4mrdncr

OT: Generally speaking, Canada is not culturally enlightened. There happen to be two provincial educational channels, British Columbia's and the Franco-Ontario one, which have a weekly slot, dedicated to classical music, and where ballet gets an airing from time to time. (The Anglo-Ontario network pays no attention to the arts, but it does a fair job with everything else.) Today they are what PBS used to be, and certainly BC's Knowledge Network actively seeks the financial support of its viewers. But neither network can afford to produce its own arts content apart from a few shorts. However, the Canadian Broadcasting Corporation is a proof that a massive government subsidy guarantees nothing. What the CBC spends its money on these days is Coronation Street imports, several painful sitcoms, Hockey Night in Canada, a late-night chat show hosted by a former VJ and absolutely no arts programming. This, evidently, is what the public wants. It pains me to see PBS gradually going down the same route, because in the CBC's case it's been a road of no return. Very many thanks for informing me/us of the state of arts programming in Canada etc. This is very sad if that is truly the trend. I seem to remember at least 3 or 4 Canadian-produced ballet documentaries (2 dancer or company bios, and a few performance films) made in the last couple of years getting broadcast or theatrical viewings. (Though of course not seen much here yet) And at least some cinema chain up there is showing 'live' HD broadcasts of the RB et.al. in theaters, whereas here it is only MET broadcasts of operas (and then in only limited theaters and limited runs) and nothing else. I also think there were 1 or 2 multi-part doc series about ballet (sorry, can't remember the title(s)--I think maybe one word, but maybe not. Also don't know if they were produced by CBC or others, or how long ago; I don't think more than 10 yrs ago?) and was much encouraged by their existance and consequently evidence of both network/producers' and audience interest... I guess this is no longer the case. The last multi-part documentary series about ballet that I can remember broadcast in the USA was the one with Margot Fonteyn 30+ years ago. Have there been any since that I missed? (I don't mean one-offs such as PBS American Masters) Either way, there is a dearth of classical arts programming on television in the US, and if PBS is still the only broadcast distributor of such programming in the USA, it's demise would be even more of a blow.

PBS stations get less that 1/3 of their funding from the federal government. 1) I can't afford anything other than basic cable (ie.5 stations--the 3 network local affiliates, PBS, NE Cable News) and NOTHING ELSE. 2) Unless I go to a library or drive to mom's I have no computer access to watch YT because I can't afford to pay for the online connection either. 3) Do you think the only thing I watch (even when I did have cable with 50+ channels) is ballet on PBS?! 4) I also watch NOVA, Frontline, NewsHour, Charlie Rose, Tavis Smily, BBC News, etc.etc.etc. It is the ONLY network on broadcast tv that doesn't talk down to its audience. 5) It is the ONLY network on almost all of US cable that shows complete ballets. Unfortunately, I don't live "north of the border" or in Europe, or Japan, or any other culturally enlighhtened country that supports its arts and public television stations. 6) I am making a ballet documentary, and PBS is probably my only hope of ever getting it released broadcast in the USA. But as you say, no one is funding or supporting dance films now, and only v. limited classical arts programmiing--despite what PBS Pres. Paula Kerger is trying to initiate. 7) FYI: THE BIG LOOPHOLE ALL COMMERCIAL/CABLE NETS USE: The original rule was 12min/hr of commercials, if interspersed with "programming/program content". But what counts as program content? "We'll be right back to....", or a promotion about a network program "Watch 2&1/2 morons tonight at 8pm, or more spicy stuff later" ALL of that is considered "Program Content" So 12mins of commercials + 1-2 minute of show promos or "we'll be right back..." and they can do another 12min. So close to 20+min of ads/commercials per hour. Add all that up, and it will NEVER EVER EVER equal the time of a Pledge break (or pledge week) on PBS. 8) I too agree that all the pop, rock, folk, nostalgia music fests need to be on other networks or less often on PBS. And though the NEA studies continually show that more people attend/view dance performances than opera, that seems to be the only classical programming PBS shows these days. 9) Help PBS survive so I don't have to keep writing the same thesis over and over and over. 10) Anyone concerned about Congress/public support of CPB/PBS/NPR etc. should investigate something called "The Balance Amendment" to the PBS Act 17 U.S.C section 138 or 238 can't remember which) and the demise of the Fairness Doctrine before that. I am sick of politics trying to control programming. And the 9 out of 10 who watch PBS etc. but don't support it. Sorry for the rant, but as you all know, I have an affinity, and past experience with, if not personally working there or elsewhere at the moment.

Oh! I am so very sorry to hear this. I have many memories and still remember a beautiful, and technically strong dancer who enhanced many performances and classes and careers. Everyone associated with her has my sincerest sympathy. RIP

I agree. I also think Baryshnikov became a 'household name' to some extent in the U.S. because he made the cover (within the same week?)of both TIME and NEWSWEEK--both popular newsmagazines, not 'high art'. (TIME, of course had previously had dancers on its cover, don't ever remember NEWSWEEK doing that.) He also defected when there was still a Cold War, so it was a coup for the west, so they didn't mind promoting the fact. Baryshnikov was also in a Hollywood film that received 11 Academy Award nominations, which helped other popular media notice its impact and its dancers. Now Benjamin Millepied is linked with a Hollywood star, in a Hollywood film, and the Hollywood media frenzy has started to feed. It has no relation to 'high art' at all.

For Petipa, Balanchine, and the like, I usually prefer to sit slightly higher to see the choreography. If I can afford it, I like GT or DC at the Met (very rarely Parterre Box which is a sort of "happy medium" between high and low, but usually way beyond what I can afford these days), or 2nd-3rd Ring for NYCB etc. (though I usually do 4th Ring and have no problem at all there.) I also choose seats depending on the action within a ballet--eg. for SL, I try to sit to the left (if I can't get the center seats), because all the entrances (and those 'big exits' at the end) are usually to the right (ie. upstage left). Ditto Macmillan's R&J. In lower levels I usually prefer not to sit too close to the stage, so I have a "full-shot" instead of only a CU or someone from the waist up. So I will try to sit about 1/2 - 2/3rds of the way back, in the most center seat I can get. A few times I have had a seat in the 1st row of a foreign theater, but because I personally knew and was friends with the dancers onstage I didn't mind the proximity. Twice I have sat between 7-15 rows back and found them quite adequate if no one tall is directly in front of me. I have also stood at the back of the Met Orchestra section, and thought this was actually a great view, because I could see over anyone taller than I, and was almost in a direct line height with the stage. In theaters not in my home area (different cities/states; different countries), again, I usually try to get a seat in a slightly raised section as close to center as I can get. I NEVER sit in a side box, because I hate having only a partial view. However, when shooting, I love diagonals or side views, because they provide more detail regarding spatial relationships on stage, and are usually more interesting kinetically since the added dimension of "depth" is provided, so movement is "through the frame" rather than just across it. PS. A quite interesting angle to view is the direct overhead provided by the grid catwalks. (But that's not for everyone, esp. when the lights go out.)

I see what you mean re the editing and reaction shots to...what?! But when I viewed it, the music was also about 1 full minute (that's a lot in video terms) ahead of the picture. Not sure why, since not sure how it was uploaded. But that also made it more difficult to watch. The one thing I did wonder, was if they were forced to shoot thru the stage scrim for that act (and Act2) as I was, because CBCL didn't understand how visible that is in HD, and how it affects the clarity of the picture. But so far, I think my footage at least shows who is reacting to whom in Act3. Thanks for the video link "goro"; informative as always.

Not sure if I ever got to see him dance live, if so, it was in mid-80's or '90's. But besides various videos and clips available, which definately demonstrate everyone's opinion of his abilities, I also remember a slim book of photographs (were they by him?) and the pics of him (and Wayne Eagling) rehearsing with Kenneth MacMillan. It was rather rare, but worth the views. I am very sorry he is retiring, hope he recovers soon from his injury, and wish him all success in his future endeavors.

Not Victorian, rather 50-100 years earlier, but he was also in the film of "Dangerous Liasons" and I thought appropriate for the part. I also LOVE the duel at the end--both for the fencing (thank you Mr. Hobbs) and the filming of it. (But of course, Malkovich is the real star of that film--especially because he makes one see how Valmont could still seduce, WITHOUT being classically handsome.)

In most of his films, Keanu Reeves succeeds because he is simply (but not sure how unintentionally) the 'blank slate' the plot-points and everyone else reacts off of. He makes the other actors look/sound good, and it is usually those other characters/actors who move the plot forward. Consequently, if the plot succeeds, and the other actors and/or their characters keep your interest, then the film may succeed as well.

FYI: I haven't posted my "La Bayadere" footage because the it is still "raw". I still need to raise lots of $ so I can do a rough-cut and continue editing the doc. Case in point: It cost me almost $8K to edit just the 4-min. trailer. (That is ONLY editing, not travel time, not equipment rental, not rights to music/choreography/dancers etc.etc.etc.) Wow! That video of Tamara Rojo on the slantboard and rockerboard was VERY inspiring. When I was trying to strengthen my ankles, I tried similar stuff on a Bosu Ball on the floor(both right-side-up, and upside down) and thought I was doing good, but it was NOTHING like that! I wonder if it also helps dancers practice for perfs on a raked stage? To me, 4mrdncr means "Former Dancer" since that's what I am. But I guess it could mean other things too. I also hoped it didnt' mean anything bad in a foreign language. Thanks again for posting the videos

Sorry, didn't have much time to view all the clips, so only watched the pdd for two obvious reasons...I wanted to compare camera/directing technique, and the Acosta/Rojo pairing to my own footage of Corella Ballet (specifically Angel & Paloma (guest artist) in performance, and Angel and Kazuko Omori in rehearsal.) I must say IMHO, that mine compares favorably (dare I say better?) in many respects, but what astounded me in the Acosta/Rojo clip was that develope promenade turn...In every version I've ever seen, the ballerina rests her elbow on the danseur so that he can turn her, but in this clip there was complete separation between Rojo and Acosta--so how did he turn her? Simply by her overhead hand (had to be stronger than a "finger turn"). That got me to pay attention. I've seen Acosta and Nunez live, but never Rojo. Her balances were also stunning, and escpecially the fondue into develope arabesque--beautiful control. But otherwise, I much prefer AC in this, both for technique and emotive ability. Also thanks to Evilninja and Mme. Hermine for posting the other YT links so that we can see the progression from earlier times until now. VERY VERY informative. PS. the trailer to my film has excerpted clips of AC, PH, HC, and Kazuko Omori in the "La Bayadere" pdd in it.

Hey I know a lot of people who are smiling about this. Not a surprise but 'sweet'. My congratulations and wishes for much success in the future.

I saw her do Swan Lake in London ('07 or '08?) and agree with Simon G (et.al) about her abilities as dancer and performer. She was very good.

I saw it some weeks ago, and thankfully didn't pay because my mother wanted to see it. I agree with "vipa"'s review and later comments, Leigh's laments, the misogynistic subtext of the writer& director (or as someone wrote, 'a teenage boy's wet dream'), and Ms. O'Conner's analysis of the film as another "wages of art" cliche. My first reaction is that it was silly and boring and I couldn't wait for the 1-2 seconds of actual ballet sequences. On the surface, its plot is simply about a paranoid schizophrenic,that happens to be set in a dance company. And not a very real one at that. The film also has a number of major problems such as nonexistant character and plot development. The biggest problem is that the central character, Nina, is unstable throughout: She's crazy at the start of the film, crazy in the middle, and crazy at the end so there's no character development. Her impressions and musings are all 'sick fantasies'; UNREAL. Consequently, if everything that follows that's out-of-the-ordinary must be in her mind, there is also no 'guessing game' about what is real, or not,--ie. no "Sixth Sense" plot twists either. (Though there is an laughable attempt near the end) So...if I know that everything Nina sees/does is unreal, then I'm not invested in the character or her nonexistant journey. The thrill becomes a question of how 'over-the-top' the director is going to go to transform her into his fantasy of a black swan. Nothing matters except waiting for the final crack-up. Her continuous hyperventilating also got annoying, and (another level of unreality) anyone in that state would never have the stamina to dance O/O anyways. All the sexual, bloody machinations in the middle third of the film became the pointless meanderings of a deranged mind,and because of that, boring delays until "THE BIG CRACK-UP" at the end--which also was entirely predictable. (Though I agree with the review that caught the "sly homage to The Red Shoes" in that final leap). Watching the film, I yearned for the 2-seconds of actual dancing that was visible in the rehearsals, and I hoped the 'grand guignol' ending would come quicker, or someone would shoot Nina and put her (and us) out of her/our misery. IN SHORT: NO character development because she never changes--it's all just a crazy (male director/writer's) fantasy NO plot development, since we already know everything that happens is UNREAL NO point or pointe. I did like the color scheme of the production design. I only hope the film makes enough money so that all the real dancers get some good "residuals" and maybe silly, stupid, misogynistic Hollywood will realize "ballet" is not a bad word.

I'd very much like to see this production for a number of reasons: for professional/technical reasons of course, but also because Matt Golding is dancing. I have lots of footage of him in rehearsal and performance when he was a First Soloist at Corella Ballet, and would love to see him now as a principal. Please let us know about the availability of DVDs etc. as I doubt very much I'll ever see a broadcast (or theatrical showing) near me in the USA.

Corella Ballet has had a 'summer intensive' in late July - August for two years now. I believe there were two 3-week sessions. Notice of the 'intensive' was posted both times in either Pointe or Dance Magazine, AND on the CBCL website itself--where links to registration info was also posted. There have since been YT postings by past participants. Both Angel and Carmen taught,and maybe the company's Ballet Master/Mistress too? Carbro- There may not be a full-blown CBCL school yet due to the economic downturn effecting a delay in the location's renovation and construction (it's in a historic palace), but there are certainly opportunities for young classical ballet dancers in Spain at many schools and several companies including Corella Ballet Castilla y Leon. In fact, CBCL has already performed at probably 30+ middle and secondary schools each year since its inception to try and educate the children of Spain about the art form. RE: Jose Carlos Martinez Very good news for us, and Spain. Angel Corella once wrote the most beautiful essay about him, a paean from a peer. (But I am also a little sad because, once again, there is a dearth of female AD's running a major classical company.)

GREAT, or NOT? NO as ballet, YES as funder: First let me say that I,too, have seen VERY limited numbers of Nutcrackers live in my lifetime--3 or 4?; have no great desire to see it more; and believe its score (and the succinctness of that score) is what helps make it sustainable. I also agree with an earlier post about the 'sadness' (pathos?) inherent in Tchaikovsky's score, and actually prefer those sections myself. (In fact, I think I once posted that the Act2 PDD's music was a favorite because it was so different from the frothy sentiments expressed in the rest of the act.) However,as a dancer and/or balletomane, I will never think Nutcracker is great. But, as a popularizer of classical anything (music, ballet/dance, theater), I applaud The Nutcracker's greatness--the moreso because of its importance to the financial viability of so many ballet companies. APPEAL, or NOT? I also agree that Nutcracker's appeal is mostly to families with children who either are dancing in it, or related to those who are, or are simply looking for a holiday event away from the TV. Nutcracker's importance to the bottom line of most companies in the USA is a consequence of that 'family appeal'. But that popularity (both physically and metaphorically) is another reason why I tend to avoid performances; and why I also don't particularly like a SB with lots of small children dancing in it--I pay to see professionals, not recitals. Corollary question: Are Nutcracker perfs done to provide a more 'professional' version of a recital for child dancers and their watchful parents? That is, a school can say they are professional, "because they do not have end-of-the-season recitals, but still dance Nutcracker as if it is one? (Of course in the professional schools the Nutcracker-as-recital is not necessary since other performing opportunities exist.) But maybe my aversion to attending or viewing Nutcracker as a regular holiday event is ultimately because I was raised in Japan and did NOT grow up with it. In fact I have very odd memories of dancing Nutcracker then and later: -the most vivid memory being my first rehearsal with London Festival Ballet when they came to tour, and my being so totally culture-shocked to hear English in the studio instead of French and Japanese, that for a very long moment, I couldn't understand what the AD was asking me to do! -During the party scene, I remember being more worried that my African-American and half-Japanese friends got the same chances to dance front and center as I did (as a white, blue-green eyed blonde)and being surprised at the reaction when I tried to raise the issue. The later battle scene was dark (ie. difficult to see where you were going with the various lighting and other FX), scrunched, and ultimately boring to do (march, march, scrum, scramble, retreat, line up, march march)--I used to long for the cannon to go off so that it would be over soon (and we could do some 'real' ballet). Having little dancing to do in the 2nd act when I was small, my best memory was lying on the floor in the wing and feeling the 'whoosh and swirl' of the Waltz of the Flowers as they jeted by/over me and off or onto the stage. Later, when I was older and dancing in Snowflake Sc., I remember the speed, intricacy, and concentration necessary to appear light and spontaneous while avoiding inadvertant brushes with colleagues or slips in the cascading flurries. AFTERMATH: When I stopped dancing, I stopped doing or seeing Nutcrackers. Ten years later, I went to BB's only because it was supposed to be the most popular in the USA (ie. seen by the most number of people)--so I thought I should. I liked it, but haven't seen it since. I have filmed other Nutcracker performances, but because it was work, I could remain detached. I've never seen NYCB's, because I couldn't bring myself to pay the $ necessary for a trip to the City just for that. Or maybe it's because I don't particularly like crowds of children at close-hand, though seeing all the cute outfits on them did have its charms. CONCLUSION: This thread posed an interesting question, and some very interesting, thoughtful, and informative answers. Thanks for asking; thanks for posting. My final comment,though, is to quote a t-shirt I once saw Angel wear that most thought was an eye-exam chart, but on closer inspection said: EAT, SLEEP, DANCE, REPEAT: NUTCRACKER in the shape of a Christmas tree. I still smile when I think of it.

I totally agree with both your quibbles, and final statement.

Jennifer Homans was interviewed by Terry Gross on her NPR (or is it PRI?) radio program "Fresh Air". It was broadcast Dec.13th. 7pm EST. I'm sure there is probably a link now to the broadcast at their website. Ms. Gross' first question was a little surprising to me, but also what I expected a general audience with little interest in ballet, beyond the lurid imaginings of "Black Swan", would want to know. So maybe she was right to ask.

OMG! Yes, thank you for posting Cynthia Gregory's "Rose Adagio". I've seen a lot of RAs but this was perfection to me: technique, phrasing, grace, strength, and the ability to convey both the exuberance of youth with an awareness of the 'royalty' (shy dignity, politeness, knowledge of protocol?) of a princess'. I'm sorry I never saw her do it live, but luckily I have many memories of Ms. Gregory in other performances. I don't think I ever found fault with any of them. She was a beautiful dancer, with such strong technique; but she never allowed it to overshadow her artistry. Thanks again for this view.

I remember watching this performance live on PBS when it was first broadcast. THAT was when I first became interested in Balanchine's choreography beyond just dancing it. THAT was when I truly appreciated the beauty, exquisite control, and precise phrasing, of both principals (ie. a showcase for virtuosity instead of the bravura of previous PBS broadcasts) THAT was the music and costumes I remembered despite many subsequent incarnations at ABT and elsewhere. Thank you from the bottom of my heart for posting this. So short a view, but it's restored my memories and soul from a time when I was still young, still innocent, and still dancing. Two years ago, I was able to view the whole performance at the NYPL Performing Arts archives etc. at Lincoln Center. I think they have a 3/4" master, but I don't remember the wrinkle. The original was probably recorded on 2" quad, or maybe 1" by then. But like everything else, it all devolves to who owns the rights to release it. And if it's the B'Trust, then we have a long time to wait. But after my experiences in LA, I am not surprised by the obtuseness of those who do not recognize the value of an audience that is many many times larger than those that can travel to or fit into a theater, no matter how many performances are held. Or the value of cross promotion of an art form, or dancers, or a company.

Of course Carolina I am in Los Angeles with the company--we're even all staying in the same place which is only 2 blocks from the LAMC. The company arrived late on Nov.3rd and after such a long flight were quite tired, but seem to be adjusting and moving about well now. They've been assiduously attending class with Lazaro Carreno. Angel gave a master class Nov.3rd. I had planned to show the trailer etc. like I did at NYCC last March, but the LAMC nixed it because the lobby monitors are only used for promoting upcoming performances. CBCL then delayed until a program insert was impossible. So now, not sure what is going to happen. The original inserts will be on an info table at the performances if anyone deigns to pick one up. I'm giving a presentation to 100 USC students on Nov.5th. That's all for now, more later.

Yes, I hope this opportunity is more successful for him that Ballet Pacifica, but IS he resigning from the UNC position too? Where's the announcement of that? He seems to be have been involved with a lot of initiatives in the last few years, but though much is said of his dedication to these endeavors, he hasn't stayed very long at any of them. He is a talented dancer and insightful person, I hope he can 'dedicate' a few more years to this opportunity and truly make his mark at RNZB and elsewhere so that we in the USA notice too.

How odd. I've heard AC say many times, "don't jump" to his ballerinas before doing lifts, "just plie, and I'll lift you up." So they do, and he does.

Yes, the CBCL Ahmanson performance rep is the same as at NYCC with two exceptions-- 1) CLEAR the first night, and FOR4 after. Both works give the men a chance to shine. 2) No additional pdd's other than SOLEA. Still wondering about casting, but not concerned because I've seen them all, and know how talented they are. Oh yeah, I'll be there too, but LAMC isn't as cooperative as NYCC; so, even though a LA audience is more likely to be interested in both Angel, CBCL, and film production, (and therefore a certain doc that exemplifies that) they may not get as much chance to see it as NYC did. The obtuseness behind this staggers me. If audiences are curious about the company, its formation, and its repertoire (at LAMC and elsewhere), then wouldn't they want to see some footage of all that(?!) So why prevent it? Screenings could help the company; maybe ballet in LA or at the LAMC by generating more interest; AND finally, my chances to finish the film before the next milleneum by getting people to realize how difficult that has been in this economy. (So would Angel's mentioning the doc's existance in all those interviews, which though contractually obligated, he has neglected to do.)