Jump to content
This Site Uses Cookies. If You Want to Disable Cookies, Please See Your Browser Documentation.

cubanmiamiboy

Senior Member
  • Posts

    6,525
  • Joined

  • Last visited

Everything posted by cubanmiamiboy

  1. Ok....so I guess no NYC for me for a while. This is not the best time to return anyhow.... I'll wait.
  2. It is very nice hearing back from you, dear Drew! I really hope to meet you again in the future, for the Mariinsky DC performances or in NYC once something really good comes up. Please...read the book. It goes really fast and has s very engaging structure. Be well, dear!
  3. Confessing my total inability to "get" this. Same with the Trocks or any other related "funny" takes at ballet. Oh well.....
  4. Its been a hell of a time. Horrible in so many ways to even attempt to recount it. But we all know all of it quite well I'm afraid. And I haven't seen any live ballet. Nobody has, or course. I can't stand online viewing. For anything, particularly for book reading, ballet performances or even films-(I'm a hardcore cinema fan, and even that has been greatly diminished lately). Anyhow...if there's any consolation to my lack of traveling and live performances viewing, it is that I reverted to literally eating books. Devouring them at light speed. And some ballet books have made it into my bookathon. "The Legat Legacy" is one of them. The book is comprised of Nikolai Gustavovitch Legat's own memoires translated for the first time from Russian to English in 1936 by Sir Paul Dukes, and here subsequently re edited by Mindy Aloff with the wonderful addition of the words of our own RG, Mr Robert Greskovic, which in his great Introduction gives us a masterly summarization of the life and immense influence on the art of teaching of the late ballet pedagogue, along with corrections on some mistakes from both the original Russian text and Dukes' translation. Legat's thinking is basically that of his immense respect and utterly admiration to his own teachers, Johannsen and Cecchetti, but particularly Johannsen, whom he considered the base and center of everything the world knows today as the Russian ballet school. Then there's also a wonderful account on Legat's own father-(a great dancer himself)- and a few, sad words on his prematurely departed brother...although he doesn't dwell on the issue of his suicide. We are given spicy, colorful descriptions of celebrated classmates. The famous/infamous ballerinas of the Imperial stage are all in there...with special warm words to two opposites: Kshessinskaya and Pavlova. the former one for her unparalleled technique-(only matched by her Italian rivals)- and mutual onstage empathy, and the second one for her uniqueness, warmth and purity in which she conducted their loved artform. Both of them cherished by Legat as true friends. Later on there are accounts from some of his most distinguished pupils, telling us about the uniqueness of his method. The way some of them refer to the mystique and mystery of his communication codes-(not understood by many, but like a wonderful Pandora's box wide open once someone was able to grasp it)- quite reminded me at how some Balanchine's alumni speak similarly about his classes. If anything...everyone seems to agree on the fact that his classes were not for everyone, but rather to perfect the finesse of the already accomplished dancer. Hence the name..."Class of Perfection", which he initiated in Petersburg and continued in London. I enjoyed tremendously the book. The words of those who "got" his teaching speak of an unmatched, witty class genius, and one that England didn't really know how to handle-(Dame deValois wasn't too kind of the man, although she admitted he was s genius). If you haven't read it...do so. Highly recommended.
  5. Perhaps. Down here in Miami where is ultra competitive, the struggle is real.
  6. I saw Vikharev's recon once. If I'm not mistaken I believe I remember seeing them.
  7. 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.
  8. 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.
  9. 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...?
  10. 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....
  11. 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.
  12. Who knows.... Let's luxuriate in Scarlet's White Sean pdd.
  13. 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.
  14. "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
  15. The trials and tribulations of a young Cuban dancer as a newly exiled man/American citizen.
  16. 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.
  17. 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!
  18. 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..?
  19. 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.
  20. 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".
×
×
  • Create New...