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vipa

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Posts posted by vipa

  1. 27 minutes ago, California said:

    As I'm sure many of you did, I got a detailed questionnaire today from NYCB asking about prices I'd be willing to pay for different offerings -- performances, talks, interviews, classes, etc. I suspect we'll be seeing more of this.

    I just filled out the questionnaire. Clearly they are trying to get creative with cash flow ideas. These time call for new ideas, so I wish them well.

  2. I am very surprised. I expected him to have a long career with NYCB, because from the beginning he was involved in so many different types of projects - choreographing at summer intensives, acting as MC at Met Museum performances and other venues, leading outreach projects, hosting the podcast and more. He seemed to be the go-to speaker/presenter. I assumed the company saw him as someone who could eventually be part of management or public relations. Maybe he will return after his formal education, and do just that. Anyway I'm sorry to see him go, but wish him well.

  3. On 6/12/2020 at 5:21 PM, Helene said:

    I'm listening to Michael Breeden and Rebecca King Ferraro's interview with Phil Chan, author of "Final Bow for Yellowface," and they discuss Bugaku.  Chan's suggestion for Bugaku is to present it in a museum setting, as the only work presented, and with discussions/exhibits about the context of the work.  As far as being a rep piece, his suggestion is to set it aside and hire a current Asian choreographer to create a work.

    https://conversationsondancepod.com/2020/05/26/final-bow-for-yellowface/

    He's also working with Doug Fullington to retain the notated steps of classical ballets -- so far La Bayadere and Le Corsaire are on the roster -- but putting them in different contexts.  Carla Korbes is going to coach these versions, which sounds like a fascinating project.

    Just want to add that I'm reading Phil Chan's book - Final Bow for Yellowface. A short and interesting read (195 pages) that develops the ideas I've heard him express in interviews. I find it particularly relevant during this time when many of us are thinking about race, and race relations.

     

  4. 3 hours ago, pherank said:

    Yes, both YouTube and Facebook allow live chat (comments) but the user has to sign in with a valid account. YouTube may allow sign-in from a number of different sources (Google, Yahoo, Facebook?), but Facebook live chat can only be accessed with a Facebook account.

    The program was on YouTube but you could also be sent a Zoom link, which is what I was given. You could submit questions using zoom chat.

  5. 16 hours ago, pherank said:

    Thanks for the heads up, Vipa.

    Is this the video?
    https://www.youtube.com/watch?v=TLHnwcllAzc

    Yes, I believe that is the video. It was quite interesting how, during the presentation, you could submit questions. It seems the questions asked were the most frequently asked. It must have been quite a job keeping track as questions rolled in. I think there were over 4.000 viewers!

  6. I may have missed it, but I haven't heard anyone mention the Mark Morris zoom effort last night. Forgive me if I'm repeating covered ground. An hour long presentation that, for me, was more interesting than satisfying. The always interesting, intelligent, opinionated Mark Morris and his musical director spoke, answered questions from viewers and introduced pieces. The pieces were short. Apparently the 18 dancers in the company were sent music and a movement assignment/response that they could do at home. They filmed themselves and submitted their work. It seems Morris received 70 to 80 submissions from the dancers for each assignment. He and his musical director made choices about what videos to use and in what order. As I said the end products were more interesting that satisfying but I liked that they were looking it as a new way of working. A zoom creation. I believe the hour is now available on Youtube if you look for Mark Morris. Anyone else there?

  7. 45 minutes ago, ECat said:

    Agreed on all points, but I did watch the interview with Hammoudi.  The video where Isabella Boyton interviews Cynthia Harvey was almost unwatchable and I was unable to get past 10 minutes in.  Perhaps I have been spoiled by Megan Fairchild's excellent interviewing skills, but Boylston was lackluster.   Cynthia Harvey is a legend to me and needed a better interviewer.  ABT is going to need to start upping their level of videos...

     

    ECat I was going to write this but you wrote it for me. I'm really loving the Megan Fairchild interviews!

  8. 8 minutes ago, fiddleback said:

    Has anyone ever watched (or perhaps even seen) the original version of Square Dance, with the “Caller” calling out the dance? It’s pretty fascinating, because you can see that the dancers really appear to be following the directions of the Caller (Elisha Keeler). In the video, the camera is in a raised position, looking down a bit on the dancers, and it’s quite fascinating to see the movements as they’re being called. Watching the modern version, it’s not clear to me that they’re actually doing a square dance, but watching the original, it’s perfectly obvious! Hat’s off to Mr. B and his obsession with all things Western!

     

    I’m trying a (probably hopeless) experiment of trying to watch the BAZ video alongside the old NYCB version. I suspect it will be a learning experience…

     

     

     

    I'm old enough to remember the Joffrey Ballet as a NYC institution and they did Square Dance with a caller. It's interesting that companies doing Square Dance don't try it. It may be a hard thing to add and I don't know how the Balanchine Trust feels about it. It makes me think of Apollo with/without the birth scene.

  9. 3 hours ago, nanushka said:

    I don't think it's that they truly aren't able to. I think they have recorded material, and they could make it happen by some means if they really wanted to.

    The fact that they made the gala available on YouTube for only 24 hours is very revealing of their attitude toward digital content distribution. (It's almost funny. But sad and disappointing, mostly.)

    It takes fast negotiations with the various unions. NYCB seems to have managed

  10. 5 hours ago, miliosr said:

    From a January 1972 Dance Magazine cover story on Natalia Makarova:

    Antony Tudor's Romeo and Juliet, Natasha feels, is the most significant ballet she has danced so far [at ABT].

    "Working with Tudor and being able to dance this ballet makes me feel that my decision to stay in the West was well worth it. I have learned so much by just watching Tudor in rehearsals and talking to him. I have danced three versions of Romeo and Juliet: the Lavrovsky version with music by Prokofiev, which I danced for eight years; Igor Chernyshov's, to music by Berlioz, which I never performed in public because it was considered too modern for Soviet audiences; and now Tudor's. I've had the opportunity to use totally different styles since Juliet - as choreographed for all three ballets - is portrayed differently. Tudor's version gives me enormous artistic satisfaction. I was quite amazed that the public here did not respond to this ballet with the enthusiasm it warrants. In Russia, I think the people would love it. To me, Tudor has created a masterpiece - a complete work. Each gesture becomes a painting. You see, all the poses are from the Renaissance. most of all Botticelli. When Romeo meets Juliet, they look like the archangel Gabriel and the Madonna in the Annunciation. I think, to understand this ballet, one should be more than familiar with painting. In my opinion, if an artist wants to achieve something - whether on the stage, in painting or in music - he must not stay within the limits of his own art. So I used every day to study different forms of art. To extend my horizons. The Renaissance intrigued me the most. I read a lot about it and was fascinated by the paintings of that period. For this reason I think I understood what Tudor wanted."

    Thank you, I hadn't read that quote. but I did see that ballet at ABT back in the day. It's a great piece, but it never received the same audience response as a full length to the famous Prokofiev score did. The music is Delius and it's one act so it's on the program with other ballets. I remember reading that Kevin McKenzie said it would be enormously expensive to revise. They've spend a lot of money on Ratmansky ballets that didn't fair well (Tempest as one example), but I think funding is probably easier to get for a new Ratmansky than an old Tudor. Still it would be a piece well worth bringing back.

  11. 19 hours ago, balletlover08 said:

    Skylar just posted another video of her on instagram practicing Odette and she has now added Odette to the stories...she hashtagged #day3 so presumably she's been heavily practicing SL. She likely is the understudy for Copeland then. 

    Looks like Brandt is doing all she can to have some control over her career. I don't mean this as a derogatory statement. It's a competitive business and casting is a zero sum game. Dancers try to be noticed in classes, rehearsals and in the roles they are given. Sometimes guesting helps. It boils down to - I hope he (it's almost always a he) notices me. Brandt is going beyond, and doing it blatantly. Good for her. I say that because he has the goods to back it up. I hope this kind of thing doesn't become a trend - I guess.

  12. 20 minutes ago, canbelto said:

    Unfortunately I think Lane added fuel to that fire.

    I really don't think Lane was referring to Brandt in her statement. I agree with aurora that there is no evidence that Brandt is getting favorable casting.

    I don't know if Lane is still being coached by Irina and Max, but she was coached by them in Giselle and Swan Lake just before she became a principal. She was all over social media with it. Presumably she paid for the coaching. Lane is also on social media with videos of her fitness training, presumably she pays for that too.

    If Copeland pulls out of SL and it goes to Brandt instead of Lane, it will feel like the end is truly near for Lane as far as ABT goes.

  13. Thank you. I'm not familiar with Nathalia Arja as a dancer. I guess I'm left wondering if Morgan knows somehow, that if she was thinner she would have been cast. I am totally supportive of Morgan's message to young people. At the same time she must know there are a lot of reasons management chooses one dancer over another.  Back in the day, when I was a dancer, I didn't get a role because I didn't fit into a costume. I've also heard - I just don't see you in the role. 

    One thing to keep in mind is that casting is a zero sum game. If Morgan had been cast someone else would not have been, for one reason or another.

    I guess I'm just saying it's difficult to sort out, but the body image message is a great one, particularly to young dance students.

     

  14. I don't disagree with Emily12 but I find fault with ABT casting in that Kevin M seems to believe that a few dancers such as Boylston (as one example) have no limits and can dance any role, and other dancers such as Lane, have severe limitations. I believe that Lane has transformed herself into a fine dramatic dancer but management has not expanded her rep. Boylston remains unchanged as an artist (as far as I can see) and is cast in everything. 

     

  15. 2 hours ago, abatt said:

    Hasn't Lane also received  outside coaching from Max and Irina?  I didn't think this was necessarily a reference to Brandt. 

    I agree. Lane was coached by Max and Irina in both SL and Giselle and posted about it on IG.  I don't think she's referring to Brandt. Brandt's put in plenty of hard work.

  16. 50 minutes ago, BalanchineFan said:

    I understood that part of the article completely differently. I took it as her first SL rehearsal back, a few weeks ago (the author mentions it being the beginning of last month) where she decided to stop at 10 fouettés even though she felt fine. She was never "having difficulty" with the step, she was just being cautious and, like a good athlete, building her strength and endurance step by step, over time.

    For example, you don't return from an ankle injury and do two hours of hops on pointe the first day. You do a few hops on day one and add hops each day to strengthen yourself and to be sure your body holds up. I found it funny that Tiler is quoted as saying she used to consider fouettés a "rest step." If her endurance and her health hold I see no reason to doubt her fouettés.

    I agree, I think the point of the fouette mention was that in that initial rehearsal she was going to do 10 turns, ended up doing straight doubles and then stopped and said she thought it would be fine. I wouldn't be worried about the fouettes.

  17. On 2/7/2020 at 10:01 AM, Sal said:

    I think what Brandt is experiencing at ABT is what a lot of dancers experience during their careers. It's a subjective art and ADs are super subjective -- sometimes a dancer is going to be in favor and sometimes, or for some dancers, most times,  they're not going to be the favorite, ever. I think Brandt shows a lot of character and grit by going after a role she wants and one that she thinks she can do well.  More power to her! I hope her performance goes so well that she gets more Giselle performances in the future. She's taking an active role in her professional and artistic growth and not passively sitting back waiting for the powers that be to grant her opportunities.  So many dancers end their careers deeply frustrated and resentful because they feel they didn't achieve their potential or weren't recognized for what they have to offer. No matter what, at least Brandt will know she stood up for herself. 

    I quite agree. There are many things in a dance career (or any career), that an individual has no control over. Brandt took action. She spoke more frankly to Kevin M, paid for coaching, put in hours of hard work on her own time, and put the results out there. Good for her. 

    On another note, I seem to remember that Sarah Lane got coaching from Irina and Max, before her ABT Giselle debut. The article mentioned that Boylston is now seeking their coaching. It seems that quite a number of ABT dancers are getting coached on their own time & dime.

  18. On 1/23/2020 at 2:17 PM, ABT Fan said:

    I saw that clip. Wonderful!

    She also recently posted a long clip of Nikiya. Also, beautiful.

    She has been posting many clips and many of the with Cornejo. I particularly enjoyed her 2nd act Giselle clip. Her Giselle was one of the best I've seen.

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