cubanmiamiboy

Sorry about that. It is certainly used in the medical field for pre-op trans patients, although I understand it might had gone out there to become slang. I guess we can then still use the regular "he" or "she", according to our own beliefs and perceptions. He or she are definitely NOT slur, nor offensive. I still can't get used to use the modern "their" for sure.

Or he can go ahead and apply for regular female corps positions. There are thousands of troupes worldwide to choose from.

I understand-(believe me I do. I worked for a while, as an RN, in a sex re assignment floor). Bottom line is that I'm willing to bet that the Trocks wants to keep being an all male troupe, so he can't stay if he re invents himself as a shemale. Edited to add: Given that we don't know if he will have sex reassignment surgery-( as I was rightfully pointed at)-, hence my use of the term "shemale", commonly given to anatomical males living as females, or in other words..."pre-op".

Let m rephrase myself. If the AD wants an all male company, then he has no place there after the surgery.

If the AD think it is, then he really has to look somewhere else for a job.

And there...you perfectly summarized it.

Oh brother...(rolling eyes. ).

I went to see this last night. In collaboration with the South Florida Symphony Orchestra, the program included "Appalachian Spring", "Le Sacre du Printemps" and a world premiere. Will be back with details. https://m.facebook.com/story.php?story_fbid=10155564552939191&id=647664190

Grigorovitch versions dizzies me. 1000 steps per music bar...all the time, at all times. Agggh...

Here's a briefly moment of said section, at 0.06. The initial projection with the Nuremberg panorama is also shown.

My pleasure. Here's a promotional clip of the program. https://m.facebook.com/story.php?story_fbid=10154935841056090&id=10244171089

I have seen Messmer in some major roles by now. Giselle, Odette, Titania, La Fee from "Baiser..", Sugarplum, etc. Although she has a very attractive presence that makes it a plus for her when she's onstage, I have always been underwhelmed by her dancing.

Robbins uses a similar path in one of the two male variations of "Other Dances"

The new MCB production is,indeed, quite enjoyable despite the projections.

As per the measurements, hell yeah. None of the trees of MCB-(the old one and the current semi-growing invention)- can really compare in size with the NYCB mammoth tree.

Oh... just GO. As proved by her recent Sylvia I just saw at the ROH, she has become an ARTIST with capital letters.

Well, I didn't have dinner with Lourdes Lopez, but I sat next to her on Sunday at her box during the matinee, and told her that going away with the real tree had been a minus. Her response was that she would had hoped to replicate the measurement of the NYCB tree, but it wasn't possible due to the lack of that huge trap door the State theater has just for this purpose.

The tree-(projection or physical)- totally dissapears during the whole of the battle scene. Only a backdrop of a lower foliage is in view once the growing section is over.

I strongly believe that's the case with ABT's Raymonda, even if some others believe that the ballet got dropped due to being a poor production.

Exactly my thought, Helene.

It is indeed quite compelling. I have never been too much of a fan of Stravinsky-(including Petrushka or Firebird, which are, in my book, more visually attractive than, let's say, Symphony in 3 Movements or Stravisnky Violin Concerto.)- but this ballet really caught my attention enough to come back to see it again. Here are some stills from the original cast, including Nora Kaye and Nicolas Magallanes.

Excising the violence in Petroushka would totally changed the very core narrative of the ballet. Ha...I can almost see the Russians saying.."and then you westerners dare to criticize our Soviet revisionists and their new SL ending...!" Attitudes toward certain art form narratives might change with the times, but if works of art are being chopped off, tunics to Greek classical sculptures are placed or countless paintings-(in which, like the "Olympia", the black character is relegated to a maid in the background)- taken away from museums, then then end is near. And it is VERY easy to get viewers used to alterations and changes. For God's sake...the Russians themselves have been watching the wrong ending of Swan Lake for more than half a century now!

Kschesinskaya, Markova, Toumanova, Mary Ellen Moylan, Kirkland.

Here they finished the act with the initials J. R, for Robbins. I went back yesterday mainly for "The Cage". Very interesting, and very reminiscent of Giselle's second act. I enjoyed it a lot, mainly for its mid century perfume. The jerking movements of The Novice when she is first brought to the world reminded me of those of Apollo's. Setting this work apart from some other leotard pieces is, undoubtedly, it's quick design and sharpness...so different from modern bores of endless armpits draggings. The Cage builds momentum at its right peak and finishes high. It is a short ballet, but one I could watch with pleasure more than once, and one where you can think of ideal casts. Osipova I'm sure would be wonderful on it. Simone Messmer and Renan Cerdeiro danced "Other Dances". He was SUPERB, particularly in those Mazurca-spiced moments during his first variations. Lourdes Lopez was sitting bext to me-( I exchanged so thoughts on the new projections of the Nutcracker with her)- and she cheered some "bravos" at him. Messmer was subtle, but very pleasant to watch in this lyrical piece. I think she's more this type of dancer than that of a bravura moments.

Well, if a XIX century carbon copy of Bayadere was to get staged, the blackface children wouldn't even be there, as this was a XX Century Soviet addittion. I believe Vikharev included it in his recon out of the great popularity the Golden Idol section has.