cubanmiamiboy

Just a quick question about Farrell. Did someone on this board witnessed her Odette/Odile in that only performance of SL she was invited to dance by some company-(can't remember which one right now, and i'm away from the book)- when she left Balanchine...?

Some interesting information on the competition: COMPETITION PROGRAMME FIRST ROUND - Classical choreographyCompetitors perform, at their own choice, one pas de deux (adagio, variation andcoda) or two variations from the obligatory repertoire listed below: ADAM"Giselle" - Variation of Giselle, Act IChor. Petipa, music Minkus- Pas de deux, Act IChor. Perrot,Coralli, Petipa- Entree and variation of Myrtha, Act IIChor. Perrot, Coralli, Petipa- Grand pas de deux of Giselle and Albert, Act IIChor. Perrot, Coralli, Petipa DRIGO- "Le Corsaire" - Pas de deux of Medora and the Slave, Act IChor. Petipa, - Pas de deux of the Slave Girl and the Merchant, Act II,Chor. Petipa ARMSHEIMER"The Cavalry Camp" - Pas de deux of Maria and PeterChor. Petipa ASSAFYEV"The Flames of Paris" - Pas de deux, Chor. Vainonen GLAZOUNOV"Raymonda" - Grand pas de deux of Raymonda and deBrienne, Act III, Chor. Petipa DELIBES"Coppelia" - Pas de deux of Swanilda and Franz, Act IIChor. Saint -Leon, Petipa DRIGO"Esmeralda" - Pas de deux of Diana and ActeonChor. Vaganova LOEVENSKJOLD "La Sylphide" (Sylphiden) - Variations from the pas de deuxChor. Bournonville MINKUS"La Bayadere" - Pas de deux of Nikia and Solor, Act IIChor. Petipa- Three variations of the Shades, Act III Chor. Petipa (each variationis a separate entry) MINKUS"Don Quixote" - Grand pas de deux of Quitry and Basil, Act IV, Chor. Petipa, Gorsky- Variation of Quitry, Act I, Chor. Petipa- Variation of the Mistress of the Driads, Chor. Petipa "Paquita" - Variations from the pas de trois, Chor. Petipa- Variations from the Grand pas, Chor. Petipa (each variation to be performed as an independent one) AUBER"Classical Pas de Deux", Chor. V. Gsovsky PAULLI"Napoli" - Variations, Chor. Bournonville "The Kermis in Bruges" - Pas de deux, Chor. Bournonville PUGNI"Satanila" - Pas de deux, Chor. Petipa HELSTED"Festival of the Flowers in Genzano" - Pas de deuxChor. BournonvilleHERTEL"La Fille mal gardee" - Pas de deux of Lisa and Colin,Act II, Chor. Petipa, Gorsky TCHAIKOVSKY"Swan Lake" - Adagio of Odette and Siegfried and variationof Odette, Act II (only ballerinas can compete), Chor. Lev Ivanov- Variation from pas de trois, Act I, Chor. Petipa- Pas de deux of Odile and Siegfried,Act III, Chor. Petipa "The Sleeping Beauty" - Variation of Lilac Fairy, Act I, Chor. Petipa and Lopukhov- Variation of Aurora, Act I, Chor. Petipa- Variation of Prince Charming (Desire), Act II,- Chor. Petipa- Variation of Lilac Fairy, Act III, Chor.Petipa-Lopukhov- Pas de deux of Florina and the Blue Bird, Act III,- Chor. Petipa- Pas de deux of Aurora and Desire, Act III,- Chor. Petipa, Sergeev "The Nutcracker" - Pas de deux of Sugar Plum Fairy and the Prince, Act II, Chor. Vainonen Note: They use the Vainonen version of the Nutcracker...

If you know them by name, then please, go ahead and cast...this is a men's thread. (even in drag)

No offense but I don't know why you think this is so. Vivien Leigh suffered from terrible bouts of depression. She was bipolar, and had tuberculosis. But she had many friends who refused to ever say a bad word about her, including both of her ex-husbands and her colleagues. Her stepson loved her very much, and has said that she was more supportive of him when he came out of the closet than his father. Kind of , but yesterday while in class, we were showed a DVD released for medical faculty about ECT-(Electro Convulsive Therapy)-, with its pros and cons. In one of the segments, it showed some footage of Leigh, as one of the examples of expected outcomes from it-(She had an steady ECT treatment)-.and on the contrary, how the same treatment had been detrimental for Gene Tierney-(they showed footage of her also). It was very...contrasting.

Arriba Osiel and Rodrigo!!!

Sarabita at the time of his graduation was predicted to be among the top 5 best dancers in ballet history. I've never seen such a thing like that before or after, but back then he totally surpassed by a way large ratio Acosta and Carreno. Time, events, life and fate have passed by, and...anyways, right now I'm just happy that he is a Principal to one of the 5 Top Companies in US. He is also the friendliest guy and I'm also very happy to be able to see him sometimes taking class when I'm biking around their studios in South Beach through the glass window... This is a beautiful clip that shows him pirouetting since he was a little kid, and in a variety of roles. It's called "Born to be a Star ""...I really hope you'll all enjoy it. Buena suerte, papi...eres el barbaro!!!!

Neither am i, dirac...rather a fan.

Oh, i just love the simple title of this thread. "M.B, not a Ballet Choreographer" And then...the mentioning of Tharp...aah, the simple pleasure of analogies...

Oh, God...now i know it....i need to recast, using two different castings. I'll do a cuban one and a Soviet one-(past and present together) The Cuban Casting: Carlos Acosta Jose Manuel Carreno Rolando Sarabia Fernando Bujones The Soviet Casting: Rudi Nureyev Yuri Soloviev (how could i leave him out earlier?! ) Misha Baryshnikov Vahtang Chabukiani

Great! I used to have a very old copy in Cuba, property of my great grandfather-(actually 3 thick volumes)-written in the original Cervantes Spanish, which was very hard for me to understand...I probably should try a more modern revission...(or maybe try it in English..?)...oh wait, now I know I'm really talking nonsense. A Latin guy thinking on reading a basement of the Spanish literature using an english translation . Blasphemy! Anyways, in another matters...Suzy got back to Balanchine, and has more cats...(I know, I'm going sooo painfully slowly on this...)

I'm sure in Kent's case this is correct, but there are all kinds of ways and means for graduating early and skipping grades. Not to mention the fact that knowing about someone's studies in a private-(or not, for the matters)-school can give you probably an idea-(still incomplete and totally questionable)- of the person's "schooling", or to be more condescended, "educational level". I usually place "intelligence" in another dimension. Note-Oh, and PLEASE... this comment has NOTHING to do with Kent. I know nothing about either her intelligence and/or her educational level.

Ha...try the cuban Willis in the 1965 video...and for the renverses's willi, Amparo Brito in the 1980 production.

I couldn't give you specifics, having seen it only two or three times a few years ago, but I'm choosing to be less literal and pretend it's a whole new ballet we'd be casting. I'm also going by the "current dancers" rule Leigh specified in the female thread. Carbro is right about this. I also saw it a couple of times years ago in Havana, but memories of it are kind of vague. Anyways, as said, this is just an excuse to cast four "divos' together...(Actually, there's even a better ballet for this purposes, which was choreographed by BNC by Azary Plisetsky in 1973 called "Vital Song" to a Mahler's Symphony. I also believe this ballet was included in the last US tour of the Cuban troupe) . The original cast included the best four male dancers at the time in Cuba: Jorge Esquivel (now at San Francisco Ballet) portraying "The Fish", Andres Williams (the first black Cuban dancer to get to the top ranks back then, who portrayed "The Beast", Orlando Salgado (one of the last Alonso's partners) who did "Nature" and finally Lazaro Carreno (Jose Manuel Carreno's uncle and currently included in Patrick's list on this thread ), who danced "The Bird". It is a powerful ballet, and the dancers are presented almost naked. Here's a pic of it: http://www.exploredance.com/pressphotos/ba...ubacantov2.jpeg So we can switch ballets...

...and of course i know that his method is followed in America as a syllabus and his words as a whole philosophical dancing system, but i still find it hard do follow and/or understand...Then, I'm not the great Farrell, BTW. But hey...again, i'm still happy that she knew who Dulcinea was...right Patrick? Hum...i would hope so, but Patrick...don't put your head in the guillotine on it...I've heard too many conversations in groups of very young dancers, and wow...better not tell some of their analysis and/or their knowledge on certain ballets and roles...

I think that the guys deserve a good shot too...so let's forget for a moment that "Ballet is Woman". Suggestions are the same as in the female thread...past or present dancers, it's your choice! I'll start: Nureyev Baryshnikov Acosta Sarabita

Jumping in the time machine...and again, doing GPDQ. Alonso, Spesitzseva, Fonteyn, Fracci.

No one thinks it, nor even considered it as a possibility. Not at all...and as i said before, i do think it was great that she knew who Dulcinea was when she danced her...and believe me, i know just few people who've been able to get trough the whole Cervantes y Saavedra's work...me not one of them.

OMG...is she and her annoying extensions still around...?

Wonderful photo, though I guess I agree with the later decision to switch to a simpler tunic. How about those deaddresses? Those two photos always make me think of publicity shots for an Esther Williams swimming-pool movie. He,he...she says that Chanel felt horror of showing hair... After a certain age, that particular train of thought has come to sound and quite logical! That would my mom's current stage.. (sorry if you're reading this, mom :blush: )

I agree. Not to mention that editions of the complete work run around 900 pages (even the small-print Penguin Classic). Very little of this has made its way to Balanchine's version. (Almost none has made it's way to Petipa.) Wait there...now i have to disagree...it's not about what does Cervantes has to do with any dancing or choreographer whatsoever-Petipa, Balanchine or John Smith- but rather what the dancer NEEDS to know about a ballet in which some degree of interpretation is involved. Good that Farrell did know who Dulcinea was at the time she became her, or where La Mancha was located-(now, try to go and ask some dancers who actually perform DQ about this geographic place, or even better, for the book's author...and be prepared for some answers). Sad to hear comments from dancers mouths which involves a generalized accepted theory of "non-knowledge" of the written basement of some of their roles.

Bart, did you see that beautiful pic of Mme. in her Chanel tutu for "Apollo"?...Isn't it beautiful?

Ok...the point gets close to your thinking, but not quite in a grand total. First, I'm not stereotyping dancers. I mentioned that Kirkland and Farrell decided to stop their studies before graduating from high school, and hence, their general education did have a dead end at some point-(I don't know, on the other side, if any of them decided to continue it afterward during the course of their life). Of course i did not mention several hundred dancers who decide to improve both their educational/intellectual and dancing skills at the same time, and even getting all kind of doctorates and the like. I think there is no way to justify a poverty of speech or communication skills on the lack of time because of ballet life. It would be a personal choice-(and an unfair one)- to blame the art for the quality and quantity of a dancer's education and/or informational level. On the other side, i'm still firm in my idea that this happens very frequently.

Oh, whatever...let'im be.

I do go for "Pas de Quatre". Then, there would be: Julie Kent (ABT) Alina Cojocaru (RB) Lorna Feijoo (Boston Ballet) Viengsay Valdes (Ballet Nacional de Cuba)

Are we going to be back to the DSM-IV discussion ? (I'm in! )...Anyways, about being both articulated and a dancer is a dichotomy that has been discussed at large in this board before...and yes, there's a factual issue, like it or not...and no Amy Reusch, of course you're not the only one having that idea.