artist

she does look amazing! You can find pictures of her at http://ballerinagallery.com/dronina.htm

oh! how wonderful everything looks... I wish I was in Sweden right now !! I actually contemplated living there, maybe Malmo, right on the waters & close to Copenhagen ... and they are surrounded by great ballet performances.

In the Technical Manual and Dictionary of Classical Ballet by Gail Grant, classical ballet is defined: "(1) The traditional style of ballet, which stresses the academic technique developed through the centuries of the existence of ballet. (2) A ballet in which the style and structure adhere to the definite framework est. in the nineteenth century. Ex. of classical ballets are Coppelia, The Sleeping Beauty, The Nutcracker, and Swan Lake." romantic ballet is defined: "A style of ballet produced during the early nineteenth century in which the accent was on the conveyance of a mood to tell a story. Ex. of romantic ballets are La Sylphide and Giselle." in the Ryman's Dictionary of Classical Ballet Terms: Cecchetti, classical solo is defined: "A highly structured dance for one performer, using academically defined steps, classical music, and restrained emotional quality." as for Balanchine, I've been hearing 'neo-classical' more and more. So it goes romantic, classical, neo-classical ?

I was just told by a teacher this way due to the certain excercises each method has. In Cecchetti, the combinations are simple and slow, allowing placement to be obtained. This may have resulted in longer looking muscles ? I was thinking more on the line of emphasis on certain aspects will dictate the overall result. If, ex. POB, stresses feet, their feet will 'pop' out, but not saying anywhere else someone's won't. If two well-trained dancers are juxtaposed and come from a Vag. and Cecc. school, you'll be able to tell which one is which IMO first from the way they are placing themselves/their weight. yes, I do agree on any dancer has a shot at jobs, esp. if well trained, and it all does depend on where. I wasn't saying that they're only picking Cecc. trained dancers. I had just remembered a discussion at a Cecc. Summer Int. w/ Kirk Peterson where someone pointed out that if one dancer is good technically but has trouble w/ versatility b/c of structured classes and another has placement but not too much tech, the one more versatile will dominate if willing to learn. Bue I know this is not true everywhere in many instances. I was just trying to say what I have heard been discussed. I didn't mean to take it this way, just wanted to show how different the training can be in many ways.

my first live performance I saw was in Virginia of 3rd grade, 8 yrs old, of the Richmond Ballet's Nutcracker. All I remember seeing and thinking of was how big Mother Ginger's skirt was. and then children came out of it???! I guess all I looked for were the oddities

from experience, as i've mentioned in my Welcome, my back is [for 3 yrs] what I'm still trying to come back from. IMO I think it's one of the hardest b/c the doctors can't technically see what or where the problems are, even from MRIs, etc. One doctor could find a problem but it could end up that that's not the root of the pain. It may just be muscular pain. I think massage would only help in certain cases like muscle spasms. Yet, too much massage could just aggravate the problem more.

A Cecchetti trained dancer has longer thigh muscles whereas dancers trained in the Vagonova system tend to be more bulkier. Russians have amazing backs b/c of their emphasis on p.d.b. and I have heard that companies are looking more towards Cecchetti-trained dancers b/c they are able to adapt to any style or choreography and b/c they have learned placement of the body.

yeah, I've read something on that (i don't remember) - someone said that you shoudn't be able to take a section of it and perform it separately; it should be cohesive; it should flow as one piece.

a romantic dancer would have more relaxed positions. Like in 3rd arabesque, the arms would be slightly be bent at the elbows instead of elongated as you see it today. perhaps a romantic dancer appears more ethereal and a majority of dancers today are classical. Romantic period for them is over b/c it's not 'up-to-date' ? I don't know how to explain or organize my thoughts to writing, but I know there are a lot who know the answer to this question ! also, the quality of their movement and the way they display [arm] positions can decipher between the two. I wouldn't say it's in reference to the ballet being danced. perhaps, a classical dancer a more crystaline technique and a certain conformity in their dancing that's like a diamond - sharp, clean, and precise. whereas a romantic ballerina would resemble a soft ribbon blown in the wind ? (excuse my poor metaphors) She would have a fluidity in her dancing and would be sorrowfully expressive . Romantic ballerinas would refer to Taglioni ?

I've always thought that male dancers have a softer, gentler look to their arms and the way they carry them. Although it is very held and strong, they still show no strain. And the fingers, still very relaxed, unlike how women tend to 'perk' them up. After all, they do have to support the woman, but if they had the same energy coming out of their arms to their fingertips as women do, they'd prob. knock the woman off pointe in pirouettes. So then it must be imperative to be gentle, thus, excelling in Spectre b/c of the arm quality. Maybe their arms are naturally made for caressing [their partner] and have to have a softness to them. Their arms are also structurely bigger.

Gina, may I be so bold as to suggest that you have a friend videotape you in this role? I don't know whether you can/are willing to dance it full out, but at least get enough of it down so that it's not lost? Or maybe teach it to someone who can? It would be a great treasure for posterity. Hey! It would be a great treasure now! ooh! ooh! pick me! pick me! :rolleyes: but anyways, there are soooo few people still alive that have worked w/ greats that've worked w/ greats. Unfortunately, this generation is lacking and is very unknowledgeable of any work or history. I mean, a great majority of kids dancing the Nutcracker don't even know who Petipa is. or what he is! regarding changes in original choreography, are there any ballets that were made that we still know the original intended choreo. ?

now, I'm not an 'advanced choreographer' or someone famous or anything, but I normally just get ideas from the music, the music sort of tells me or tells my mind what to think. Perhaps it depends on how I'm feeling that day. I cannot choreograph anything w/out music. We had to do a few works w/out music, and I was still singing a made-up tune in my head while doing it. also, any prop that I may be holding inspires a whole story. I was holding a chiffon scarf one day and had an idea for this ballet (which i'm still working on) called The Red Scarf. <where a wise old man gives a magical scarf to a young girl during hard times/war. then her parents make her sell it for money, but then the scarf blows away to a new town. Each town has different people and they use it differently. One little boy will be sitting on a rock on a lake, lonely and the scarf will gust by him. Or a village of gypsies will use it for clothes, another woman will use it to wrap her helpless baby in, another for shelter, etc. And each person it comes by, the more power it will receive. maybe power to bring hope.> all of this by holding a long scarf in class. and once I was wearing a trench coat on top of ballet clothes. Inspired me to do a ballet set in London where they're wearing diff. colored trench coats and in a scurry holding umbrellas, newspapers, and doing semi-modern/ballet poses and steps. (still haven't thought of it all) Some will be happy/jumpy/petite allegro-y in the rain while others will be down and dreary and others will be rushing across town covering themselves w/ newspapers, etc. I'm sure other choreographers can find an object and focus on the form of it and immitate it into their movement. Like a ribbon, it should have soft steps, curvy movements always flowing and moving - not rigid throughout. or perhaps inspiration comes from everyday experiences. Like composers, they'll compose a piece for someone they love who's dying or a tune for their country. Well, choreographers can base their work on their life or incorporate movement reflecting on a significant event or person. I can't remember nor find the person who said something like - they think of a story first, then the types of movements and formations they want, then they think of the steps. and, of course, everyone is different.

that's what I thought, too. Because ballet has had a downlook, like body type and a dying art and not many people doing it, I thought this was a way to bring kids into it, w/ Barbie showing kids that anyone can give it a try. a movie is a movie, not a model for reality, so of course they're gonna juice it up. Though, I have seen this one b/c I babysit a 6 & 3 yr. old. It just makes them want to dance more, now. Anyone seen 12 Dancing Princesses ? This reminds me of 12 Cinderellas, but reversing the story... I also teach 7 avg. yr olds and I played the Waltz act 1 from Swan Lake but said it was from Sleeping Beauty. To my surprise, they recognized it and swore that it was Swan Lake b/c they had the 'movie.' ....makes me think - no wonder why they always want to act like swans and do swan arms for p.d.b. - they want to pretend they're in the movie! Thinking that any way to bring the arts back was good, actually has a different side. I guess it's important to expose the real art, rather than to be caught up in too much fantasy. BTW, LOL to all of the [most-likely] up and coming Barbie Ballet editions/series. uuuggh, this is really ridiculous, what will happen to the dance world now?

wow! consider yourself lucky and for those of you back east. Here in CA, they don't show it until 2:30 AM and lasts until 5:00 AM. Sometimes it'll start at 2:00 AM ! though, sunday nights start at 12:30 or sometimes 12:00 - AM ! it's good if you have TiVo or DVR, but then once you've fallen behind in watching the recordings, they'll unfortunately get deleted and bumped up. But then you realize you've found almost all of the clips offered form Glory of the Bolshoi w/out paying a dime! Of course, there's always the option of staying up, which I'm a natural nighthawk, but forget it once school starts. CAS is the only reason why I've seen so many pieces and am able to participate in these discussions!!

I don't think that it's only with Balanchine ballets, though his are of the newer ballets. What I meant with how I felt about this performance is pretty much a lot of what I see all around. The expression just seems surface, no in depth passion exerting. (like lifting from the chest, rather than below it) Just b/c Balanchine didn't exactly have stories/plots to some of his choreography, doesn't mean there has to be a robotic/cold/'just dancing' look. Ballet is an artform, not a task. This is where creativity comes into play. No matter how thin someone is, it all depends on how the dancer depicts their role in the work. It's like everyone works so hard to get in the fittest of shape w/ the best of features. But when does one stop? Yes, that's where the 'Balanchine body' comes in, but I don't think that that is what's needed to dance. Some could argue that it ['good' feet and body] completes the line, but as long as you're in the correct position, it's the same step - except the feeling that goes w/ it. But it doesn't work with the acting or the emotions. One could just put their hand by their ear, but it's how it's done w/ a certain sensitivity that grasps the audience. The audience of today is trained to see this type of ballet (w/ stick figures and athletic movement - like acrobats) that every dancer has to keep up or excel their past. I admit I was generalizing this performance b/c I only saw it on PBS last summer. Nothing really struck me so it just left my memory as I just saw the same types of performances that seem to lack an inner movement. Though the costumes were beautiful. There's just always something missing. My heart is only being touched by a few. I'm not referring to a handful that have the 'it factor' or anything, but rather, the ability to make a connection w/ others. A performance is a performance, until one actually starts to perform. I don't think my expectations are too high b/c this has been acheived before. IMO it's the dance that has lowered its standards in certain areas, but vicariously. Focusing on those arches or that extension or how skinny or how much ballon shoves the intangible to the back of the stage. Those emotions are being covered up by satisfiers for the audience. So does that mean it's our duty to change this? I may be making way too big a deal on this performance, acknowledgeing that it is Balanchine, but in the end IMO is what is hurting people's outlook on the arts.

Yay, that makes two of us! Me three, though I'm only a teen for a few more months the more the merrier! (The Merry Wives of Windsor just popped in my head! ) 3rd one's the charm, right? Hey, now we're like the Triple Whammy's!

thank you Paul Parish, that touched my heart. I like Beethoven's Romance pieces; and I think Rubenstein is amazing! I took lessons for about 4 years starting at about 8 yrs old. I hated it though, esp. the practicing but I had a bit of a natural knack for it. But 3 yrs after I stopped (and a few months after stopping ballet) I saw [on CAS] 2 guys on 2 grande pianos playing Rhapsody in Blue by Gershwin. It blew me away! From then on I've wanted to go back since I started to appreciate classical music, but I can't find the time anymore. The violin and the piano are my favorite instruments; I can feel them in my heart. ...amazing how Beethoven became deaf, isn't it? Such genius how he had to rely on the vibrations. Some of his greatest works were towards the end of his life when he had no hearing. Brilliant man! and, of course, I knew about Cecchetti's double casting! I can see him excelling more as Carabosse, though, just from pictures - but who knows? As a teacher of Vaganova, he's impacted ballet throughout 2 methods of teaching. When I found out he was in Scheherazade I was so happy b/c The Young Prince and The Young Princess piece is another fav. and realizing that part of that piece was used for our syllabus music, I felt honored that I was dancing to something he was in! music really is a part of me, just as it is for you. I've become more sensitive to the quality of each piece and can recognize several works and know exactly who composed it, etc. But it's not so much that I recognize a piece than it is to how I felt when I first heard it, how it first entered into my soul. I guess that's when you know the composer/writer/choreographer/dancer/artist did their job - when they've made an impact on their viewer/audience. When they've made us feel. I've heard that music is food to humans - we need music in our lives. I'm sure we both can't live w/out music. Isn't it amazing that you were able to produce that kind of sound on the piano, to make that lovely melody with your own hands? oh, my heart just melts when I hear melancholy music, prob. b/c it told a story to my heart and I reacted to its beauty. perhaps that is what's started my appreciation of beauty, in all forms. I love nature, as well. Everything happens for a reason. If I didn't hurt my back, perhaps I wouldn't have found the time to focus on ballet history and music, thus, never really looking at beauty, though it's right in front of everyone. Maybe the same with you. Even if not playing to that certain level, you are able to connect with others who have seen things from your eyes. And then it can bring you to a myriad of arts b/c you have been brought up with that special ability. many people today are seeing w/out seeing. they're dancing w/out dancing. their emotions and expressions are impassive. the job of the true artist is to be able to connect with the audience through their art and work. Unfortunately, people shine past that beauty and we get what is now mediocrity. 'Tis a shame for those who have to view it, yet also a blessing for those who recognize it. Then it must be divine for those who do something about it. Just look at Spartacus. Yet, this knowledge is what inevitably makes me lonely. With knowledge comes suffering, just like in Fahrenheit 451 which spookily relates to society of today though written about 50 yrs ago.

I actually liked hers, esp. w/ bending at the wrists. In the beginning she started off with some 'rippling motion' and thought I wouldn't care for it, but I could see her develop into a swan w/ the positions, poses w/ nice bent over body and head and arms, and good bouree. Of course those legs of hers - gorgeous. I really thought that she enabled her arms to become like a separate entity, like wings wanting to go one way and the body desparately pulling back in agony.

I feel embarassed to ask, but why is Ferri having a farewell!?! Is this retirement for good, or is she going to a diff. company (staying w/ RB) ? I am definitely not updated; pardon my ignorance :blush: ..... I absolutely adored her in R & J w/ Wayne Eagling on Ballet Favorites. Would have seen her in Giselle if not for an injury.

Also :blush: for Pavlova. T'was superb as her heart was calling and crying giving chills to me. such slender legs she had for her day. I don't know who I like better, Karalli or Pavlova. Karalli was just so gentle throughout w/ beautiful round arms and a lovely curvature in her head positions/inclinations. Pavlova was dramatic and really allowed a transformation to occur... This is what we've 'moved forward' from. IMO, the only thing that improved was the turnout.

no one said their favorite was Les Ballet Trockadero !!! Come on, now.... Maya Thickenthighya's heart-wrenching 'Dying Swan' even received roses thrown on the stage at the end. :blush: Must have been that good; when's the last time you've seen flowers at the end of a performance... creativity was key to keep this quality alive..

couldn't agree more with your comments. I feel like it's a shame that this piece can even get to that point and how this lack of quality is like a 'plague' around the world. One could just hold a sign in front of them that said "I'm a dying swan" and it would tantamount to dancing it w/out fully plunging your emotional intensity in it. ok, ok, I'm over exaggerating; everyone tries hard to depict their character, but sometimes it just doesn't get through to the audience that has seen the heart-plunging Pavlova. Although, the audience goes wild at these performances and it's like the dancers have to keep them entertained w/ silly acrobats, constantly bringing it 'up' a level to keep 'up' with where ballet has 'gone'. It really is 'up, up, and away...'

makes me reminisce on my ROH encounters in '05. I rushed out of ROH and found Jonathon Cope just leaving and throwing away a coffee cup. (no, I wasn't about to thrust myself in the trash can) I asked him politely to sign my program....with that handsome dark features and rich hair... Then he just walks off into the night on the London streets, just like he was a 'normal' person. Then outcome Nicolas Le Riche, then Monica Mason. After waiting almost an hour Sylvie Guillem finally comes out. I will always keep her picture of us together. But I guess Darcey Bussell, Cojacaru, and Kobborg snuck out. So I guess it depends, I'm sure they are all tired and don't want to deal with fans. But others are flattered, as long as it is done w/ sincerity. at ABT's Giselle, many waited for Julie Kent....

me too. In real life, I can do 4. In my dream I did 5 & was happy, but then kept going and going and thought I would stop b/c I was slowing down, but just kept spotting my head and extra turns kept coming. Then closed nicely so other people wouldn't feel bad. Must have done maybe 9 or 10........ still could never beat Misha

Ah, but this is what I think is true art. It shows the true, natural beauty and appreciation for the body while displaying an indescribable level of emotion and creativity. Yes, refinement is always a plus, but I would rather see more work go into the character and the way one brings it across to the audience, something that is lacking worldwide today. I think those dancers were rather glorious, esp. when I am still moved by only seeing pictures. "In their stillness Nijinsky’s pictures have more vitality than the dances they remind us of as we now see them on stage. They remain to show us what dancing can be, and what the spectator and the dancer each aspire to, and hold to be a fair standard of art." From a beautiful Denby Essay on an amazing Nijinksy website "Creating a New Artistic Era" moderator's note: Edited to add link to New York Public Library http://www.nypl.org/research/lpa/nijinsky/photographs6.html