cubanmiamiboy

Browsing thru the upcoming events at the Arsht Center I noticed the performances of this group. As I usually do, even before trying online sources, I would like to ask for my fellow BT'rs opinions and recollections about this troupe. Your input is always highly appreciated... http://www.arshtcenter.org/tickets/calendar/view.aspx?id=9813

Well...I certainly can, Simon...technically and rightfully...or at least I can try... If it is a non starter, then it would be counter-argument unworthy, and I believe you just gave me one, right...? Agree...this has been the mantra for many, many critics for many, many years now, with the exception that there are many, many others which can validate it endleslyy, and which I suspect is the reason for which it still exist. To repost to this I will use, with your permission, one of your own statements, Simon. The words within parentheses are mine, due to the change of scenario. And then you probably haven't seen the Dysneyworld-Orlando family audiences coming in masses from Atlanta lately Simon...! Just come and take a look ...!

Simon...here we have to agree to disagree. I don't think rap speaks to such a global/multicultural level. There is a huge, vast side of the globe for which this manifestation will be as alien and strange as ballet is for another and from which it will certainly feel excluded. Just take a look at the audiences of those Vienna's New Year's concerts of Andre Rieu. I doubt we could bet they could make for an important percentage of a rap concert. And the thing is that THAT audience-(Andre Rieu's)-is a real, live one...one that keeps multiplying and feeding itself in another type of culture and musical and artistic background...and certainly-(and this is my own guess...I haven't done any research looking for percentages or numbers)-one that could potentially feel up a hall for a night of Sleeping Beauty. Maybe with the Sugar Plum. But let's take a look at another example. Many people know the origin of the character of Aurora, Simon, even if it means just at its basic level of the Walt Disney movie. The image of Caucasian Aurora is ENGRAVED in people's mind...(just look at those huge theme parks we have here in Orlando). For many Sleeping Beauty-(Aurora)-is and will be the film blond princess they've known since they were born . You don't change that too easy, at least for the non connoisseur. Maybe we, at this point of ballet viewing, are able to bypass the ballerina's race and look at her beautiful balance and perfect arabesque, but let's be honest...this is not the first detail that the non connoisseur audience will look at if a ballerina as dark as and with the racial fixtures of, let's say, Whoopy Goldberg, would be given the role. (I had put Misty Copeland as an example, but I took her out, because se is definitely mixed, racially speaking). The same can be applied to Giselle, Swan Lake, Raymonda, Coppelia and La Fille Mal Gardee. They are not raceless candies as the Sugar Plum Fairy. Agree. The talent is out there, but so there are the preconceived notions and there is the urban myth on the air that those with the big pockets keeping the ballet companies alive are precisely a good percentage of those who still carry those notions. We can't ignore this fact.

Just as Ballet is esssentially a Caucasian art form which dates back to the Italian Renaissance courts of the fifteenth and sixteenth centuries as a dance interpretation of fencing, quickly spreading to the French court of Catherine de' Medici and centered around dancing done by courtiers; it is also a corporal language and art form of storytelling and exclusion and deeply rooted in the white European cultural history... http://balletinyou.com/images/floor_tutorial/reverence.jpg http://www.thinkgreatstuff.com/img100/100_6560.jpg http://www.bustatoons.com/blog_images/blog_manefaces_unmasked.jpg Mybe not on the "same" level...(I think the term "same", just as that of "everything" or "completely" and the like are always tricky to use, don't you think...?)-but there are definitely points of similarities here...

Identification is a fact for sure. Countries, cultures and ethnic groups have historically created, nurtured and identified with different things, including artistic manifestations. Ballet is simply one of them, and just as with everything else, it was created and developed withing specific groups, and just as the world and its societies have evolved-(or so we hope)-, it has greatly expanded and globalized, but that doesn't mean that it has ceased to reflect those initial cultures or ethnic groups. Just as how unusual for the Caucasian community could have been to find Carlos Acosta dancing Apollo for the first time has been for the black community to accept, let's say, blond Eminem trying to earn a rapping spot right next to Lil'Wayne, Kanye or Jay Z. His path has been a tortuous one...with the hardest/harshest criticism coming from that same black community. He finally earned his place with hard work and talent, but his case, just as with Carlos Acosta, is an isolated one-(although not impossible)-, and we all know it. Just look at this list from a respectable site...don't wee see a racial pattern as well...? http://www.rapartists.com/top10/artists.php Edited to add: Just to answer to the OP question on "how do you make it a non issue...?", I think the most honest answer would be to realize that there will always be an issue about it, about it, like it or not, spoken or not, and as per the only way to bypass it we just need to look at what it took to Acosta or Eminem to do it. Hard work, talent and courage, and to be aware and understand-(not necessarily to justify or accept)- that there WILL DEFINITELY BE a hard path to follow.

Linda Olesya, Natasha..!!

I see it just as in Raymonda...lots and lots of courtiers and family members and friends dancing around in a wedding party. I never felt the need to know their names or what their specific link with the main character was to find their celebratory dancing completely logical and certainly non-plotless. There's a wedding party going on and everyone dances, family and friends...just as we do in 2011. Now, a weirder, harder example to determine could be, let's say, the "demi-girl" in Scotch Symphony... Plotless or not...? "real" character or not..? Effie's nemesis or just a girl who happens to be a reminder of Effie in a ballet that happens to have another girl dressed in a Sylph-like costume interacting with a boy who happens to be a James-look alike...? Why is she dancing and why is this "character" so smily and happy...?

But in the context of the Grand Pas-(even without the lost, preceding acts)-, and being the whole scene a festive affair, it is fair to conclude that this character is indeed "someone" -(name it one of Paquita's friends, or family member, or a lady-in-waiting etc...right?)-dancing/celebrating Paquita's nuptials. So I understand where are you coming from, Marina...

Even 11 years after, I'm probably still not used to the full implications/advantages/disadvantages of the term, dirac...

The second half of last night's concert was exquisite. I got a little bored during the first half-(some modern work by some kid I can't even remember now...I even got a little sleepy, plus some orchestrations of three Debussy's pieces-[not my favorite of composers either, IMC]). But then, the miracle revealed itself...Aaah, the divine Fifth by Mr. T. That hunting Fate theme in the first movement and then repeated in the last one but in a major key...just sublime. I always think that His Majesty The Genius didn't have to go all the way to 104 symphonic works like Haydn. His are only six...and that's enough. I just ADORE his music...(I own Bernstein renditions, which also include his Francesca di Rimini, Hamlet, R&J Overture, The Tempest, Manfred and his 1812 Overture) . People were SCREAMING by the end of the concert! (who was that guy who didn't include Tchaikovsky in that infamous NYT "Ten Best Composers" useless list...?)

Hopefully...

From the NWS website... "Led by conductor Alasdair Neale, fresh faces converge with returning favorites to bring you the “new” New World Symphony. The 2011-12 Fellows will perform Tchaikovsky’s romantic Fifth Symphony in their first full-orchestra performance of the season. " I don't have tickets, and the concert is sold out, but I'll be there after the beach...there's always a last minute hope! http://www.nws.edu/EventDetail.aspx?EID=488

Tonight I had the pleasure to revisit El angel Exterminador-(Exterminating Angel)-a film I saw many, many years ago, and made a great impact on me. It was also my first film by LB. It has been said that the title of the movie refers to the exterminating angel who killed the first born child of Egypt, and so in order to make some sense of the movie, one could consider the fact that the same angel may be punishing the film characters. The exterminating angel does it by trapping them in a closed physical space-(a superb mansion)- that forces them to deal with reality. Therefore, they snap out of their trapped world of mannerism. The angel punishes two lovers for having sexual intercourse in a small room with angel pictures displayed on the wallpapers by forcing them to commit suicide. At the same time, he forces the guests outside of the room to go through barbaric like behavior to show them the harsh reality of their human nature. After they escape, the guests end up trapped once again in a church, which implies that the angel now wants them to break free of their religious habits now that he succeeded at breaking hem free of their high class manners. In both, the salon and church traps, the angel sends them sheep so they could eat and survive. Both locations are perfect for the angel's tasks. Luis Bunuel was probably attacking both the high class of society and religion. I remember my first viewing of, The Exterminating Angel as a very challenging one, being almost impossible at first to even try to understand its meaning. I read that Bunuel despised the film since he wanted to set it in France (hence the later The Discreet Charm of the Bourgeoisie); he said there was no reason to the film, but sure there are lots of references, very intentional ones, to give it some meaning. He not only goes after bourgeoisie and church; there are references to Islam, Freemasons and white and black magic. Back in the days I found it a bit hard to digest at first, but then something snapped. At the time I was going to a personal situation that was draining me both mentally and psychologically-(even to the point of physical exhaustation). Coming out of the movie theater I just saw it right there and then. My personal situation was entirely based in my own inability to at least TRY to get out of it. I had INVENTED the most powerful causes for which I had decided that there was no way out…and in reality, this wasnt the case. The solution-(just as with the majority of the problems in our lives)-was right in my hand. I just had to walk out of the matter and thats it. The final sequence of Silvia Penal fixing all the exhausted guests minds in order to make the exit from the mansion-(and out of the Angels spear)-is one of the most powerful ones Ive ever seen..and felt. In the process he makes us revisit his recurrent obsessions with beautiful women-(Pinal), religion and high society. Exterminating Angel is, in my own view, the DEFINITIVE study on how people go from considering a situation completely abnormal to accepting it as the only way possible and probably dying on the way, inside and outside. JUST WALK AWAY!

Cristian -- I believe it's Andrea Long. She danced with NYCB for about 8 years during the late 80's and early 90's then moved on to Dance Theater of Harlem.

And while in the subject...does anybody knows who's the black female dancer in the Snow scene from Balanchine's "Nutcracker" DVD...? The inclusion stands out even more particularly because of the whiter than white nature of the sequence.

Ah, I like that..! I'll make sure I remember this phrase for future discussions on "Pas de Rigueur".. Anyway...sorry for being , so back to SL...

Coaching is the big word here. Sometimes I think on how great would it be, for instance, if cultural relationships were better and the 45 min. flight Miami-Havana could be done as it was before and, let's say, Jeanette could benefit with great coaching from the wonderful romantic ballerinas of the past still teaching at BNC-(Bosh, Araujo, EVEN Alonso blind and everything...). Now THAT could prove SPECTACULAR results to Delgado. I was observing the ballerinas who played the Sylph during Scott Symphony and there's definitely some work needed. Catoya as Giselle...? Yes, I think. She's little and everything but I feel she could rise to the role, again, with the right coaching AND the right partenaire. I really liked her Diamonds when she danced it with Sarabita back in the days. Coppelia is easier. There's no drama and Villella's ballerinas are better in soubrette roles, more than the romantic ones, I think. Here Catoya and Jeanette and Patricia and Katia could do great jobs. About the Albretchs, well...that's another story. Albretch HAS to look good and romantic onstage, and still has to go thru the Act II solo. That diagonal of triple tours en l'air is certainly not the cup of tea for many dancers. Before and after that the whole thing is basically about partnering Giselle and looking handsome onstage. That's why I vote for Reyes, Trividic and Guerra as my ABC here. Myrtha is the trickiest role here. She can't get away just with having the right physique/attitude, because there's a lot to dance and jump and turn. Same with the opposite, where many Myrthas, even having the right technique don't deliver the regal, mean attitude required. Franz, again, is easier. Here Rebello, Cox, Guerra and even pretty boy Chase Swatosh-(just an apprentice)- could do great I think.

My first two cents.. Jeanette for Giselle...Jeanette for Coppelia...Jeanette for Sugar Plum...!! Ok...this is from another post, but since some of the names I had are not longer in the roster I made some changes, so here it goes. I tried to use most of the potential of the company. Ideal casts for Giselle: Giselle-Jeanette Delgado-(and still mourning the fact that Sarabita is not here now for her) Albrecht-Reyneris Reyes-(does he still has the technique...? Don't know, but he looks good onstage and THAT is needed here) Myrtha-Callie Manning, of course. Hilarion-Isanusi Garcia Zulma/Moyna- The Esty Sisters Giselle-Jennifer Kronemberg Albrecht-Carlos Guerra Myrtha-Zoe Zien (Corps member) Hilarion-Renato Panteado Zulma/Moyna-Jennifer Lauren, Nicole Stalker Giselle-Patricia Delgado Albrecht-Yann Trividic Myrtha-Tricia Albertson Hilarion-Didier Bramaz Zulma/Moyna-Amanda Weingarten, Zoe Zien Giselle-Katia Carranza Albrecht-Renato Penteado Myrtha-Jennifer Kronenberg Hilarion-Reyneris Reyes Zulma/Moyna-Ashley Knox/Nathalia Arja Giselle-Mary Carmen Catoya Albrecht-Kleber Rebello-(I think his main problem which is not being too tall could be bypassed if casted with Catoya) Myrtha-Callie Manning Hilarion-Isanusi Garcia Zulma/Moyna-Zoe Zien/Nathalia Arja

This is EXCELLENT news..!! Cox has been one of my favorite male dancers EVER. I started watching his dancing right when my knowledge of repertoire started to change from CNB's XIX C. to MCB's Balanchine back in 2001, and even realizing that he's not the ideal type for the warhorses roles, the way he throws himself into the Balanchine ballets makes him shine all along... Still...I'm curious on how will he be casted during the upcoming Giselles...

Perhaps among the Corps. Soloists situation has been quite different...historically.

I was sent this this morning by a friend. I'm sure many of you will enjoy it as much as I did...! Directed by Robert Cannon. Written by T. Hee & Robert Cannon. Animated by Bill Melendez, Tom McDonald, Frank Smith. Music by George Bruns. Released February 11, 1954. http://www.youtube.com/watch?v=UdeVDNoq1oY&feature=player_embedded