innopac

Thank you so much, Hans. One of the pleasures of BT for me is getting to hear about the ballet experiences of others. I recently heard that a contemporary dance teacher was telling his students not to freeze their gaze -- perhaps the focus of the eyes helps generate energy. And after writing the above I found this on your blog! "The energy in the spine and focus of the eyes keeps the dancer "alive" even when not visibly in motion."

Hans, could you give an example?

In her biography of Ashton Julie Kavanagh quotes him as saying: "Dancers today don't understand what eyes are for, he would complain. "With your eyes properly used, you can distract everybody from your technique. You draw the public to you through your eyes'".... Could someone elaborate? I am not quite sure what he wanted the dancers to do. How would you teach someone this?

There was a wonderful segment on youtube which unfortunately now has been removed. The video showed a classroom of children learning the mime in Sleeping Beauty. It was magical - they were so engrossed. My guess is that it might be one of the extras from the dvd with Sofiane Sylve. Does anyone know?

Here is a on partnering that I enjoyed and hope you do too.Pas de Deux: The Dancers' Perspective Principal Dancers Megan Fairchild and Andrew Veyette give us a view of the wedding pas de deux from "The Sleeping Beauty" from the dancers' perspective. © 2009 New York City Ballet

Re: The Bolshoi - Opera and Ballet at the Greatest Theater in Russia here is a review and image of cover. It looks like there are several inexpensive copies on abebooks.

Bolshoi's 'Esmeralda' Production Fails to Inspire Moscow Times review of 11 Jan. The new “Esmeralda” will undoubtedly give much pleasure to those content with mere spectacle or who wish to see the Bolshoi become a sort of dance museum. But I can imagine that Petipa himself would not be among those welcoming the addition of yet another reconstruction of his works to the theater’s repertoire. Instead of repeated attempts to conjure up, in wholesale fashion, a form of ballet intended for dancers with physical characteristics and audiences with an aesthetic perception quite different from those of today, my guess is that Petipa, a great innovator in his own time, would have much preferred to see his legacy used to inspire new works that move dance forward into territory that still remains unexplored.

George Feifer in his book Russia close-up had this to say about the earnings of Russian Dancers in 1973. Although the Soviet booking agency, StateConcert, demands standard fees for the Bolshoi's Western appearances, it pays Plisetskaya no more than fifty per cent, and often as little as ten per cent, of what similar artists would command for similar work.

In the International Dictionary of Ballet it states that Alexandre Volinine was the "Principal dancer in Hebrew Dance (pas de deux; mus, Saint-Saens), Anna Pavlova's Company, New York" in 1915. However in the section on Pavlova I had a quick look and couldn't see that this dance is mentioned.

A short clip with English subtitles.

Cubanmiamiboy, do you think there is a possibility they will film this? Can you tell us more about the ballet? I hope one day we can see it in its entirety.

I was wondering if Sol Hurok is partly to blame for rumours about Lifar. Apparently in his first book Hurok said things about Lifar which he later recanted. "I happen to know certain facts about Lifar's behavior during the Occupation of France, facts I did not know at the time of the publication of my earlier book, Impresario. Certain statements I made in that book concerning Serge Lifar were made on the basis of such information as I had at the time, which I believed was reliable. I have subsequently learned that it was not correct, and I have also subsequently had additional, quite different, and reliably documented information which makes me wish to acknowledge that an error of judgment was expressed on the basis of inconclusive evidence."

Thank you both. In John Gruen's biography Bruhn says that he wanted to create a Prince who was more than a partner. He also says he might like in the future to develop the role of the Black Queen, to better justify her character. "but I will not change it back into a male role."

I was wondering if anyone has seen this Swan Lake. I understand that Bruhn changed Rothbart into the Black Queen but I would like to know more about this ballet.

Thanks Ostrich

Has anyone seen the dvd of the staged version (2007)? How do they compare?

There is also La Traviata with Vera Timashova, Alexander Gorbatsevich. Moscow Classical Ballet. Choreography by Vladimir Yudivich Vasiliev and Natalia Kasatkina. Timashova began her career as a professional dancer with the Moscow Classical Ballet Company in 1977 and in 1983 she was given the title of Distinguished Artist of Russia. Gorbatsevich won a gold medal at the 11th International Ballet Competition at Varna and received the title of Distinguished Artist of Russia in 1983. He performed with the Moscow Classical Ballet as a principal dancer. They both are now on the artistic staff of Canada's National Ballet School.

The is on youtube. The second half has historical footage.

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?

A Feast of Wonders: Sergei Diaghilev and the Ballets Russes Edited by John E. Bowlt and Zelfira Tregulova. New York: Rizzoli / Skira, 2009. A book review by Michelle Potter. Description from Amazon: In May 1909, Sergei Diaghilev astonished the world of dance with his first ballet presentations in Paris that demonstrated an unprecedented combination of vitality and grace, originality, and technical sophistication. This catalogue of over three hundred artworks related to the Saisons Russes between 1909 and 1929 is the official companion to an exhibition in Monte Carlo. The legendary productions are brought to life through stage designs, costumes, paintings, sculptures, photographs, and programs. The artwork comes from a wide variety of public and private collections, including the Fokine collection in the St. Petersburg Theatre Museum. Diaghilev’s scenic achievements are complemented by a number of contextual paintings, drawings, and other artifacts, which help to define Russia’s cultural renaissance of the first decades of the twentieth century. The documentary section of the catalog contains rich archival material, including letters, photographs, choreographic notes, and memoirs, many published here for the first time.

Maxim Gorky wrote this of Chekhov: "He spoke of his plays as if they were "lighthearted", and it seemed he was sincerely convinced that he wrote lighthearted plays. It was no doubt on the basis of Chekhov's own words that Savva Morozov obstinately insisted that "Chekhov's plays should be staged as lyrical comedies." Anton Chekhov and His Times compiled by Andrei Turkov. 1995. Page 165. I was puzzled by the use of the word "comedy" in relation to The Seagull. But maybe it is the balancing of the comedic and tragic elements that is the key. Thank you dirac and bart for responding. I am trying to reconcile the ballet with the play. I have read that Stanislavsky emphasized the darker elements. I think the ballet communicates the tragedy and emptiness of the characters' lives but doesn't capture the absurdities. For example at the end of the play Trepleff worries that his mother might be disturbed and upset if she hears Nina has been in the garden. And then he shoots himself.

Here is Anna Kisselgoff's review of The Seagull. "When she is seen as Nina, the real-life heroine who is identified with a doomed sea gull, she is the exultant, third-rate actress who throws her life away for the wrong man."

In Plisetskaya's autobiography she says that The Seagull opened on May 27, 1980. I believe the two dvds to be the a recording of the same performance. She also says that Alexander Bogatyrev who danced Treplev with her "paid an unbelievable price" for being part of the production because of the internal politics at the Bolshoi.

I am interested to know how people read Chekhov's The Seagull. For you is it a tragedy, a play with comedic and tragic elements, an absurdist comedy or none of the above. If you have seen a performance of The Seagull what has been the mood? Specifically, is Konstantin a misunderstood genius or a fool. Does Nina have talent as an actress?

Individuals can purchase the dvd of Ballet for $29.95 on this website.