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OK, I'll admit it. I was known as an "adagio" or 'lyrical' dancer in my former life. And the best way I can describe it is FLOW: a continuous phrasing, even in allegro. Like a breath suspended, held, and slowly expelled as the movement continues. And innate use of arms, hands, AND especially epaulement to extend line. Ditto extension that unfolds, opens, and extends the line to infinity. Emotionally? I don't know, but I certainly "felt" the music inside, through me and supporting me. Best analogy: think of a bird in flight: held up by the air, surrounded by the air, using it to move. Mobilis in mobili. That's how I moved--surrounded by the music, through the music, with the music. Or in complete silence, I would use the "filled space" of the silence to do the same. But it was primarily an adagio technique, that had to be adapted (and in many cases truncated) for more athletic, allegro performances. In short, I could "feel" the music, innately understood phrasing, balance till the cows came home, had decent extension (if not the 180/6 o'clocks they do now), and knew how to use my arms, hands and epaulement. But as someone posted above, most adagio dancers do not become stars, which is why it is so important for dancers to be well-rounded technicians. I had to work on the speed and "attack" of Balanchine, or preciseness of Bournonville battu. No one just does Act2 of Swan Lake, and I never mastered the 32. So the generic comments I got were all about being "the most graceful dancer... purity of line, Romantic style blah blah blah." Les Sylphides ad infinitum on tours. Apropos the topic if not the immediately above... Seeing Angel Corella do "Allegro Brillante" in London with Alexandra Ansanelli I was struck by the same thing I noticed after seeing a clip from 7 years ago of his Bronze Idol at the ROH re-opening gala... that an innately lyrical dancer was being forced into a mould. It was NOT a technical issue; EXTERNALLY the ballon, speed, tight precise fifths, tours, extension, elevation, and musicality etc.etc. all normal, all fine. But...I kept thinking INTERNALLY a too graceful softened edge for that very sharp, quick, almost robotic attack of Balanchine, (or a stiff bronze idol). Ansanelli looked like she was thoroughly enjoying herself and her partner, but the difference in technique was evident to me. She was a Balanchine dancer both internally and externally, whereas for Corella it definately was more an external expertise. (I agree about H. Cornejo.)

Rojo is working on a doctorate in dance at the University. Ok, I'm getting confused. I thought the Spanish Royal Family etc. had given Corella the St. Cecilia palace/school at La Granja--which would suggest he has some support there. And Segovia itself and possibly Castille-Leon are also supporting the venture. Again, suggesting there is government interest and maybe financial support too? But if the government is willing to support both Corella and Rojo in their efforts, good for them. I just wish it was less confusing or contentious. And though Rojo seems willing to naysay Corella often publicly, I don't think I've ever heard of him doing the same to her; he's either more circumspect or more considerate.

Now that's impressive -- and so far beyond my comprehension that it might as well be the moon. Question: did you ever make connections between what you knew about physics and what you were engaged in as you danced? It seems to me, based on my impossibly dim memories of levers, fulcrums, and force tables, that even such simple movements as plie, develope, and saute (not to mention more complex issues of partnering) might be interesting to a mechanical physicist. Yes, I did, though not always consciously. Classical physics applies very much to subtleties of technique especially jumps and turns. Action & reaction every time I plied or sauted; torque and centrifugal, and a whole lot of other forces, in pirouettes, fouettes, chaines; and then re-thinking all of it, once on pointe. Now, I tend to use my rudimentary knowledge of physics more to analyse how my aging bones and ligaments are reacting to stress--unfortunately not very well, but at least I know why. (Isn't there a book out already about this subject? And I thought some of the major companies actually had classes in it as well.)

I remember a Siegfried who actually showed an arc of emotional progression through Act2 from fleeing the court in frustration & melancholic yearning, through the shock and surprise that such an unfathomable beautiful creature/woman should appear and then allow him near, to an almost ecstatic (even orgasmic) expression of love and relief to have & hold such a being, only to be heartbroken when she must become a swan again and leave at dawn, to a final determined resolve to do something about the situation as the curtain descended. If the entire Act was only shown in close-ups of his face, that progression of purpose and emotion in him, and the plot in general, would still have been discernable and understandable. Of course it helps to have an Odette who is equally capable of acting/reacting too--and though I've seen beautifully graceful, or elegantly regal swan queens, I've never seen one yet give the same fully realized emotional performance as Odette in Act2. (Odile of course is MUCH easier--vixen/vamp and all else in between, and all Odette in Act4 has to do is look heartbroken & determined to die.) Siegfried's complementary actions to the above included.... *Kneeling as Odette finishes her story--in homage to her royal blood too? or in submission/acknowledgement of her telling it to him? * An almost hesitant momentary look back at Odette (in doubt? to reassure himself or her?) just before he swears his love. * The several times he folded his arms around her and tried to press closer, yet cautious of her fragility and still birdlike tendancy (visible in the choreography) to flee. * The expression change midway in the pdd, as they both turn away from each other, (his unsure of himself, his actions, or his future), and then the relief (you can actually see the shoulders relax down and a half-smile appear) as Odette comes up behind him and brushes her hand down--showing her acceptance and care for him?--before doing that pique arabesque into his arms once more. * And that almost spiritually ecstatic expression (Bernini's St. Theresa has it too) when he's got her tight in his arms or actually managed to caress her. Not an altogether regal prince, or detached one, and any elegance is inherent more in the technique than demeanor, but definately not a Siegfried attending a funeral.

Yes, I remember both Charles Ward and Clark Tippet. I remember Ward's height, blondeness (at first rare but then with addition of Radojvic (sp?), Renvall, La Fosse, and Mischa of course, that changed), and technique; a long lean and so pulled up carriage and a memorably intricate swirl of his cape in Don Q. I also remember Tippet partnering Martine Van Hamel and still like his Bruch Concerto. And finally, I remember one other victim of AIDs then (though not a "tall strapping fellow" as originally in this thread), Peter Fonseca with his so precise technique. When The AIDS Quilt came to my university, I specifically went to see it to find their squares, and shed some tears when I did. I do so hope medical improvements, knowledge, and acceptance of different orientation has made it a safer (if certainly not safe) world now. Thanks to all for recalling those earlier days, and not letting them dim in our aging memories now.

Uh, I clicked on your link but NO WHERE did I see anything with a ballet context. I think they change the comic each day, and today it was something about Jon sticking his head under a tractor!

Just a quick note to say that I saw three performances--unfortunately only Program 2 as I couldn't leave work in US before then, but will write more later of my impressions... In short, Alexandra Ansanelli & Angel Corella were fine (minus a few inadvertant bumps)--especially so on Saturday night. Slingerland was always interesting. More on cast differences later. I REALLY liked Wheeldon's new piece "Fool's Paradise" but am still not sure how much (and what percentage) was due to choreography, or set/lighting/costuming, or music. Some cast differences too. After the Rain--has aleady been discussed forever and ever before, and wasn't much changed--Wendy still did it beautifully as always. All in all, Morphoses is definately something worth seeing in London, or City Center. More later...

Great topic! Hands are so often forgotten, and so misused. For example: The biggest NO-NO that many still use is a "droopy wrist", which completely breaks the line of shoulder-epaulement, down arm/elbow/hand, to fingertip(s) and beyond. Or even worse, in arabesque: the line from toe to opposite fingertip & beyond. Yet how many times in Swan Lake have we seen droopy-wrist syndrome in Odettes and corps!? Even Cynthia Gregory and Nina Ananiashvili of the 'liquid' swan arms have flapped their wrists, destroying the effect, and the delicacy of their hands. It has also taken years for many to overcome that other noticeable hand habit of dropping the middle finger--in some cases overly so, so that it almost meets the thumb!--as we were all taught (unless very lucky) in beginning ballet for moppets. Paloma Herrera still does it, but at least they don't look so "schooled" and stiff lately as her upper body has come more into play. The best advice I ever received about hands was to RELAX the hand and allow the line to flow from the center back or chest, down the shoulder and high rounded elbow, THROUGH the hands, to FLOW OFF THE FINGERS. In short, think of a stream of air/water flowing down your arm(s) that will be deflected, bent, or abruptly stopped (like a rock in midstream) if the wrist breaks or the fingers abruptly bend/clench. And of course, one must always consider how the hands extend & finish the line created through correct body placement, epaulement, AND with consideration of what your partner is doing as well. RE dancers (recent times)... My favorite for expressive hands (even though they were proportionally a little too large) was Alessandra Ferri, who knew how to use her fingers or a simple rotation to convey a totally different emotion within the movement itself. Lately, since most of my experience is with ABT these days, I've thought Julie Kent has probably the most effective line, and in consequence, long fingers/hands used to extend it. As for the guys, there is only one dancer I ALWAYS watch hands because I am so fascinated with how he uses them, and who taught him to do so with such grace, flair, and cognizant (or not?--innate instinctive?) effect to mirror and extend line. Hope this wasn't overkill. Apologies to all.

Sorry, but though I've seen many other companies perform, most memories are from ABT ... Makarova and Nagy, moreso than Makorova and Dowell because the generosity of Nagy's partnering, elegance and grace somehow seemed more caring/attentive than Dowell's, who could do so too, but also look like he was sort of a detached observer judging the effect as well. (Wish I had seen Dowell and Sibley live.) Corella and Vishneva for the perfection of their Act2 Giselle pdd's etc. But in R&J, after seeing many many casts, and Corella with many other partners, I think he dances Romeo best with Xiomara: After seeing them perform immediately before/after others, or with other partners, it really was noticeably different. Corella and Kent, however, do have exquisite line in whatever they dance together. And I still remember that matinee Manon with Alessandra Ferri this past Met season--rough edges, but what a gutsy performance by both. (Otherwise at ABT, I'm still waiting for partnerships to develop, since there still seems to be a lot of experimenting going on there. I tried to see Gomes/Part this past season, but injuries prevented it; only caught Hallberg in rehearsal or shorter works, ditto Carreno, and Ethan only twice.) will edit or add more (as memory improves) later.

Yes, I remember the guys using mostly rosin, but sometimes those little "chalk pillows" gymnasts had: just patting to absorb and immediately wiping palms so no white smudges appeared on partners in the wrong place. I've also seen the surreptitious onstage brushes of brows against a partner's brow, cheek or costume to wipe away an annoying trickle tracking the wrong way. My hair, which was usually too thick to hold a chignon properly, and so had nets, or was braided instead in a tight headwrap, sometimes acted as a dike to catch the drips. But most of the time, the movement itself created a welcome 'breeze', and it was only when still for a while that it was felt and of course had to be ignored. Stage-lighting, like film/video lighting, has greatly improved in the last 10+ years, so that the temp has come down quite a lot as 'lamps' have changed over from tungsten. (This has also saved many gaffers' from blisters, and theatres from exploding lamps or fires--I once saw a 5K explode, and a jumbo Mole-Richardson fall off a stand and almost bean Bob Hope.) But my favorite quote re dancers and sweat occured during the "Live from Lincoln Center" broadcast of that famous Makarova/Nagy "Swan Lake" when Dick Cavett, who was hosting, commented during the backstage intermission interview with Makarova, (as best my aging memory allows)..."[ie. sports]-Atheletes sweat, we perspire, but dancers glisten."

With apologies to Larissa Ponomarenko (sp?) at Boston Ballet, who I think is a beautiful dancer, and Jormo Elo, who I can find interesting, but also repetitive and boring... A recent performance (sorry forgot the name of the work) this past season where Larissa was mic'd, and danced solo to Mr. Elo's seamless but emotionally flat choreography while simultaneously carrying on an endless monologue in Russian--I don't remember any music except at the beginning of each sequence, but maybe I just blanked? Since I am not fluent in Russian (in fact I only know about 10 words), and Mr. Elo has never been one to provide a dramatic arc to his choreography, it was only her inflection (between gasps for air) that provided some clue to a purpose, if there ever was one. Consequently, it just became an endurance ordeal for myself (and maybe Larissa too?). If anyone was able to do a simultaneous translation, maybe they could explain it to the rest of us?

Normally not.Many of the beautiful and rare things that were recorded on VHS do not have a correspondant in dvd.Unfortunately I'd say.And It's impossible now to find them on VHS.An example? Roland Petit's "Carmen" with Baryshnikov and Zizi Jeanmaire.It was sold years ago on VHS and no more on DVD,at least not here in Italy.And then I'd say that POB is too publicized and I do not find these DVDs very interesting....always the same dancers and a part from some of them,almost unknown or not great,in my opinion.And Sylvie Guillem maybe is not part of these. I hope to get the chance to travel a little bit and to buy some dvds abroad,hoping they work with my player;-) The Baryshnikov-Jeanmaire "Carmen" is available on DVD. I know because I own it, and was just as surprised as to see it available. I think I got it from amazon.com (US). Just be sure your player can handle multi-zone formats. FYI: dual (and some triple) format players have recently become more available to home viewers to purchase without recourse to professional equipment catalogues.

Of course things get whispered back and forth if necessary, re placement, re timing, re miscellaneous. But my favorite caught-on-video is the Macmillan R&J balcony pdd with Ferri & Corella... There is a LOT of interaction going on throughout, especially just after THE lift midway, when, as she is being lowered Ferri is definately asking a "what do you think about...?" of Corella, and for a second you see his absolute shocked "huh?" in response before he acquiesces to her experience. Or at least until the next discussion, (difference of opinion?) which occurs just before that quick peck he gives her before those running diagonals at the end--to which her reaction (anticipated or not) is spot-on, making the runs into his arms more impressive for pausing to consider first. Personally, I consider this one of the best performances of this pdd, though taken faster than most, and maybe it was all that spontaneous (or not?) soto voce 'coaching' occuring in performance that contributed?

Does anyone remember the discussion of Hilarion's vs. Albrecht's relationship to Giselle in the film "Dancers"? The author(s) of the screenplay followed the tradition of Albrecht (aristo) vs. Hilarion (uncouth peasant). And if I remember correctly, Baryshnikov was a master at playing the cold, haughty aristocrat, as Victor Barbee was playing a more sympathetic Hilarion. There is also a good discussion of Myrta's motivation. No one seems to have considered what Giselle thinks of it all. These sections are interesting, and the performance footage beautifully shot, but I usually FF through most of the rest of the film. (Oh if only it were on dvd, to make that easier!) To return to original topic: Are we discussing dancers who excel in technique but are underappreciated because of physique or lack of roles? Or because they dance roles that are underappreciated for their effect on the primary roles?

A simple analysis of physiques is visible in a still photo on the Ardani Associates website of the "Kings of Dance". It's from the opening stance of the performance (after the video prologue) when all four "kings" are standing side by side in backlit silhouette. (Kinda like four "Oscar" statues in a row.) An easy way to see proportions in four of the top male dancers of today. You be the judge whether it has affected the brilliance of their dancing. I think not.

The PR touted all the new amazing unseen-before-now footage, and there was some...The 'home movies' by Teja, the early school performances, Bluebird etc., but most of the more 'contemporary' footage of Nureyev after his defection was from (egregiously uncredited) newsclips or documentaries which I've already seen. And I too was shocked by the usage of 1979 footage of M&A, and agree with the comments re Fonteyn and misuse of his other partners. So many times I have searched for footage of N's early dancing to erase my memories from late 70's of sadly sliding technique. Much of this documentary's footage demonstrated the amazing power, energy, (yes, speed), and forceful emotionalism of his dancing, but I still missed a reliable technical brilliance. As posted above, I too noticed the faults of form, and wondered how much his incredible drive and determination to overcome it, had really succeeded. I will always admire that courage and drive, and willingness to pour his whole being into dancing, but still feel a certain wistful longing for opportunities missed. I am glad they did the documentary, and the re-enactment/explications of the defection helped me understand much of the fear and frustration of those caught up in such regimes, but I do hate compilation documentaries where footage from other sources (which may or may not be relevant to the point at hand) is slashed together to fill what we cannot find for ourselves.

I've posted elsewhere re favorite photographers so there is some overlap. I also tend to prefer B&W because of the many more levels of contrast available, but there are some color photos noted below I remember well... NUREYEV & FONTEYN: Too many to name, but some prominent favorites from "Marguerite & Armand" BARYSHNIKOV: 1) Stretching etc., a photoshoot by Crickmay done for book about the making of "White Nights". The lighting and 'contained power/motion' within the stillness of the poses is incredible. 2) The B&W photos of "Baryshnikov at Work": esp. rehearsing Other Dances (beautiful epaulement/line in a tendu en avant croise or (can't remember which)efface?), Act2 Giselle (love that extra-long cape--cum Nureyev?), Pas de Duke. MAKAROVA: 1) From her autobiography: Cover photo, Dying Swan, Swan Lake. (After the pics of Pavlova--my alltime favorites of course--I love Makarova's ultimate grace, inherent fragility, and yet tensile strength in those iconic poses.) PLISETSKAYA: In my program from a Bolshoi performance in Japan, c. 1969-72? I presume Dying Swan or Swan Lake in arabesque, photo taken from behind, single downspot high-contrast. (I think it was the dramatic lighting/contrast and stillness of the pose that caught my attention & her in a split second of concentration between movements.) GELSEY & IVAN NAGY: studio pics: Romeo & Juliet, and Leaves Are Fading in (I think) "25 Years of ABT" book? Both pictures are of lifts (pics maybe by Waldman?)--and two of THE most expressive dancers in ABT show how continuity of motion, and communication between partners can be inherent in a still photo. ANGEL CORELLA & XIOMARA REYES in the Macmillan R&J bedroom pdd, taken by Rosalie O'Connor and used several times by ABT for Met season one-sheets, or programs. The dark background--(in the original which may have been taken from the wings)--and almost downspot lighting throwing the two lovers into relief, the intensity of the action / blur of the movement as she slides downwards, and the stillness of Romeo's so contained thoughtful expression in complete contrast to the almost desparate emotional involvement of Juliet's hand brushing his cheek. Though no dancing is shown, it's a "wow" picture on many points technically & artistically. (Which I guess the PR people realized too.) Probably can think of lots more later; just some of the ones that came to mind quickly.

I, too, have seen the photographers at the dress rehearsals, but please don't imply that they got there because they were major donors. I believe that Ms. Ellison and her husband have donated to ABT, but she has been photographing them for many years now--including previously published titles, and has earned her position through her work. Because a production is COPYRIGHT by the company, designers, choreographers etc.etc., the company and venues restrict us unauthorized ones from snapping away. You have to get special permission from ALL involved legally in order to have the right to photograph and/or videotape a production. In music we have 'blanket' agencies and such organizations as BMI and ASCAP etc. to save some of the legal legwork, but don't know how many such organizations exist strictly for dance companies. Either way, it is not an open invitation for anyone to photograph ABT, but a carefully 'screened' and vetted hiring process.

I'll check through my old programs. It could take a week or so, I have to search my storage room, affectionately (or not) known as the "black hole". If I find anything, I will certainly let you know. Have you tried Playbill or the Wang Center's archives? I was a BB subscriber then, (who happened to work one block from the Wang) and definately remember the controversy at BB with Holmes, Gielgud etc.etc.etc. If you can get access to any of the local college libraries, they often have better research methods, souces, and ILL's to access info (such as articles, cast bios etc.) Hope this helps a little.

An FYI/Heads Up: A new 240 page "coffee table size" hardcover book by Nancy Ellison "In Classic Style: The Splendor of American Ballet Theatre" is scheduled to be published by Rizzoli April 2008. The cover pic is the 'fish' from Sleeping Beauty's Act III Grand Pas with Angel Corella & Paloma Herrera; Red Riding Hood, Cinderella & Prince, and Puss etc. looking on upstage. Amazon is taking pre-orders.

I too noticed the cutaway at that diagonal into a male-to-male hug, and I too thought it was to ease the broadcast acceptance by certain segments of the U.S. population. I also questioned the timing of the musician cut-aways, not the fact there were such cutaways. Overall, I didn't like the (video's) production technique: It was truncated, chunky, and sort of destroyed much of the fluidity inherent in the choreography, so that I felt many times that I was missing things. A stange occurance considering... 1) The television director was very experienced and had done many previous "Dance in America" or "Live from Lincoln Center" performances. 2) If it was LIVE or Live-on-Tape (or disk or hard drive these days), and it was switched live, than choice of camera shot(s) to take was the responsibility of the director and his TD. And since they were experienced, and I would hope the camera crew was too, then it is even more surprising the cuts were so visible and it wasn't as seamless as usual. 3) Editing should only have been done for length; to insert titles, required underwriting credits or backstage interviews/documentary footage; or clean up any egregious live technical or production mistakes by the video, theatrical crews, (or dancers?) 4) Sometimes the choreographer sits in and provides a "shot-list" etc. to the AD as a "heads-up" to cuing cameras, something I am not so sure happened this night. Or the dance company's stage manager is in contact with video crew (director/AD/producer) too. 5) Most dance productions are filmed with at the least 6 cameras and often more. [e.g. 3 cameras L-ctr-R down front, (diagonals and CUs), 1-3 cameras center and/or back orch. section (MS), 1-2 reverse angles cameras in pit for conductor, musicians, and audiance reactions, 3 cameras L-ctr-R in mezz/1st balcony (FS/or wide), one high up for full-stage safety WS and curtains] I've seen productions with 15 cameras--an expensive proposition. (This does NOT include the many other tv crewmembers in a production, or the theatre crew either.) So with all of that, a lack of camera coverage for angles most probably was not the problem. Just my impressions from being on both sides of a production, and please remember, I only saw the last half of this broadcast so may have missed much more effective directing earlier.

Just caught half of the PBS telecast--no local promos of course, so thanks for "Heads Up" at BT. I do agree with some of the queries of SanderO, and some of Ray's (et.al.) answers. Yes, I saw choreographic similarities to other contemporaries, better use of groups than individuals, and whimsy; in fact, that ironic glint is something I actually look for in his work. But the one thing I ALWAYS see in MM (unlike SanderO) is the musicality--even that "slavish" literal interpretation of each and every note--which sometimes I am VERY glad to see, and other times wish he would break free. I didn't mind the splotchy backdrops and the insertion of some color--beside lighting--into the monochrome costuming. Overall, though I appreciate MM, the chances to see him work, and the many many ways he has brought dance into the lives of people who normally never have a chance to see it, I do prefer women on pointe and classical structure.

Hope this isn't all OT... Ok, maybe I'm obtuse. I understand the point about the "shape" of choreography, if not always "meaning", which to me is a SUBJECTIVE decision akin to a zillion viewers having a zillion ideas about the "meaning" of an abstract painting. (I have a funny cartoon at home showing a professor/lecturer going on and on about the "deepest emotional horror/angst etc. etc". in an abstract painting, only to discover afterwards that it's title was "Pink Snow Bunny".) Of course there are many opportunities to express emotions or situations through choreography and its musical accompaniment, but does each step have a "backstory"? Or a POV? What is the "meaning" of a dance? Of course much of what I say above, is contradicted by my posts last year about seeing dancers' technique and personalities inherent in steps created originally on them, and later danced by others. But all of it emanates from my wish not to typecast dancers based on body types, if their technical/artistic abilities are already at a top professional standard. Returning to original topic of "line" Line to me has always been a technical knowledge expressed artistically. That is, a true artist knows how to use an inherent technical knowledge of line continuously to express and enhance the presentation/performance/viewer's understanding. Muddled musings as usual.

Uh, I always thought Hamlet's best friend was Horatio, who was at school with him at Wittenburg, not Laertes who is at school in Paris (and I think slightly younger?). Before that ghost shows up, I guess Hamlet and Laertes were friendly enough, though maybe strained because of Hamlet's interest in Ophelia. Afterwards, of course, both lie dead on stage, and Horatio is left to clean up. Nice point about Pierre and Prince Andre.

All Things Considered, the NPR news program has a piece on the "Ovation" cable channel today, why it was necessary to form one (after demise of arts programming on A&E and Bravo), their business & marketing plan(s) etc.etc. What do you know, NPR suddenly remembered arts programming and did a story on it--however short. I assume transcripts etc. will be available later at the NPR website.