aurora

I would LOVE to see a star trek ballet. Somehow I suspect I'm just about the only one though ;) PS--whoever had the blade runner idea--I love it! /dork

the hobbits also present somewhat of a logistical problem for dancers... who wants to dance in giant fake feet??? and of course no female hobbits figure prominently in the story.

What about Wuthering Heights? Or Jane Eyre? Not enough action? I suppose Tom Jones is too convoluted in terms of plot, but its a lot of fun... I'm just thinking of books I love to read and reread. This is a hard topic! There are loads of stories I love, but translating them into ballet...well its not easy, even in concept.

Totally OT, but your use of the term "intermission" for halftime above made me think of something.. My mother has been attending ballet for years and years but is also a pretty avid sports fan and has recently been going to more and more sporting events. In the last few years she has taken to calling intermission "Half Time", which inevitably makes me roll my eyes and groan. Really it is kinda cute though:)

I think you can find her graduation performance up on youtube. At least it was there a few weeks ago. I'd say it was pretty much the same.

I did the same, for the same reason. I think the poll might have benefited from a few more categories. Given the options, it seemed the most accurate response.

Maybe it could work for Corsaire though.... (I was just unsure as to what SanderO meant when he said no exceptions--but he clarified below)

what about a dancer in fancy free having a navy appropriate tattoo? What about on stage in a modern work? what about in alternative dance types? You really mean no exceptions? or are speaking within a framework of classical ballet?

I think it would be more than ironic, I would think it downright wrong. And what Helene just said is, btw, my feeling on tattoos in classical ballet as well. They should not be visible in such works. As I ended up being the "defender of tattoos" above, I just wanted to make sure that was clear.

hehe, I haven't seen the tatts you are talking about, but by heavily tattoed, I think I mean something rather different than you I have friends with full sleeves, entire back pieces etc...That is the kind of thing that I was assuming SanderO was referring to by heavily tattooed. I agree totally about the conformity expected of dancers. I just think that if they relegate them to areas that are usually not visible in classical pieces they should be tolerated.

If you hate tatts altogether, it seems quite logical you would have this reaction to tattoos on dancers. That said, an obvious tattoo *is* an eye catching thing, and not something acceptable in classical ballet. Which is why most dancers either don't have them, or have them in places that are usually concealed But no ballet dancers do this, so whats the point of even conjecturing? I'm not sure what body piercings you think would be obvious through costuming--nipples on the men in the rare barechested piece? Also, piercings are removable. I have a septum piercing. I do not wear it when I teach undergraduates. I know my dept would disapprove. They might not even consider it "spoiling it" or "cheap looking 'artwork'". A lot of people, myself included, don't.

well unless they decide not to cast dancers they think are right for the roles because they have tattoos, I'm not sure what you are suggesting. Maybe ABT should front the money for laser removal and not promote any dancers who get tattoos. That should remedy the situation. When confronted with the decision of tattoo or career, I'm sure most dancers would chose the latter.

I don't. For one, those of us in NY, for ex, have no chance to see this performance. And rather than make me less likely to see a live performance, getting to see this (previously unknown to me) ballet would make me *more* likely to go,not less. Furthermore, since it seems filmed by an audience member, there is likely no commercially available video of it. It isn't like it is causing people to not purchase a video of it. (though i have to say, I am more likely to buy a video after seeing it and liking it on youtube--the quality on youtube just isn't that good and if I like something I'm MORE likely to buy it knowing that) I can see there is a valid argument for removing it--it is clearly an illicit filming--but I really don't see how it devalues the project.

On Sunday neither of us got a slip regarding the cast change. just a note to second--my mother and I had no slips in our programs either... I guess they were rather haphazard about ensuring they were in there.

That reminds me of when i was in HS, one of my friends from ballet went to a different school than I did. When they read canterbury tales, they were specifically instructed NOT to read certain ones. I'm sure more students read them then would have had they been assigned!

Yes it was--it was on that Balanchine film that was aired on PBS this week.

Seriously. There are legitimate complaints about dancers dancing difficult roles once their ability has been diminished. But why would one want to ban anyone from the stage in character roles, simply because they are "old"?? Frederick Franklin is still out there and kicking at 90+, and I wouldnt want it any other way. I also think you (dancerboy87) said Fracci was good for her time, but wouldn't be a major talent today. As someone who never got to see her live but adores her in Giselle with Bruhn, I'd have to disagree. There are dancers who I would agree with that assessment of, but Fracci (and Cubanmiamiboy's beloved Alonzo) are not among them.

Not having seen that video in eons, is that the variation that starts with the back double cabriole? I like that one, too. its on youtube. as is a video of Osipova doing a variation to that music (put in Osipova, look under most recent, its her in a white dress listed as 1st variation from the grand pas). what i don't get is there is another video of Osipova doing the passe passe version--and both seem to be indicating they are bolshoi, not guesting elsewhere....so what gives?

I don't really see the comparison is an apples to apples one. It isn't like the MetOpera lists all those 1000 people on a schedule/program. They list the top performers, no? Which is what ABT does, and they switch them out if someone is sick or injured, and the schedule needs to be adjusted accordingly. I'm not disagreeing that it is REALLY frustrating when you want to see performer A and get stuck with performer B; it is! But part of the reason ABT's schedule changes more is due to the fact dancers are injured with a greater frequency than Opera Singers, and also that ABT, especially when doing mixed bill programming is having to do a more complicated balancing act. Furthermore since they are listing a greater number of performers per evening, there is an increased likelihood that someone will be unable to perform.

you know, you are probably right, I've done subscriptions (+ additional tix) for the last bunch of years so I wasn't even thinking that they might not allow it for non-subs. woops!

Maybe someone else knows for sure, but I think as long as one doesn't sell a ticket for more than face value (ie, trying to turn a profit on the ticket) you can do it.

I would hazard a guess that it has to be City Center, not ABT, as the ABT season at the MET allows ticket exchange.

I'm not Hagland, nor do I know to what precisely he was refering, nor have I run a company, all that notwithstanding, I think there are more variables than you've allowed for. 1) injuries. Injuries are frequent in dance companies. Most of the last minute switches (including one that was really heartbreaking for me during the MET season) are due to injury. 2) scheduling. Remember, these aren't full-length, evening-long works. That's great right? More opportunities to see more dancers! But given that they are not doing the same program on multiple nights, but rather mixing and matching the works, the casting has to balance out so that one dancer isn't working in all 3-4 pieces one night. It seems to me that this sort of programming inevitably leads to more variables, and as they scramble to cover for one dancer who is injured, instead of just replacing him or her in one ballet, shifts all up and down the programming need to be made to accommodate the replacement. 3) With the new works, those that are being set on the company right now, they simply may not know yet who is best in the piece, and again, who is cast when can cause changes throughout the programming.

I got the impression he had. That his aim was a company of his own--a touring company which would employ dancers on a "full-time" basis, and that it is this goal is part of what he's referring to when he says it will take 5-6 years to come to full fruition in the statement above. from the sept 30th article in the times http://www.nytimes.com/2007/09/30/arts/dan....html?ref=dance

I see what you mean, but I think, given all the heralding of him as the "savior of ballet!!" his caution is understandable. I don't think what he says is overly negative, but rather recommending a realistic attitude instead of the overblown expectations that have arisen from his decision to start his own company.