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innopac

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Posts posted by innopac

  1. Youth Arts In Action's Inspiring Artists series.

    Natalia Osipova interviewed by Youth Arts in Action mentors Maria Sascha Khan and Nadia Khan:

    Natalia Osipova Interview - Part I

    Natalia Osipova Interview - Part II

  2. Sybil Shearer's evaluation of John Neumeier quoted in a review of A Midsummer Night’s Dream.

    "His praise continues, as the woman who discovered him (none other than the mystical dancer Sybil Shearer) reflects on the choreographer’s progression, ‘Yes, the phenomenon of John Neumeier is unique in the world of ballet. He is avant-garde in an entirely different way from anyone else. He is not rebelling, he is not straining for recognition, lie is not taking up a cause, or joining a school, or throwing out the past. He is simple; through his own integrity and insight, pointing a way to the future.’"

  3. Thank you Richka, that was so interesting. I was wondering if Neumeier come into the studio with his choreography pretty well worked out or if he developed his ideas in the studio? How did his way of working compare with other choreographers you have worked with?

  4. My memory may be serving me ill here, but I think the quote is not quite exact. I also think it arose at a performance of Dutch National Ballet because the bon mot was being repeated as we were leaving

    the theatre where male nudity had just been exhibited.

    Leonid, did you know Helpmann? What do you think of the Salter biography?

  5. Here is Robert Helpmann's take on the topic.... :wallbash:

    When asked "Would the fashion for nudity extend to the dance?"

    Helpmann replied, "No. You see there are portions of the human anatomy which would keep swinging after the music had finished."

    page 213
    Helpmann
    by Elizabeth Salter

  6. “Classical ballet is, in this sense, closer to music than anything else. In music, sound is arranged harmoniously, and what it asserts can be only partially rendered in words. In the classical ballet, it is the body, subject to the harmony of the steps it is executing, which speaks. And it speaks to the heart in as direct a language as does music.”

    from
    A Dance Autobiography
    by Natalia Makarova page 36

  7. "... Clement Crisp recalled the "words of the Russian ballerina Tamara Karsavina, who described dancers as 'butterflies of a brief summer'."

    from "Turning Point" by Valerie Lawson in the Good Weekend. The Sydney Morning Herald, 20 September 2008, page 21.

  8. ..."when challenged directly once with the question "What keeps you in ballet?" he [John Cranko] answered.

    'Well, if it's just steps, it's obviously not worth devoting one's life to. ...

    There's a limit to the amount of jumping around people can do. You can lift a girl only so high; she can spin around on her foot only so many times. One has to convert this extremely physical image -- a physical way of expressing oneself -- into a spiritual way of expressing oneself.'"

    Theatre in My Blood: A Biography of John Cranko
    by John Percival. Page 139

  9. 'Classicism,' he [Diaghilev] often said, 'is the university of the modern choreographer. The dancer and ballet-master of today must matriculate in it, just as Picasso must know his anatomy and Stravinsky his scales.'

    My Life in Ballet by Léonide Massine. page 85

  10. Re: trees and shrubs covering Albrecht in Ek's "Giselle". This was just on the video, not on stage. As Estelle added he does dance a bit and I don't think the censors would have gone for the nudity. It's done very well; at times it's only the position of Albrecht's body that hides his nakedness. I didn't realize he was naked until I watched the tape for the 2nd time years after my first viewing.

    Giannina

    This is puzzling - perhaps there were different stagings of the final scenes for release in different countries. I was just lent a video of Ek's Giselle with Ana Laguna as Giselle. And on this copy Albrecht is totally naked while lying on the stage, rolling on the stage, dancing back to the audience and then standing at the end full frontal towards the audience. At first I thought this was necessary to show his vulnerability. But his vulnerability could have instead been expressed choreographically.

    In response to dirac's post... personally I wasn't shocked by nudity. I did find some of the choreography in this Giselle confronting. But the nudity wasn't.

    The nudity actually took me out of the ballet because I found it distracting. It is hard to explain but I feel that the power underlying ballet/dance is a universality of expression and my feeling is that nudity brings the expression down to the individual.

    It is interesting though that we accept nudity in paintings and sculpture and not in ballet.

  11. Alternatively you could install ffdshow which takes care not only of divx but numerous other codecs, usual and unusual. ffdshow is free, open source software that can be downloaded from http://sourceforge.net. No player in this case, ffdshow cooperates with windowns media players, winamp etc

    Thanks for the advice chrisk217!

    I tried divx and it works but didn't like having to use an extra player so downloaded ffdshow and it is great. The files now open easily with media player or real player. During this exercise I also discovered that real player has a download button so you can download videos straight off of youtube.

  12. Henning Kronstam:

    "At times when I am tired or uninspired, I always go and watch the children."

    from the section on the development of the company in
    Henning Kronstam: Portrait of a Danish Dancer
    by Alexandra Tomalonis. page 385

  13. Henning Kronstam:

    "I did
    Sonnambula
    for twenty years. Then you really get into the role, and you really know what it's all about. But now, with five performances, maybe with two casts, I think it's mad. The audience gets cheated and the dancers get cheated because they never get the feeling of owning the roles."

    from
    Henning Kronstam: Portrait of a Danish Dancer
    by Alexandra Tomalonis. page 145

  14. Watching the POB dvd of John Neumeier's Sylvia the other night it struck me that his choreography celebrates a real love of movement and the body. And he is so connected to the music. I wondered if dancers feel that when they perform his ballets.

    For me Neumeier's choreography expresses beautifully and sensitively the human condition with its many, often conflicting, emotional and psychological levels.

    Does anyone else feel this way? I find it interesting that on BT there really isn't much discussion of his choreography and works.

  15. Clement Crisp on the lack of preservation of ballet on film. Written almost 25 years ago.

    "I am haunted by the impermanence of ballet. I find it tragic that in the century of the cinema, when newsreel film has preserved eighty years of nonentities, from the greasiest political opportunists to pop-singers, there is not one frame of the Diaghilev Ballet in action; that Nijinsky is to be seen only in five seconds of film that show an old man walking from his Vienna hotel. Even in the past thirty years a dismaying number of great ballets and great dancers have been lost to posterity."

    "Even an exceptional dancer lately retired, Lynn Seymour, cannot be seen as Juliet or Anastasia, two of her superlative roles. Ballet-lovers of a hundred years hence will know of these dancers through still photographs and the critics' words. They will not forgive us."

    Notes. The Nature of Dance Scholarship: The Critic's Task
    . by Clement Crisp.
    Dance Research
    , Vol 1 No 1 Spring 1983, page 125

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