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TATSU

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  1. Hi, Nadezhda You can see her bio & pictures on following: http://www.aha.ru/~vladmo/natalia.html Ledovskaya is a very lovely dancer with smart tecunique. I love her Kitri
  2. There 4 documentary titles about Sylvie Guillem available in Japan. I haven't seen all of them but the contents are following: - "Evidentia" Including excerpts from "SMOKE"(MATS EK), "BLUE YELLOW"(JONATHAN BURROWS), a solo (WILLIAM FORSYTHE), etc. http://www.warnerclassics.com/nvcarts/pr/d...ce/evidenti.htm - "Sylvie Guillem" (1993) [PILC-1161, Pioneer] Including excerpts from "Swan Lake", "Manon", "In the Middle Somewhat Elevated" (FORSYTHE), "Wet Woman" (EK), etc. - "Sylvie Guillem au travail" (1987) [PHVG-4004, Nippon Phonogram] A documentary about SG in her POB days. Including re
  3. I know there are two videos of Trocks. Vol 1 contains Swan Lake, Raymonda, etc. Vol 2 contains Le Sylph, Dying Swan, Paqhita, etc. They are VHS, from TDK Core Inc. Unfortunatelly, they are sold only in Japan. If you read Japanese, you can buy from Amazon.co.jp or TDK Core's Web site (http://www.core.tdk.co.jp/cjbal01/index.htm.) You can contact with TDK Core Inc. in following: 104-0032 1-9-6 Haccho-bori Chuohku Tokyo JAPAN TDK Core Inc. Tel:03-3555-1132@Fax:03-3555-0029
  4. Hi, v. oh. Asian Pacific IBC is held by Japan Ballet Association every other year. The last one was in 2001 in which ZHANG JUN from Singapore won a prize. The 9th Asian Pacific IBC is to 2003 8/13-17 in Tokyo. Contact with Japan Ballet Association: TEL 03-3499-5524 FAX 03-3498-7001
  5. The competition is held every three years. The next will be in 2005. Most of works for the modern dance division are danced without pointe shoes, though I can't classify which work is modern and which one is not. The official Web site says, "the theme and form of the dance to be performed is without restriction," so contemporary ballet with pointe shoes will be accepted. May be the only difference between the classical and modern divisions is whether the works are originated for the competition or not.
  6. And the final result for the classic ballet division: Gold Medal: - MENG Ning Ning, CHINA - JIAO Yang, CHINA Silver Medal: - Priscilla YOKOI, BRAZIL - Jean-Sebastien COLAURANCE, FRANCE Bronze Award: - Asta BAZEVICIUTE, LITHUANIA - Tomonori OCHI, JAPAN - YU Bo, CHINA Special Jury Award: - Maiko UEMURA, JAPAN - Serhat GUDUL, TURKEY Special Choreograghy Award: - E.Wesolowski "BROTHER", POLAND Junior Recognition Award: - Polina SEMIONOVA, RUSSIA - Carlos CABALLERO HOPUY, CUBA An award ceremony/awards gala will be held on 17 Feb in Aichi Prefectural Art Theater. Congratulations
  7. Prior to the classic division, the final result for the modern dance division: GoldMedal: - Seok Hun RYU & Yun Kyung LEE (KOREA); "Romeo and Juliet II" (chore. Seok Hun RYU/ Yun Kyung LEE) Silver Medal: - Eun Sung PARK & Sung Yong KIM (KOREA); "WHERE IS MY MOON?" (chore. Kwan Jung SON) Bronze Medal: - Edward CLUG (ROMANIA) & Valentina TURCU (SLOVENIA); "FIRST LETTER" (chore. Edward CLUG) Special Jury Award - Adriana MORTELLITI (ITALY) & Corneliu GANEA (ROMANIA); "80% Polyester 20% Elastan" (chore. A. Mortelliti/C. Ganea) Special Choreograghy Award - Seok Hun RYU &
  8. The dancers passed Round I were following (* - finalists): Name -- Sex -- Nationality -- Company Olimpia Cristina CHETA F -- ROMANIA -- Oleg Danovsky Ballet Company-Constantza Zhanat ATYMTAYEV -- M -- KAZAKHSTAN -- Swansea Ballet Russe Marcin KUPINSKI -- M -- POLAND -- National Ballet School In Gdansk Izabela SOKOLOWSKA -- F -- POLAND -- National Ballet School in Gdansk *Keigo FUKUDA -- M -- JAPAN -- K Ballet Studio *Yudai FUKUOKA -- M -- JAPAN -- K Ballet Studio Shino ONISHI -- F -- JAPAN -- Kitayama・Onishi Ballet Company *Satomi SOI -- F -- JAPAN -- Tanaka Chikako Junior Balle
  9. Nagoya International Ballet & Modern Dance Competition -- Classical Ballet Devision Round I Results: http://www.tokai-tv.com/event/calender/mai...t/e12kekka.html
  10. Stuttgart Ballet came to Japan after its eight years absence. The company performed John Cranko's Romeo and Juliet and Taming of Shrew, and I saw both in Tokyo. As far as I can see, Sue Jin Kan won the biggest praise among other dancers in these performances. In R&J, Sue Jin Kan/Robert Tewsley and Yseult Lendvai/Vladimir Malakhov were casted in Juliet/Romeo. Kan was beautiful, delicate, and really passionate Juliet. I adored her exceptional expression. The pairing of Kan and Tewsley was fine. The passion and dynamism they showed in the balcony scene were far beyond the other pair Len
  11. I believe the reason why the dancers, especially Japanese, are eager to participate in IBC is they don’t have good environment to dance in their own country. For example, the first national ballet company in Japan was founded in 1997 (just four years ago!) Although there are many private companies in Tokyo, they generally don’t pay enough salary to their dancers. It’s natural for talented young dancers to seek their job in Europe or USA. IBC is good chance for them to advertise themselves.
  12. She moved to Royal Danish Ballet several years ago, and she has already retired . [ January 31, 2002: Message edited by: TATSU ]
  13. I've seen Peter Write's, Vladimir Vashiliev's, and Constantin Sergeyev's. I like Write's production best, because it's the most logical and dramatic, IMO. It clearly shows the difference in social status between peasants and aristocrats in Act I (for example, Giselle never look at Bathilde directly until knowing she is Albrecht's fiance), so I can straightly understand why Giselle despaired so much when she knew Albrecht was an aristocrat. [ 04-24-2001: Message edited by: TATSU ]
  14. XinXin, Ifm little bit pity you donft enjoy it. I, however, totally agree to your negative impressions of UENO Mizuka. She has much more reputation than she deserves. Audiences say WOOOW when she kicks her leg sky-high, but the admiration is only to her physical ability not her artistic talent. I donft know why the company cast her in big roles. Her Odette I saw last year was just awful...
  15. I'm not sure the historical ratio of men and women in audiences for Japanese traditional performances (such as Noh and Kabuki). I can say, however, the audiences for those perfomances today are predominantly female. I think the tendency, more or less, has been kept from hundreds years ago. I wrote in the previous post, "there is no tradition of escorting their wives." It means, most of Japanese don't think that husbands should bring their wives to the party, theater, or other public occasion. And it doesn't mean HUSBANDS won't take their wives out: sometimes (or often?) WIVES won't take
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