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cubanmiamiboy

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Everything posted by cubanmiamiboy

  1. I kind of guessed she would not last down here. Miami is rough.
  2. Of course he has the right to dress as he wants offstage. Which is what he's doing right now.
  3. I remember Johnsey stating just that, or something along the lines. That the company wanted him-(and everyone else)- to look more manly. The whole thing, according to him, started when he opted to act/dress/look more feminine offstage. That the company has the right or not to make such rules is probably subject to endless debate. And a formal investigation took place into the matters. And it is finished by now.
  4. Is usually one's family who does, when we're little boys.
  5. Johnsey was clear about it. The Trocks want to be known as a troupe of men in drag. Men dancing on pointe. Men satirizing ballet-( and showing how proficient they can be on pointe if wanted). They want men who dress and look like men offstage vs their comical onstage "female" alter egos.
  6. Apologies accepted 🥰. Of course I was just talking about the "whole concept" of the Trocks troupe and their approach to the art form. About gender fluidity and such I wouldn't even try to discuss, as it is quite a Pandora's box and much of a complex, personal perception that is certainly not of general consensus.
  7. Nanushka... I didn't go that deep in my reflection. I merely stated that I perceived every single performance of Les Trocks as a ballet satire. That they can do fouettes and pirouettes on pointe with excellence..? No doubt. But I haven't seen one performance of theirs that hasn't ultimately shown a comical approach to the art form. Johnson filling up a female position on the ENB is a total different thing.
  8. I see... I got their gig wrong then, I suppose...
  9. Oh...I see. The whole concept as a pure satire. Gotcha.😀
  10. Many thanks for the link! I am always very intrigued by Tudor's repertoire. It seems quite uneasy to approach if not done the right way, which I have the feeling has been the main reason for its absence from ballet companies. "Jardin aux Lilas" seems to be the more friendly one. Take for instance, "The Judgement of Paris". I first saw the clip. Was confused as to what was I looking at. I even though for a moment the three "goddesses" were men in drag. The occasional laugh from the audience sort of guides you to ...what...a comic piece...? Then I stop and browse the net into the ballet. It seems the essence of it should be looked more into the tragedy of human decency decay and broken morals. There's no happy ending here. The costumer falls pray into the assaulting, unscrupulous hands of everyone else around. Was the clip succesful at such...? Not sure.
  11. Wow...that part of her ups and downs with NYCB is quite intense. So interesting to see that Villella is brought into the article as a the example of how things ought to be done between board and AD, given that he would end up embodying the same exact issue years later, the tumultuous affair ending with his exit-( opposite case of Martins').
  12. Another SL staging faithful to the 1895 libretto. David Blair's for ABT, 1976 with Makarova and Nagy.
  13. I can't wait to see a R&J where the friar comes to the tomb, gives both lovers an antidote and marries them when they wake up, all of it with supplementary music by Khachaturian. They deserve it, damnit...
  14. Some "Je ne de quois" thing that Includes, but is not limited to, face, gaze, neck, center and stillness. My pick. Dame Alicia Markova.
  15. If it ends with the Kingdom of the Shades, what we have is the Soviet truncated "version" with a very alive Solor. La Bayadere ends with the temple destruction. And Solor is dead.
  16. Ever since I started watching ballet, live or on video, the issue of the afterlife apotheosis of both Swan Lake and La Bayadere have interested me. More than not we see countless of faux finales that have nothing to do with the original libretti, which in both cases call for the reunification of the dead leading couple in the afterlife, via an onstage apotheosis. I'm sure most of you are familiar with the reasons given by every other ballet scholar about the nature of the changes. For Swan Lake, the non adherence of an afterlife idea by the new communist ideology, and for La Bayadere...well, the only thing I can recall reading is that it was the lack of adequate machinery to produce the temple destruction finale what gave way for the altogether suppression of the fourth act. I suspect a similar situation of that of Swan Lake might had taken part in the decision, though. We're no longer in Soviet times, but very little has been done to "clean" those ballets of their false endings. But there are some winners. For Swan Lake we have McKenzie's vision for ABT and most likely Ratmansky's recon for Zurich-( which I haven't seen, but given that he did such a historical production, I'm willing to bet that he restored the real finale). For La Bayadere we have Makarova's recreation, the defunct Vikharev recon for the Mariinsky and now Ratmansky's recon for Staatsoper. Makarova's recreation of the last act has seen more light, given that it has been staged in other companies aside from ABT-(Royal, La Scala), so whole generations of ballet goers are by now pretty familiar with the afterlife reunion real finale. Swan Lake remains the most changed, with crazy ideas popping here and there about the final scene. You know them well. They are insane. And then...even though Vikharev and Ratmansky follow the real deal, their scenes look to me less convincing than Makarova's, which I believe gives more clearly the idea of the two souls being reunited in the afterlife by having the couple walk toward the clouds via the set of steps. In both reconstructions we see the ghost of Nikiya showing up in the destroyed temple and rising Solor among the dead bodies, which are still visible onstage. Not too "paradise like" if you ask me. Still too earthy. Swan Lake's winner is, of course, McKenzie's two lovers souls ascending with the sun into the heavens. The old Dowell's Royal production included the double suicide/souls reunification-( via a strange sliding boat)- but that's done now. Thoughts...? Have you see perhaps old productions of Swan Lake with a satisfactory, clear adherence to the original finale...? La Bayadere is really not as well known, so there's either Makarova's recreation or Ratmansky's recon. Edited to add: Please note that I'm not trying to discuss "alternative"-(false)- endings of both ballets-( including the Soviet and Soviet- derivatives like the truncated Mariinsky, Bolshoi or POB). My intention is to focus on the productions that follow the original libretto finale -(which includes the death of both couples and their reunion in the afterlife)- how this finale has prevailed around and how clear it is for the untrained spectator eye.
  17. I can't stand it. That faux finale with Siegfried drowning and sticking his head here and there is horrid. And he also has him doing pirouettes at any time all the time. Whole invented dancing passages for the male dancer that doesn't add anything to the story. At times it feels like a class demonstration. And the mirror dancing so favored by him. Nope. Not my cup of tea.
  18. Thank you all for the kind words. We nurses are scared. We might be more used to death around us, but this is different. It is new... something we used to hear happened long long time ago. Pandemics were quite a symbol of the past in my profession, and the last one we had, the HIV , contact, airborne and droplets precautions were quickly ruled out. Add to the equation that we're not being given the proper PPE, and the result is a perfect formula for anxiety and fear. Let's keep praying that this is over and we can return to our normal routines. Blessings to all.
  19. I had a long night at the hospital last night. Thankfully, uneventful. But this is not the case everywhere as we know very well. So much death and desolation. It truly hurts. I just re watched "Revelations", which usually lift my spirits tremendously. But it was during the "I want to be ready" solo that I broke. I pray, oh Lord, that this is all over soon and that we and our loved ones are all spared .
  20. Much appreciated dear! Of course I'll be back. I've been several times there and keep coming back. It is hard to take Barcelona out of one's heart!
  21. Around the time he went for a female corps position at the ENB he sometimes was referred as a "ballerina". I remember contesting such and not getting a very kind response.
  22. I looks like Jhonsey is no more a "gender fluid ballerina" but a male looking/male referred artistic director in Barcelona. http://www.balletdebarcelona.com/la-compania/equipo/chase-johnsey/
  23. I was recently in Barcelona, and let me tell you.... If I was to pick a european city to live, it would be there. I saw an amazing, luxurious production of Aida at the Liceu, and all I could think of was how great it would be if the city had a top notch ballet company as the perfect complement to the arts, food and beach.
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