get funding soon, everything is maxed. Any advice (or critiques) welcome.

Yes, carbro there are several items of interest at the Dance on Camera Festival at Lincoln Center. And I, too, was disappointed by the limited ballet offerings. From what I've seen these many years, ballet performances are broadcast on television, but films (documentary or otherwise) tend to be about every form of dance BUT ballet. And the festivals reflect that. Similarly: Why does all experimentation with cameras and FX techniques automatically mean "avant garde" "modern" or unrecognizable as dance? (or just movement?). I'd love to see those camera techniques applied to recognizable AND visible ballet technique. Sorry, crawling back in corner now.

1. Tokyo Ballet "Swan Lake" many years ago. Only this time I actually get to dance in it. (In reality, my family was told we were returning to the States, and then the travel arrangements were changed last minute to a week later, but by then SL was recast and rehearsals all done, and "yours truly" ended up waving at everyone from the front row of the orchestra section for 4 days.) 2. Maya Plisetskaya at Ueno in "Carmen" and "Dying Swan" to refresh my awed but now limited memories. 2. The Nagy/Makarova ABT "Swan Lake" at the Met (and Live from Lincoln Center) that got 21 curtain calls. (I saw the live broadcast, but would have loved to have been there.) 3. The Baryshnikov/Kirkland "Giselle" Act 2 at Shrine Auditorium, so I can relive the timing on those supported pique arabesques. Still so totally different any I've seen since then. 4. Yes, Angel and his Company are well worth seeing, even in rehearsal, especially when he's coaching, always when he's dancing. And I have the tape to prove it. 5. Pavlova in "Dying Swan" to see if the legend was real. 6. But most especially...I would want to go to that very first "Swan Lake" (1877?) and tell Tchaikovsky, "Do not despair, it will become the most popular ballet ever created, and your music will live forever." (And don't get distracted by all the fluffly versions of Nutcracker and Sleeping Beauty that follow.) Then I'd skip forward a few decades and congratulate Petipa and Ivanov for rescuing it, and saving it (along with their notes) for us future generations. Then I'd skip forward a good many years, and tell the Tchaikovsky Foundation to hurry up and tell Mr.B about that lost music.

I agree with all Mel's comments. I was also surprised by the bland, empty sets, but loved the street scene and all the snow. (However, I could do with less of the real stuff here in New England after shoveling my drive 7x in one day.) And yes, I greatly miss Ardolino too. (I thought Diamond did ok directing the PBS/ABT Swan Lake, but not this.)