artist

[now I don't know much about this ballet but] I really like this photo because I can see the pull of tallchief's elongated leg right down to her toes. And magallanes' energy can be seen through the calm thrust of his chest/below it and through his face and expression of [perhaps] desperation. He doesn't focus his energy like one might in a normal pose (like you're just 'there') but makes it look like part of the dance as his fingers aren't perked up and his eyes are in a different focus. and I do love his little mask!

I've done this accidentally -- it's very embarrassing. Me, too. That makes three of us. One thing that made me mad was when I visited London 2 years ago and had the honor to see RB at the ROH, I was firmly informed to take no pictures whatsoever, even an hour before the performance in the lobby area, as a respect for others so it doesn't look like a recreational theatre. But inside during the curtain call with Sylvie Guillem and Le Riche, someone in the middle of the theatre flashed their camera. Did any usher come to tell them off? No.

I have actually been trying very hard to enjoy operas more. But I did listen to "V'adoro pupille", as you kindly recommended Paul Parish, and I do think that the singing and words are lovely. I wouldn't have said 'heart-breakingly beautiful', but then again, I probably don't enjoy opera as much as others do [unfortunately]. When I listened to only the instrumental parts, I found the same feeling I do when listening to Handel's other pieces. ? (I'm sorry-I'm sorry!!) But as for his operas, I will always be willing to listen!

I suppose it's the composition. The way one composes with certain instruments and the harmony that results may make us feel and react differently. I guess we like certain music because it's how that piece makes us feel. For ex., I like melancholy music because of much sadness I've experienced; I can definitely react and relate. Handel, on the other hand - or note in this case - drives me crazy. The whirl of flutes and harpsichords, too much for my mind. But perhaps others like it because of an enlightening superior quality that reacts as brilliancy. The reaction - I like music I can relate to, but maybe others like music [like handel] that can bring them to another world or higher feeling, one that doesn't make them feel total sadness, etc. but something of importance or royal greatness - like a queen's coronation. We all feel differently!

that is too bad. My ballet teacher danced with Ballet Pacifica and was one of the last to train under Lila Zali at the first location - Laguna Beach was it? Over the years I guess this company had an inevitable downfall especially when all efforts to bring this financial issue up again would just cut short.

Isn't it funny how we simply fall into things? Sometimes I look back and regret and think of the 'what-if', but then again everything happens for a reason. Perhaps learning to appreciate music has developed an eye for the instrument of the dancer, and has graciously opened up many doors to the arts for you. And having a different (more musical - though not necessarily musicality) perspective of the performance can definitely bring more to the discussions. "See the music, hear the dancing." It is great to know how lucky we are to have knowledgeable people here who appreciate the arts!! Belated welcome, Klavier!

Thanks again, Marc. That's the one!!

Thinking back on something Maya Plisetskaya said in a doc./interview about how each instrument is different to how she felt when performing The Dying Swan - the cello, violin, piano, harp. And listening intently to the music while focusing on Vera Karalli's Swan, I noticed this may have been true for her, too. Do certain body parts and movements reflect on certain instruments? If so, which instruments affect which movement/part of the body? And perhaps they are different from one dancer to the next. I thought maybe the piano reflected the arms. And perhaps the violin was the bourrees. And the cello as the movement of the upper body, bending certain ways. What are your thoughts?

ah, yes, that's the one. Thank you for that interview Marc. I remember reading this over and over and writing it down because I couldn't have agreed more: and was sort of surprised that she would humbley admit: I also remember of an interview with Ruzimatov. (it started off saying there was a coldness to him and he sat comfortably with his legs apart, something many dancers do. But then he finally smiled...) Marc, some help??

I saw her in the PDD of the Nutcracker. She just seems to flow with the river of music. She wasn't wearing a tutu but a white, long, flowing gown that would truly look like water ripples when she turned. The way she did her attitude turns would end softly and look like she would just fall in her partner's arms; very controlled yet free.

yes, I agree. I don't think I've seen them together, but I have seen them separately. I can only imagine the connection between the two. They are both gems to me. Asylmuratova in The Leaves Are Fading, absolutely beautiful - her arms, expression, movement. She radiates with joy. Ruzimatov in a Swan Lake variation, so powerful and strong - his jumps, the way he carries his upper body, and that look on his face! Fiercely attractive! They would be, perhaps, one of my top favorite dance partners. I can't find it now, but I think I read an interview with Altynai and how she admits that the Vagonova School has lost certain qualities. She thinks that, like POB, they should put more emphasis on feet but try to keep what they are known for - arms. But also try to develop (like many teachers of today) expression amongst their young dancers as she's aware of that lack.

Just a headshot and some information on Jurgita from the USA Int. Ballet Comp at the bottom of page 46 http://www.usaibc.com/Competitors.pdf (scroll up and you can find Daniil at the bottom of p. 44 - another fellow BTer) Dronina pics http://jorgen-w.livejournal.com/tag/dronina some more pics of Jurgita http://pics.livejournal.com/jorgen_w/gallery/0007kdk5 keep clicking on 'up to gallery list' for more pics of other dancers. (and this website is from BT's jorgen, too!)

poetry isn't as stressed upon in school nowadays, especially memorization. Maybe a couple readings and analysis a year, but that's it. I feel as if it's like we're sitting on a bus, just traveling slowly from course to course. But it would be best if we could delve right into, for ex., literature. Get our hands dirty with some poetry or immerse ourselves in classics. This would also reflect on how to get right into life and not wait around for others or people to teach us. I found Wordsworth's magnificent poem: http://books.google.com/books?vid=ISBN1840...o#PRA1-PA170,M1

well this is pretty much what I'm constantly referring/comparing to in many of my posts. I agree with Atm711: quality changed - not always for the better. I truly feel that those dancers displayed incomparable artistry. It's the expression; the inner self emoting. I would typically think of Ulanova, Lepeshinskaya, Maximova, Vassiliev, Kurgapkina, Kolpakova, Plisetskaya, and the more recent Asylmuratova, as canbelto expressed. (of course there are others) Technically strong, each allowed their individualism blossom in different ways. And they all have their technical flaws, but when you see them on stage, little nonsenses don't matter. You are watching a work of art, not a robot. One's flaws and differences is what makes that person unique. It's boring to be perfect. Like I've said before, it's the way the performer makes the audience feel that is the utmost importance.

wow, Paul Parish, the way you talk about music and poetry - really gets me. I get this pit-like connection; I can really relate somehow. Though I've never heard of Intimations Ode, I absolutely adore that passage. And I can just imagine and sort of 'feel' what the old recording sounded like...

This is a little crosstalk, but searching the archives < http://ballettalk.invisionzone.com/index.p...indpost&p=68062 > I found something that contradicts bart's statement above: Beautifully put, Cabriole. I'd say yes, and I'd vote for that one This is what I thought it was to be, so maybe I don't have to re-wire my eyes! This should be something that all dancers have, regardless of the periods of romanticism or classicism. But it seems a majority of classical dancers reverse it and put technique on the pedestal for success. Not that technicality is bad, there just shouldn't be a sacrifice of emotions (IMO). and lets not forget to thank Cliff for asking the question!

Preschool: the usual drawing, fingerpainting, etc. in Virginia - public school: 1st - 5th grade: one art and music class per week. IMO, these were 'real' art/music classes b/c they'd teach history w/it. In art, we'd start by learning (anywhere from reading, watching videos, viewing works) about a particular artist of the month (or whatever the time period was) and then we'd do an art project reflecting that artist's 'motif' or works that they did. We'd also learn different techniques and styles, etc. each project, students had an opportunity for their work to be taken and viewed in a mall, and I was chosen in 3rd grade. 3rd grade: a music 'field trip' to the Richmond Ballet's The Nutcracker --my first live performance. music classes would consist of hands on playing of many instruments and reading music and learning basics about time periods and composers. We'd put on singing performances that had to do with the social studies we were learning. 5th grade: we all had a plastic flute and learned how to play and read the music. Phsyical Education: the normal with several times getting together w/ friends and making up dances to music or playing games with a large parachute and different 'fun' activities. We had those assemblies throughout elementary school. In California - private school: 6th grade: one music class per week during one semester that taught more in depth about composers, classical music, opera, the great tenors, and instruments. One semester of 1 elective - I chose drama and we learned a skit. 7th - 8th grade: one art class every other week for about a semester. We were just assigned drawing projects. public high school: 9th - 10th grade: I chose drama as an elective for both years. (we'd perform monologues, learn techniques, learn about some theatre, have opportunities to live plays, etc.) 11th grade: I chose art and advanced dance/choreography. Though, I vowed never to take art here b/c they only taught you how to draw and not why. Adv. chor. is basically what it is, having different inspirations and excercises for what you do. (like finding an object that'll reflect your movement, using a poem, dancing to a significant event in your life, etc.) Had about 4-5 years of piano lessons starting in 3rd grade. I thought maybe where you are living depends on what you learn. In VA, I was lucky at this public school. In CA, even at a private school there was pretty much nothing. In high school, it's just normal standards. Pretty much nothing came from home, I danced outside of school, learned ballet/music/art history on my own.

In elementary school in VA, we always were encouraged to read. During each summer it was [either required or optional,] (but my mom always made me) to read 3 books and do a book report on one. In 1st grade we'd have a book pile with pillows that we'd have time for. (but what kids did was scan the books just to be the first ones done). In 3rd grade, especially, we read a lot in class and on our own. We'd sort of have contests on how many books one could read. I came 2nd place, reading 13 books a month, and remember thinking that I was just doing it b/c I liked it - not to compete. I started to hate reading a few years after that when it became mandatory. in CA at a private middle school, we'd have to read one book over summer and do a book report and a creative project on it. In Lit. class each year, we'd basically did the same thing, just with more books. in high school, we'd have to read 2 per semester and annotate (analyzing tone, theme, figurative language, etc.) them, and be tested on it. In addition, we'd read about 2-3 books in class (this was advanced english) 3rd year HS (in regular college prep) we'd have maybe 2-3 quizes a week on the books in order to test our reading comprehension. Also, many in class discussions and assignments that had to relate to books we were reading.

My favorite books were (and I don't remember the authors to some): The Very Hungry Caterpillar Peter Rabbit Nancy Drew mysteries Where the Sidewalk Ends The Giving Tree The American Girl Doll collection The Doll in the Garden (sparked my love for mysteries) Flowers for Algernon (really touched my heart) The Secret Garden Dr. Jekyll and Mr. Hyde The Color Purple To Kill a Mockingbird Animal Farm (the second time I read it) Night All Quiet on the Western Front The Joyluck Club Native Son The Jungle (got better after the first hundred pages) Huck Finn Fahrenheit 451

I've always felt this about the greatest artists -- emotion working and finding expression through the technique rather than technique being made to serve the emotion. yes, thanks 4mrdncr for that great info. and, bart, I think this is what I have trouble with dancers of today. Because of advancement of technique, they surely express emotions, but just differently. I always thought of the 1900s/romanticism was 'raw' and pure art; but now I see that perhaps they feel the same w/out sacrificing precision. So the look is just different, but I still personally still like and react better with the earlier times. But now I won't judge performances on that particular quality, rather, train my eyes to find other aspects and how the dancers assimilate the feelings through what they've focused more on.

gosh! she's gorgeous! She seems like a pristine dancer; very delicate yet clean. I esp. like her lightness quality, how she just seems to 'float' w/out any effort. A very refreshing dancer with a lot of vitality and sort of innocent confidence. ? Don't forget about a couple of pics from http://ballerinagallery.com/nordquist.htm

everything and everyone seem to be disappearing before my very eyes !! I went to London 2 years ago [fell in love w/ it] and bought this Gorgeous! Rudolf Nureyev poster from Theatre Museum. It was taken in 1961 (so, yeah it's one of his best headshots!) It's hanging in my bathroom and he's always smiling beautifully at me :rolleyes: uuggh, it was only 1 pound or so, should have bought 15.

wooh! Had to get a couple glasses of water after reading many of my favorites mentioned! Just to add, the fiery Farouk Ruzimatov, Jonathon Cope, Jean Babilee, and this photo of Nijinsky: http://www.hagaselamusica.com/img.php?imag...ho=126&alto=200 James Dean, anyone?

wow! I wish you luck at your school and maybe someday we'll all see you perform! Can't wait to hear what you'll have to say, b/c my former teacher studied as the same school. So I have this strange connection with Sweden and feel as if it's my home. Welcome vissi d'arte !

I wasn't saying that one is better. I totally understand what both of you are saying, and respect it at that, and just wanted to say what my little mind has heard and viewed. Sorry for taking this the wrong way. I wasn't trying to be opinionated, but I will watch what I say and be quiet now!