ScottieGDE13

I've been away for awhile so I was THRILLED to see a thread on this column. My mom (also a dance-lover) ran into my room screaming with laughter and shoving this article in my face. "You HAVE to read this!" she said. I apologize if I comment on something that this thread has already covered... but there are four pages and, frankly, I had to skim! I agree that it is disappointing to note that Barry, one of the most delightful and hilarious writers that I've read, has not yet learned to appreciate the wonders of ballet. Notice that I say "yet." There are two ways that I have seen American adult males come to love, or at least tolerate, ballet (if they were somehow blessed to grow up in a cultured household... well, they are a rarity and they don't count!) : The first- if they are dating or are romantically interested in a dancer The second- if their daughter comes to love it. Let's just all hope that Barry's daughter comes to love ballet as much as we have... then maybe he'll join "our side!" Scottie PS- I hope this has turned you on rather than off to Dave Barry's column... I started reading it at the beginning of this school year, and it has brought me many Sunday morning LOLs!

so sorry... I seem to have a reading problem... :rolleyes:

Haha! I can't believe I've thought of a wedding in a ballet that has not been mentioned: Romeo and Juliet! Of course, there is no grand wedding pas in this one and the couple certainly does not live happily ever after, nor do they get the traditional grand finale of the entire cast celebrating their big day. In actuality, I suppose it is not a wedding but an elopement (is that a word) so do you consider that to be the same? (Of course, I don't believe that this is a 19th century one either, but someone else will have to clue me in on that as I don't know the history)

At the end of the balcony scene in Romeo and Juliet there is a moment right before they kiss that, if done right, is just magical. First, I love how the two lovers just look into each others eyes for a long time before they kiss. They don't do anything else, they just stand there and they gaze at each other and then comes my most favorite part! In most versions that I've seen Romeo then gently picks Juliet up onto pointe and then kisses her. I just love that moment for some reason... I think it's because I'm a little overly romantic and also because it just adds so much innocence to the scene that is really necessary considering the original story and the age of the two characters. Scottie

Wow- it sounds like you had a wonderful time! I have never seen Darcey Bussel dance, in person or on video, but I have seen many pictures of her and only remember her to be beautiful in more ways than one (technique, expression, and sheer exterior beauty). It's such a cool thing to get to see wonderful performances, although I do know what you mean about one small mistake breaking "the spell." I often wonder after seeing performances if I am just altogether too critical because small little things REALLY get on my nerves and make me really hate the entire performance or piece. And sometimes I think I am too critical. However in many cases these crucial things really can make or break a performance. All of that said, the messup in the fouettes may have been upsetting, however, at least we know that Bussel is just a ballerina, and not a superhero who makes no mistakes! BTW- wonderful review, attitude. Thanks for posting! Krista

I went, as a dancer, and I thought that the Gala show was definitely the best of the three nights. (I'll have to ask what you, drval01, mean by "flatter"? :confused: ) In my opinion, the pieces on each performance I either loved, or I hated. But since they are mostly students performing, I will only comment on what I loved as I don't want to offend anyone. Atlanta Ballet's student ensemble sent a great piece called "Fiddly Feet" The pas de deux in it was fabulous. I had previously only seen these dancers do classical ballet and this was more relaxed, contemporary and the dancers actually got to act and did a very nice job of it. I really enjoyed it. Ft. Lauderdale Ballet Classique did a beatiful "Le Corsaire Suite." It was very well done and, once again, the pas de deuz was gorgeous. Their younger company also did a beautiful piece on the Emerging Choreographer's Program that was choreographed by two thirteen year old dancers in the piece. It was incredibly clean, together, and well-choreographed- especially considering these dancers' ages! Gwinnett Ballet Theatre did a wonderful but SHORT piece on the Gala. I'm at a loss for how to describe it. Maybe pdance can help (she was in it!) The dancers were so together and never missed a beat and really kept up the upbeat mood of the piece! They did another piece on the Young Choreographer's Program that was choreographed by a young man in the company. This piece was very classical and it was the great choreography. You could tell that all of the dance was dictated by the music and that was how he choreographed. It was very interesting to watch. Georgia Youth Ballet did a very creative piece on The Thurs. night program. There were 3 or 4 girls in neon unitards that went up around their head and they were in blacklight. You couldn't see their face but you could see their fingers as the ends of the arms formed gloves. Anyways, it looked as if they girls were just dancing when all of the sudden one does this bend so that she looks like she's about to fall except she keeps going at an incredibly slow rate. THen she leaps in the air and just stays there... That's when you realize that there were additional men onstage in all black partnering the girls so that, in blacklight, it looked as if they were floating. It was so much fun to watch! Well, That's all I have time to write, anyone else have comments? Scottie

I voted Prokofiev for a couple reasons. Most of my exposure to full-length ballets has been through dancing in them! I've only done four full-lengths with the civic company I'm in but two of those have been Prokofiev: Cinderella and Romeo and Juliet. I love Prokofiev because he shows so much emotion in his music. Taking R&J as an example, think about the village scenes. Very different from the regal sounding of the Capulet's party and the great passion and beauty in the balcony scene. Also, He uses a different mix of instruments than most composers. A lot of composers in ballets it often seems to me use a quite predictable and "normal" blend of sounds. But Prokofiev, I think, uses and blends different instruments in different parts of the score in different ways than most. Think of Delibes' Coppelia. It's a beautiful score, but other than the toyshop scene, I don't think there is any variation in the way the music sounds. Whereas in Prokofiev scores each piece of music for each section of the ballet is singular and extremely unique. Best example: the four seasonal fairies in Cinderella. Each season has its own sound and personality. Also, Prokofiev's use of meter is so different from typical ballet music. Rather than using the ubiquitous 3/4 or 4/4 his scores are filled with pieces that go from 3/4 to something else that is nearly impossible to count to 4/4 to 10/4, etc. It is difficult to dance to but it makes the choreography more interesting! I guess I tend to go with the atypical example. I don't know if Prokofiev is the "best ballet composer" but he's my favorite. Great Topic!

I voted Prokofiev for a couple reasons. Most of my exposure to full-length ballets has been through dancing in them! I've only done four full-lengths with the civic company I'm in but two of those have been Prokofiev: Cinderella and Romeo and Juliet. I love Prokofiev because he shows so much emotion in his music. Taking R&J as an example, think about the village scenes. Very different from the regal sounding of the Capulet's party and the great passion and beauty in the balcony scene. Also, He uses a different mix of instruments than most composers. A lot of composers in ballets it often seems to me use a quite predictable and "normal" blend of sounds. But Prokofiev, I think, uses and blends different instruments in different parts of the score in different ways than most. Think of Delibes' Coppelia. It's a beautiful score, but other than the toyshop scene, I don't think there is any variation in the way the music sounds. Whereas in Prokofiev scores each piece of music for each section of the ballet is singular and extremely unique. Best example: the four seasonal fairies in Cinderella. Each season has its own sound and personality. Also, Prokofiev's use of meter is so different from typical ballet music. Rather than using the ubiquitous 3/4 or 4/4 his scores are filled with pieces that go from 3/4 to something else that is nearly impossible to count to 4/4 to 10/4, etc. It is difficult to dance to but it makes the choreography more interesting! I guess I tend to go with the atypical example. I don't know if Prokofiev is the "best ballet composer" but he's my favorite. Great Topic!

I am currently experiencing what choreo is describing! We are performing Cinderella with original choreography in, yikes, 3 weeks! I am the Spring fairy and the music goes from sounding like an annoying chihuahua (sp?) to a calmer more serene feeling. Anyway, the problem is I want a softer for all the jumping (grand jetes, pas de chats, tour jetes, etc.) but I also have this one killer turn that needs a very strong/harder shoe. So what I'd like to do is pause and change shoes in the middle of one dance! Oh well, I will overcome this difficulty! But to get back on topic... Pointe work is certainly not what the podiatrist would call "good for you" but I don't think it should be avoided altogether, and I don't think its overused in classical ballets... in my mind if Im going to go to see a full-length classical ballet then all the females will be en pointe unless they are dancing character parts (ie the Mazurka in Coppelia) or it is a children's part. I do think, however, that sometimes modern choreographers tend to overuse it. Like if they choreograph a new work they should sincerely think "would pointe shoes benefit this piece?" the answer WILL vary depending on the dancers, the style, etc. Sometimes it is point(e)less to put dancers in a piece in pointe shoes. One thing I do not like about new classical ballets (newly choreographed that is) is that sometimes I think choreographers fill their classical works with show-offy elements, even for the corps dancers. Believe me, I am all for having a soloist, even a group perform things that the audience will know are very difficult (ex: fouette turn, multiple pirouettes, up-to-the-ear extensions) but I don't think it should be constant nor should it replace other more seemingly simple elements. To clarify, sometimes, as I watch certain works, I feel as though the choreographer is constantly saying, "see how difficult all this is?" Once again, nothing wrong with these types of pieces (I actually enjoy them quite a bit) but doing things that are just as difficult but look easier to the typical audence member (ie, bourees, anything slow) doesn't seems to be a non-existent trend. Just because it looks easier doesn't mean it is any less beautiful (it also doesn't mean it is easier). But I think that whole paragraph is more of an opinion about artistry than pointework. Scottie

Ooooohhh! I second the vote for Cinderella! I'll be performing in it in March and I'd like to learn more!

Those who don't hear the music, think the dancer mad.

Speaking as a student in the typical US high school- All we (being students far away from the terrorism but still affected by it) have been hearing lately from teachers and directors is about the purpose of terrorism. I even heard Colin Powell say it today. The ultimate purpose of terrorism is to strike fear in people and keep them from going about with their lives. They have told us that if we let ourselves get caught up in it, begin to fear being in public, flying in airplanes, visiting tourist attractions, even going to work... we are letting them win. Therefore we should go on as we always have. So, while there is nothing wrong with taking a day off to mourn, if you dance, continue and don't let them accomplish their goal. Ultimately- all art is about having pleasure in giving pleasure. Many people find art as a source of comfort and something to lift them out of their sorrows... not only do all artists have the responsibility of going on for themselves, but also for their audience.

felursus- your challenges sound more like "Fear Factor: the Ballet" to me...

Oh Allegro- sadly, you've sparked my interest! How about a "Friends" ballet? It could start out with the theme song and the whole corps would clap with the music. There would be many romantic pas de deuxs with Ross and Rachel and following every romantic one a pas de deux where it is very clear that Ross is screaming "WE WERE ON A BREAK!" Joey and Chandler would have several male pas de deuxs to illustrate their misfit friendship. And then when (like television) ballet cannot successfully imitate sitcoms any longer... we can introduce "Reality Ballet." I can see it now... "Survivor: the ballet!" You can fill in the blanks as you want. Scottie

Just Watching Romeo and Juliet's balcony pas de deux... well, if the two dancers are not only techinically wonderful but also great actors.

-Watching a pas de deux, and HAVING to pay attention to the male dancer ONLY because he looks a LOT better just supporting the female when she is the one who's supposed to benefit from his support (Isn't the male dancer supposed to make the female look better?)

Hello- I can't agree with everything that Allegro said simply because I didn't see a lot of the pieces because the company I'm in, the Gwinnett Dance Ensemble, performed two of the three nights. It was my first time performing at SERBA and I really enjoyed it! I only got to watch the last four or five dances on the Emerging Choreography night because we performed "Down" as the opener to the second act. I really enjoyed most of what I saw that night, especially a piece by the Gwinnett Ballet Theater that was on pointe (maybe Allegro can help me with the name... I don't know where my program is). It was very modern/contemporary and they were just very clean, which always impresses me. I also enjoyed Atlanta Ballet Centre's piece, however they did a piece very similar on the Gala performance. Both pieces were on pointe and the choreography was good and they had a very large corps that was very strong. However, it bothered me that both of their pieces only seemed to show off their high leg extensions and multiple turns. I would have liked to see more... perhaps artistry (I'm not sure if that's the word I'm looking for...) It just seemed a little monotonous, although I was impressed. I didn't see any dances on Friday night because we were second to last dancing our modern/ballet piece called "Chant," and, as far as I know, the piece and our company seemed to be appreciated and people seemed to be impressed. Gala night really was very impressive, a great mix of classical ballet, modern, contemporary ballet, and then some other stuff. It was very enjoyable! I must say- I really enjoyed Glennies- big compliments to Allegro. She told us she danced in silence but her and the girl with her danced that perfectly, it was all synchronized and their was no time where they were not together. The pointe-work (sp?) I could tell as a dancer was very difficult and to be able to be so together without music just really impressed me. Overall- from what I saw the pieces were great! Scottie [ 05-03-2001: Message edited by: ScottieGDE13 ]

There is a really good book I've read called Ribbons. It's about this girl of Japanese descent and she's an awesome dancer but she has to quit because her parents can't afford it anymore because her grandmother is moving from Japan to their house. It just talks about how she deals with it and also how she gets along with her grandmother. It is REALLY good- mostly. There was this other really good one I read a long time ago so I can't really remember it but I think it was called Ballet Magic. It's about this girl who feels discouraged in dance because of her height. She's really tall and all the other girls are about a foot shorter so they get the corps parts but she's not good enough to be a soloist yet so she can only understudy. It's really good! Scottie

BethJ- I understand that. I'm not saying that eating disorders are nonexistent in dance but it has been my experiences that it is not as bad as it used to be perhaps? I mean there has been so much more info on eating disorders and much more steps taken to prevent them. I personally think that having an eating disorder would be a worse trial for you in gymnastics because your body is already doing things that are difficult and in a lot of cases extremely weird and the wear and tear eventually combines w/ the horrible eating habits and makes them so weak. I suppose the same thing happens with dancers because of the already active person is not nourishing themselves correctly. I would like to say that the only info I was really talking about was from the book so I guess I may have a biased opinion. But overall, I think dance is so much better for you than gymnastics... It's harder to make it as a gymnast and even when you do its such a hard time w/ too many struggles physically, emotionally, and mentally. Dance can be enjoyed for much longer because you're performing but not competing. Any way- sorry if I confused anyone or had some wrong info Scottie

I'm reading that book now. I started reading it on Saturday and it really makes you think. It also makes you very thankful. I know its not about ballet but I still think its intteresting. To answer someone's question about if its controversial... probably not as much as it is in figure skating and gymnastics. Some of the things they deal with, dancers don't have to. Like the book talks about how a gymnast goes through years of training for hundreds of thousands of dollars and rarely does it pay off because many don't make the Olympics.. and even the ones that do... well, the only 2 gymnasts that have been able to live off of their Olympic medals were Mary Lou Retton and Nadia Comaneci (sp?). But you don't have to worry about that w/ballet because it is an art, not a competition. Although eating disorders are a big deal in the dballet world... its not as accepted anymore like it still is in gymnastics because its not only a child's art. Gymnastics has gone from a sport for early twenty year olds and now its mid teens and many as small as a twelve year old. In ballet its ok to be a developed woman and you do not have to be toothpick thin because its not only for young teens but mainly for young adults. If you have any more questions- ask, cuz I am reading the book Scottie

What section are those under at Blockbuster? Like Drama, Comedy, Special Interest? Scottie