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cubanmiamiboy

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Everything posted by cubanmiamiboy

  1. Perhaps. Down here in Miami where is ultra competitive, the struggle is real.
  2. I saw Vikharev's recon once. If I'm not mistaken I believe I remember seeing them.
  3. It is not a secret than certain chains of hospitals, like the one I work now, don't hire new grads. There are others than do...but not that many. Usually a nurse starts in a nursing home or home health setting to eventually jump to a hospital. With a couple of years on one's back, at least management can guess the nurse has been at least in one code blue. All this, of course, if you depend only on your resume...and you don't have someone who gets you in-( as it was my case many years ago). In other words, and to link this with the ballet discussion. I hope that, if a quota starts in SF ballet, that they somehow can pair said quota with real talent. Otherwise the whole thing will be a sad travesty.
  4. Got a little lost here. Sorry, Helene.馃槅 Nursing is a black and white thing. Hospitals don't hire new grads. They don't want newbies in a code blue. So that's why I wonder if things are getting more....relaxed, now that there's pressure from all types of new diversity boards or diversity managers. As per ballet, well.... Swan Lake is not a code blue, and nobody's gonna die after seeing Misty and her 12 traveling fouettes. But hey....they definitely opened a whole Pandora's box.
  5. And.... I'm both Latin and gay. And boy...would I hate if I would know that I'm part of that hiring quota and not because of my long nursing resume....馃え But I guess I'll never know. How does the hiring part approaches that on your workplace...? After you tell the hired party that they are hired....do you tell them that they're part of a quota...?
  6. I wonder if they would pull another Misty Copeland number. (And no...no need to get into a discussion about her....again. We all know all very well all the "in favor" or "against" theories that her controversial appointment as Principal generated) I am a nurse, and in my hospital there is a hiring quota for nurses. Certain amount of LGBT and certain amount of certain minorities are to be hired. I wonder if they can start doing that in ballet as well....
  7. What a disgrace. Nothing was proved and still he was cancelled and vilified. And now he killed himself. This is horrid. Bring on the acussers. Publicly. Ask them to publicly prove their case. Yes. Publicly because the vilifying and destruction of their lives and careers was public. So if there's no prove, that needs to be seen in public too.
  8. Who knows.... Let's luxuriate in Scarlet's White Sean pdd.
  9. This are times to be tough. Generally speaking. Cancel culture and bullying are running wild and rampant. Allegations are being taken as proof, and people really have to have their heads well centered not to succumb. Just last night I was watching a prominent politician-( a certain Governor)- speak about it, and his demeanor stroke a note on me. I thought..."wow....I would be crawling in a corner....but look at this guy. So strong and unafraid". And just a few hours later, this.... What a shame. My deep condolences. I truly hate all this. It makes me want to vomit.
  10. "After a year's absence from performing in front of live audiences due to COVID-19, Dance NOW! Miami (DNM) returns to the stage on Saturday, April 3 at 8:30 pm, bringing their second program of the season to the Aventura Arts & Cultural Center. One of the leading contemporary companies in Florida, they will perform the reconstruction of Jos茅 Lim贸n's iconic La Malinche, as part of their annual Masterpiece In Motion series, along with other works. La Malinche is the first piece Lim贸n choreographed for his own company in 1947. It is based on the real life story of an indigenous Nahua woman who played a key role in the Spanish conquest of the Aztec Empire, and is a legendary character in Mexican cultural history. The piece has been reconstructed on DNM by Daniel Lewis, Lim贸n's protege and former Artistic Director of the Limon Dance Company after the founder's death, well known in Miami as the Founding Dean of the Dance Department of New World School of the Arts. La Malinche is presented in collaboration with the Jos茅 Lim贸n Foundation and the 75th anniversary of the Lim贸n Company." https://www.dancenowmiami.org/events/program2
  11. The trials and tribulations of a young Cuban dancer as a newly exiled man/American citizen.
  12. But THAT'S the thing...it doesn't has to be necessarily the same composer! You see...I'm thinking more on the lines of what Petipa's ballerinas did, and many times with his own approval, which was to interpolate dances from other ballets....in many cases pieces that were good enough to survive on their own without the rest. Pieces that they knew had tested the balletomannes waters and would be safe tickets to new creations.
  13. Bingo! Like "La Mort du Cygne" on a 1 act ballet ! I mean, even if we love the piece as a gala item.... wouldn't it be more... exciting to see it as part of a larger work...? My point is that, given that the pieces are 1- Popular, for which they have survived as solos, and 2- that they are quite not much seen given their restricted frame of gala nights, they could be of better use!
  14. Well....this is a fantasy. If we go against "dropping the piece in a context they never intended", this whole thing makes no sense of course. Dolin would probably say no about Grand Pas de Quatre as part of a full length. So would Gsovsky and everybody else, including Balanchine. My point is that some of this pieces are so little performed nowadays that it is a shame that being so wonderful and exciting, they are constricted to gala performances...and quite disappearing-( like Grand Pas de Quatre). And then...in many new creations we see, the pdd's are... so forgettable, that I believe it would be probably better to re use an existing material that has gone successfully thru the test of time. How about Satanella pdd...? (I know...it comes from a pre existing full length...but..it has been by itself for so long...! ) Or...Grand Pas Classique..?
  15. Choreography wise...? Well of course! At some point there's even a little hand playing between the dancers! And many ballerinas do a lot of eye flirting while in the entree/adagio. Ashley Bouder, for instance.
  16. Oh...there would be no changes whatsoever. My idea includes the notion of respecting ALL aspects of the gala piece, including the original costumes. I would certainly welcome Balanchine's creation within a SL. The audience would had a double treat. 1- The Choreography by Balanchine and 2- The opportunity to listen to this deleted and now almost unknown 1877 SL music, along with the little Sobeshchanskaya/Minus/Tchaikovsky/Petipa story on the how and why it got created and eventually deleted. With the actual vast array of endless black tutu'ed carbon copy Odiles around the world, the Tchai Pas would be quite a refreshing contender! As per being a virtuoso piece. Well....every pdd of the classical repertoire I can think of is surely a virtuoso piece. Some of them EVEN MORE "showy" than Tchai pas-( as with everything where we expect 32 routes). Tchai Pas has, to my eyes, really nothing that moves away from the classical language. It's pure classical ballet to pure "musique dansante".
  17. How about Tchai Pas? I know ...it is sacrosanct Balanchine, but.... wouldn't you like to see it , aside from a gala piece, as part of a Swan Lake ..? (Given that it would be ok by the Powers that Be). For instance... considering that there's already a Petipa Black Swan across the plaza, I think the past could had certainly fit well in Martins ballroom act of his SL. AND keeping Karinska's costume could also be an interesting alternative to the ever present black tutu'ed Odile. Yes...? No....? 馃槑
  18. I could DEFINITELY see a two acts neo-Romantic new creation by Ratmansky with the second act made of Dolin's piece. Maybe something on Taglioni....? And then she can mingle with her peers in act II.馃槑 In that Esmeralda, the D&A pas is shown as a "tapestry becomes alive" event, with the court observing. I quite liked the idea.
  19. Hello all! I've been absent for quite a while. I'm truly sick of this COVID thing. No ballet...no nothing. I truly hope at some point of our lives we will be able to walk around again without the annoying masks. Truly sickening. Well...there have been no live performances, and I'm not into the whole streaming thing. I rarely watch TV, let along computer or phone streaming. I don't even watch films at home. Well...let me rephrase that. I actually just started watching some...but I am truly a cinema guy. Well...things are very limited now and so I decided to venture a bit into the whole online world, mainly for clasic films and ballet videos. So today I was watching Grand Pas Classique...a pdd I love very much, and that sadly...we don't get to see performed much nowadays. Yes...it is a gala performance piece, and as such...only at galas can we only enjoy it. But then...there are many other pieces on that same category. Classical, beautiful pdd's and even a pas de quatre. Gala pieces that are all but disappearing from our balletic memory. Those by Balanchine are the most fortunate, given that they are periodically revived by Balanchine-based companies. I'm thinking of Tchaikovsky PDD, Le talisman PDD and Sylvia PDD. Maybe others...? Then, out of Balanchine context, there are others, like the aforementioned Pas de deux Classique, Le Carnival de Venezia pdd-(aka Fascination pdd ) or even the Grand Pas de Quatre. And I was thinking....would it be possible, legally speaking, to attempt to fit this pieces into new full length creations...? Could, for example, Tchaikovsky pdd be included in a new production of Swan Lake with the necessary trademark and Trust permissions and requirements...? Could Grand Pas Classique be included in a totally new ballet...maybe a "revival" of an old text, with totally new choreo for the whole thing, but including said pas in its entire form...? If you saw the Mariinsky Paquita, you know what I'm talking about. For that that Paquita Smekalov took the Grand Pas just as we all know it from Petipa's time, and reworked the whole rest of the ballet into a totally different thing from, let's say, Lacotte's....both choreographically and libretto wise. I would love for choreographers to do the same with this "forgotten" pieces, so a well known, exciting element can be used as bait for...maybe a wonderful night at the ballet...? I could definitely watch a whole neo-romantic ballet in which the last act is a party with a set of divertissements made for four distinguished guest Romantic-era ballerinas! -(wink wink Anton Dolin) A good or a terrible idea...? 馃槈
  20. The "by extension" concept... And now that you mention it... wouldn't it be interesting to survey a Japanese ballet troupe on the subject...? 馃
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