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Absolutely Agnes DeMille. That woman had a brilliant mind and an ability to understand why dancers dance better than anyone.

Well, I voted so I guess I should reply. I think high extensions are being overused. I find Guillem and Zakhorova one act ponies who simply have high extensions, but little else. I like watching dancers who are artists, I don't see that with the typically high-extensioned dancers. Strength seems to be lacking in the highly limber dancers as well. If a dancer can make me feel something while they are dancing, I care very little about extreme displays of technique. Depending on choreography high extensions are quite appropriate, but not for everything! Sometimes it just looks silly.

I was very saddened to hear the news about Michael Smuin last night. Although I never knew him personally (I passed by him only once in the hallway at the San Francisco Ballet School), since I grew up dancing in the Bay Area, it was impossible not to feel Smuin's presence here. I knew many who danced with Smuin and my mother had season tickets to the San Francisco Ballet throughout my childhood. His ballets were my first introductions to dance. I especially remember "Romeo and Juliet" with Jim Sohm and Diana Weber. A beautiful rendition. As well as "Shinju" and the "Tempest". I saw "Sophisticated Ladies" on Broadway which I thought was brilliant. I have always been a huge fan of Michael Smuin and I feel this is a great loss to the ballet world. My condolences go out to his family and the many, many dancers who have worked with him. Rest in Peace.

Thank you Andre. That website is quite a find!

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In my day it was diifficult for a dancer to have a career in ballet and then go on to a university later in life. I am thrilled to see dancers such as Damian Woetzel and Rachel Moore changing this trend. If New York City Ballet wants to hire Woetzel as a successor to Peter Martins someday, that is their decision. It appears they would get themselves an excellent administrator in Woetzel. If they don't choose him, he will probably do quite well professionally elsewhere. I don't think he has much to worry about in his future. I see nothing wrong with Woetzel keeping his options open. I felt he did it well in a political way. Fitting for a student of JFK School of Government.

I find it almost sad that Zakharova is preoccupied with the physical aspects of ballet. I have seen many dancers able to do great technical feats, but the ones who really stand out for me are the ones who master the art of ballet. It is an intangible gift that certain dancers have and it has little to do with kicking the back of their head with their foot. The ability to make me feel or even cry as they dance. I think that a high level of technical prowess is absolutely necessary for a ballet dancer, however, being able to interpret dance creatively and project emotion is what really makes certain dancers stand out.

I think it is fair to say that LeClercq was part of a harem. Balanchine surrounded himself by beautiful girls and women as well as marrying some of them. Although certainly the term is harsh. I have always felt Tanaquil LeClercq's life seemed very interesting. I would love to read a biography about her. LeClercq unrecognized? All I had to do as a little girl just starting ballet, is look at a picture of her in my "The Great Ballets" book by Balanchine, and know that she was different and groundbreaking. Footage of her dancing is stunning and the drama of her battle with polio? This is movie stuff.

I am a big fan of Roland Petit. There is a liveliness and sexuality to his ballets. They look like they are fun to dance. I am also a fan of his choreography for films. Leslie Caron has always been a favorite dancer of mine. I miss seeing Tudor and DeMille. I loved Balanchine in the seventies, but I am tired of seeing his choreography. I think it has become over-exposed. It would be great to see the other choreographers more frequently.

I want to congratulate LAB as well. Based on your website it looks like you are going to have some really lovely programs with great people at the helm. I look forward to the next time I'm in Los Angeles so I can see the new company. Best of luck!

This seems kind of chicken and egg. An environment that raises dancers to be discouraged from thinking creates directors who will continue this behavior. This has become a part of the culture of ballet and therefore is very difficult to change. In fact, I think that in discouraging independent and intellectual thought among the dancers, especially among the women, may be one of the reasons we are not seeing more great choreographers.

Well put Ray. Your experiences in the ballet world mirror mine.

As I read through some of these posts I wonder if we are using the term "high art" as something to hide behind, using it as an excuse not to improve ballet. Just because something is high art doesn't mean it can never be improved or there is not a responsibility to make it interesting to an audience. And that includes those of us in the audience who have knowledge when watching it. I fear if we remain insular in our thinking, are not open to outside criticism and do not have at least a discussion of how this wonderful art form can be advanced, we will have barely any audience left. The reality is, ballet cannot survive without money and that means ticket sales.

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Proper overall training in ballet and overall body strength helps pointe work a great deal. Dancers don't just dance "in" their feet. Pointe dancing involves the entire body, not just the feet. To be specific, dancers pull up at the top of the leg away from the foot and at the same time stretch their legs down through the floor. This counter stretching builds great strength and takes the stress away from the foot. In my day I really enjoyed pointe work. I found that it was less fatiguing to dance than on demi-pointe. (Less friction, the tip of the pointe shoe is a smaller spot to turn on than the pad of the foot.)

The best advice I was ever given by a ballet instructor trained in the Russian style was, "After you have learned the technique in ballet, forget everything." Only at that point can one dance and discover their own interpretation of ballet. This is what I see in the best port de bras. As others have said on this forum, it is essential to learn excellent port de bras technique at an early age and only then, later, can a dancer break out and do what they want.

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