artist

I know, it's terrible. But if you cick Real Audio, it's funny - it's like a read-a-long. Just listen to the interview and read with them, word for word, and when it says 'Here, he dances...' and in '[t]his footage...' and the music comes on, you just have to imagine everything!

Well, I suppose musicality is not only being on the right counts and beats but, rather, allowing the music to transfer movement into the body of which it flows. Being carried away by the soulful sounds and moving with the music not by the music truly captures the essence of sound and dance. See the music, hear the dance. Or, maybe it's how music brings one to move. So, maybe it can't be taught and each individual is different. Or it could be as easy as whether you're on the correct counts, which means you have to be able to hear those counts. One has to be sound sensitive as pianists/musicians have to find the right timing.

ng, I can definitely relate to you - I had to stop dancing at about the same age because of an unknown back problem. But being able to be on the audience's side with the knowledge from the stage's side can be incredibly interesting. What you learn by watching is priceless wisdom at your hands. And by studying not only the present but the past history of the art can set you above many by the wealth of knowledge from researching. I, too, have a fetish for CAS and now I only strive to try to make ballet a true art form (not acrobats) by helping those who do dance from what I've observed on and off stage. I know you'll learn tons here!! Welcome!

I've also heard that way, too. Marcia Haydee Aurelie (w/accent on 1st 'e') Dupont

I think I saw this one almost a year ago and also thought it was interesting. If this is the same movie I'm thinking of and Meg was the little girl with brown hair who danced for an man at a store, was it normal for dancers those days to go up en pointe with a bent knee?? She would do a lot of those; instead of doing a pique arabesque with a straight knee, she'd almost bring it under her and bend it. What's the reason for that? Nevertheless she was a cute actress, especially in the fight and when she'd cry. And what can I say about Cyd Charisse?

The third (Bright Sheng and Christopher Wheeldon in Conversation) has been there for a while, someone else has mentioned it. Now here's the fourth, Lincoln Kirstein:Art and the Man: http://www.nycballet.com/visitors/learning...er1_TSMenuID=25

Click on My Controls at the top of the page, go to the left column and scroll down to the blue subtitle Personal Profile , and then click on Edit Profile Information.

Yes, dirac, it is. I caught the last 45 minutes and was blown away by her talent. The clip from (the opening?) of the Barber of Seville was incredible - my favorite. And I liked how she said that she never really thought of her farewells as the 'last' performance; she always gave it her all when she performed and truly embodied the roles regardless of singing on stage for the last time or not. She also shows such warmth and seems to be so down to earth. She doesn't show any diva attitudes at all; she's a prima donna without the prima donna temperament. It was also fun to watch her sing and dance with (forgive me, I forgot the name) from Broadway? ...And those hair styles!

How was Yuri Temirkanov? And I suppose Simon Rattle also isn't exactly ballet.

I just watched a wonderfully delightful clip of 7 y.o. Sills singing. She is very cute; like Shirley Temple. Amazing what she could do at that age. If this link is OK, here's where you can watch it: http://www.artsjournal.com

Wow, The Ballet Shop seems like my kind of heaven on earth. If only I had one of those in the neighborhood, it would be time (and money) well spent. They don't have anything like that anymore, do they? In London, actually, they have the ISTD library of used ballet books at a low price (in which I bought an exorbitant amount).

It's amazing how some people have a capability to touch my heart even if they were before my time. I regret not having seen her and am sad she has to leave us.

Mmm, now I'm hungry for cookies and the answer!

My mistake, I did mean Leopold and I didn't mean for ballet. (Unless he was alive to do a Trocks version or something)

Without a doubt: Valery Gergiev and Leonid Stokowski and Andre Rieu (I know, not ballet)

I'm the opposite: I have seen the Khachaturian doc. but not the Anisimova/Khach. Gayne. (I have this amazing doc. on tape so if you wanted to tell me the excerpts on the film...) BTW this doc. is my favourite favorite. I love this doc. more than Ballet Russes. I could watch it all night and never get bored! Plus, I admire Aram greatly. It's truly a treasure to have.

I didn't see the documentary (I think it's called Mirror Dance), but their names are Ramona and Margarita de Saa'.

I was thinking the same thing when I read that link, too. Sadly, I think it's a hopeless battle to fight. It's society. Not many people now-a-days want to watch the arts. They're all tuning in to MTV, VH1, etc. and PBS and Ovation (come to think of it, are these the only 2 arts channels offered in America?) are left quiet and in the dark. People like us just don't add up to the number of bone-heads who watch these stupid reality shows. Is that the reason why shows go off the air? I think that's why in southern CA the broadcasting times for CAS are 2:00 am - 5:00 am. They figure they'd fit it in sometime since no one watches it prime time. ? I guess since a minority watches Ovation they're trying to popularize it (and probably end up polluting it) by putting on up-to-date "arts" and making it more 'accessible.' But this won't solve the lack of art viewers - just enhance the viewing of popular tv. At least we still have TCM. Most likely, those who'll tune in for the 'contemporary artists' won't stick around for the ballet. So maybe there'll be more viewers for Ovation, but the original problem still isn't solved. Unfortunately, I think Gresham's Law will summarize the whole world - not just ballet. And I don't think that can be changed since it's a money issue. It all comes back to money. I don't think it's something to even cry over because there's really nothing that we can do to change these people. But then what?

There's also Le Poisson Dore' (The Golden Fish) with music by Minkus and choreographed by Saint-Leon. It derives from Pushkin's 1835 poem The Tale of the Fisherman and the Fish.

I actually saw this at UCLA on May 3rd. I can never get myself to start anything so I just waited until now to reply. How do you guys write a review and such a long and thorough one, at that? To me it's tedious to begin... Well now that it's been so long, how much of it can I remember? Of course it was wonderful - it's Sylvie! The live music was real cool: just a few musicians on stage including this mystical kind of vocal. Everything was sort of spiritual and I'm sure Sylvie and Akram felt it, too. Costumes were simple: a tight fitted shirt with long and loose pants. There was commentary in between every couple dances; Akram would tell a story and then Sylvie would speak. (I can't remember exactly what they were saying nor could I really understand Khan's heavy British accent.) The whole thing was like a switch-a-roo. Khan would do a solo, then Sylvie, then they'd melt together in a duet. That process repeated a few times but never did it get boring. After each solo, one would sit up/down stage corner and take a sip of water, towel down their face, fix their hair, stretch, etc. It was real informal but it actually made the setting more relaxed and down-to-earth. The way Khan moved was amazing. His body moves so seemingly natural and each pose/position carries movement. It's beautiful. And Guillem, of course, having so much discipline in ballet moves so precisely in lyricism. And when they come together it's like a true bond. Not of love - but of oneness and power. Such strength emanates from the two of them that they truly become like monsters: when they dance alone, their zenith is accented; when they dance together, their talents showcase one another's and frames each others' body and movement. This is beauty at your eyes. This 'fresh blend of influences' is definitely considered 'fusion.' Mixing Khan's modern choreography and movement with Guillem's balletic body allowed a process of fluidity to occur, thus, highlighting each other's strengths. I didn't want it to end. The Times of London

Yeah, a lot of these viewers who are interested in 'dancing' may be inspired to go see him later on since they now know his name and have seen his talent. This could be a successful way of bringing the 'outsiders' to the world of ballet. I really don't care for any of these types of shows but now that y'all have mentioned his appearance don't forget to update on what they say about him and how he's doing. Do the judges still think of him as cocky -even if he's safe- or has he proved himself? I feel that him being on the show sort of lowers the status of his talent and makes some people that knew him prior to the show wonder where the quality has gone and perhaps not look at him the same after the show. Is he trying to prove something or try to be famous? Does this kind of thing look good on a resume'??

yes, 'men in tights' and tututs! Love the Trocks; too funny and actually quite good. Some of my favorites are Pas de Quatre and Dying Swan. I won't spoil it - but I know you'll love 'em too!

Enrico Cecchetti: En-REE-ko cheh-KET-ee Helgi Tomasson: Hel'gi (hard g) Toe'masson ? Farouk Ruzimatov ? Ekaterina or Yekaterina ? (like Maximova)

This can be misleading. djb's post is on page 2 if your preferences are set to default. Some people have more posts per page (mine is set for 40, for example, which is much more efficient with a dial-up connection), but you can get the full explanation by clicking the little red arrow to the right of the date. ha! I didn't even notice that arrow! (it's very convenient!) Thanks yet again, carbro, for helping me out!

djb's outstanding explanation on page 2.