Nanarina

Is there confusion between the terms Character Dance, A Character Ballet and the portrayal of a Character??

Character Dance Marzurka, Czardaz, Jota

Character Ballet Napoli, L'Arlesienne, Le Tricorne

Character Dr Coppelias, Red Riding Hood, The Miller

All right, as far as character dance goes, Sleeping Beauty has a mazurka danced by the French-style court at the very end of the ballet. But are you serious that Bayadère, Corsaire, Don Q, and Coppélia are in the repertoire of every major ballet company in the US? ABT does all of them, SFB has a Don Q, NYCB does Coppélia occasionally (and PNB will start this summer). Doubtless there are a few more (and of course everyone does Swan Lake and Nutcracker) but as far as those ballets being in the regular repertoire of every major ballet company in the country...I'm afraid that just isn't true.

By saying that, I do not mean that character dance is irrelevant. Quite the contrary: it is essential for any ballet dancer's education, if only because they are going to have to do it at some point, and it really can't be faked. Ballet companies should probably hold character classes, at least when they are performing a ballet that requires it, and frankly I think ballet schools should replace jazz with character.

Definatly...Yes, Yes, and the sooner the better. Jazz should come under the umbrella of a "Stage School".

This subject has been a major complaint of mine for many years, and I have raised the question before on Ballet Talk. It seems to me that the standard of character dance in the west just does not compare to the Russian companies. It is not really surprising when you consider that both the Bolshoi and Kirov and no doubt other Soviet dancers were specially trained, and in the case of the women, they never dance on pointe, specializing for their whole training on Character dance, and being considered equal in rank to Ballet stars. It is true that very little training is given to dancers in the West, so how can we expect them to create the wonderful movement and style we see from Russia.

The style of character dcance is v ery different to ballet, and represents national or regional characteristics. Some going back for generations, and is still even danced today by villagers and groups based on regional themes. Within classicl ballet's some of these dances should be generally much more grounded, with the steps danced into the floor, using a "plie" or the bending of the supporting leg the movement continues up through the body, the carriage of the upper body could be considered to look regal, and most movements are finished with an emphasis or flourish. That is more stylish than ballet in it's own special way. There is a definate change in the speed of the steps, from slow and controlled to fast and exciting.

But what has happened to the Folk and National dances of the UK for instance. Appart from a few scattered groups who try to protect and keep them alive, it has almost died out. Scotland has preserved it's Highland dancing, sword dncing bagpipes, kilts. As well as Reels and other community dances.

In Ireland , true Irish dancing has enjoyed a revival with the promotion of Michael Flatley and Colin Firth with their Riverdance productions. and the Irish Dance Championships. There seems to be a wider interest in people taking up the interest.

But in England itself, despite the efforts of The Folk Dance and Song Society, the National Dances play a minor part in the world of Dance. There are a few groups of dedicated people trying to hold onto the traditions, but young people are not following in their footsteps, so the heritage of our rural dances are in a perilous state. There are a number of quite well known dances, struggling to survive.

Listed in no particular order, there are The Morris Ring,(Which is quite buoyant) Molly Dancers, Lancashire Clogg Dancers, (Fille mal Gardee) Sword Dancers (part of Morris) Maypole Dances, Country Dancing,

However , these dances are not in fact strictly Character dances as in the world of ballet, but are rare in featuring in professional works, one can mention La Fille mal Gardee, in which Sir Fred Ashton used , Morris, Maypole and Clog dancing, and which was very entertaining. He also use choreography to reprersent Gypsy dance in Le deux Pigeons, and a theme of Russian in A Month in the country.

At the Royal Ballet School National and Folk dance featured in the curriculum. So he was able to achieve the desired results. The E.F.D.& S.S., does hold cllasses and meetings at their head quarters and provides literature for interested parties.

However, the true teaching within ballet of Character dance to the students is only as good as the teacher. And I agree with what has been already stated.

When you consider the difference of artistic performance in say the countries of eastern europe, from Hungary through to Greece, places such as Rumania, Bulgaria the Caucauses, even as far as the Ukraine, the presentation and spirit that is evoked, even by amatuers is quite remarkable. It seems to be inborn. If you look back in the other direction to Spain, Portugal. then Latin America, they all have their regional dances, some of which have influenced other forms of dance, such as the Samba, Tango and Pasadoble to name a few.

So when you contemplate all these facts it is no wonder that the quality of dance in these regions excells over the west.

Folk and National dance should be "free" expression, it is not performed, or choreographed only say in the case of exhibition groups who attend festivals to perform.

The steps and movements are handed down from generation to generation, with the music being played on tradional instruments and costumes representing the region or area in which the dance originated.

Character dance is very special to me, and I hate it when modern choreographers change the interpretation and make it too balletic or airborn.

Some of Nureyev's attemps in his Swan Lake (POB) are abosutely attrocious, with the Czardaz and Marzurka just ballet steps and leaping around.

Sadly there is very little on YouTube to give us examples to compare, the only way you can do this is by watching DVD's or Video's if you still use them.

I can remnember being on tour in the provinces, and David (Flossie) Gordon, as Carabosse. The Rats came on with such a speed, pulling the chariot, which turned sidewayys onto two wheels, and toppled over, flinging the un suspecting performer out onto the stage.

Fortuinatly he was only a little bruised and battered. He was a real character and made the most of

the episode.. trying to create a laugh from the dancers and straff around him

Yes Mashinka, and we could do with a lot more happy memories. Seeing the Kirov's attempt on YouTube, they do seem to be making a hash of it, their lines are all over thr place, it totally spoils the illusiom. It is so wonderful when danced well.

I can remember going to see Festival Ballet (ENB) dance it with Toni Lander. and other Stars, and strangly. I did not enjoy it!! Goodness knows why, I cannot expain it at all. As I think it is really super now, with such precision and the wonderful music. I suppose one's taste and preferences change over the years. But why I did not see the greatness of those performances I do not understand.(I cannot think they were bad performances) I was a very keen supporter of Festival Ballet, belonged to their friends and was always at the ballet. When I went to work with The Royal ballet I had to change my loyalty!!!

Sorry Leonid, no I dont think so, it was me having a "brain storm", Despite me calling it Scene on Blanc, it is still Suite en Blanc. I KEEP GETTING IT WRONG. I must be getting very forgetful.

Probably no more so than any other of us when we reach certain age.

I also love this music but it is for me associated with an embarassing memory of Serge Lifar standing up in the stalls waving his hand to the audience to acknowledge the applause of a performance of this ballet and sadly few people seemed to know who he was and the applause dwindled, but that did not stop him waving.

It is the type of celebratory exhibition ballet I am happy to see, but like Etudes, it no longer gets performed in the UK.

What a pity the audience did not realise the choreographer was there in person. I can appreciate it was embarassing poor man.

Sorry Leonid, no I dont think so, it was me having a "brain storm", Despite me calling it Scene on Blanc, it is still Suite en Blanc. I KEEP GETTING IT WRONG. I must be getting very forgetful.

Probably no more so than any other of us when we reach certain age.

I also love this music but it is for me associated with an embarassing memory of Serge Lifar standing up in the stalls waving his hand to the audience to acknowledge the applause of a performance of this ballet and sadly few people seemed to know who he was and the applause dwindled, but that did not stop him waving.

It is the type of celebratory exhibition ballet I am happy to see, but like Etudes, it no longer gets performed in the UK.

English National Ballet have been enthusistic performers of Etudes in the UK for many years, notching up several hundred performances. The last one was last summer, at the Festival Hall.

Suite en Blanc is vary rarely performed in the UK.

Lynette: Thank you, yes I know, I actually telephoned their office today to see if they had any planned for 2010/11. But regretfully not. They informed me it is because of the general public's preference for well known works for example to Tchaikovsky music etc.. Which generally fill the theatre's for them. I will look out for it in other places as I uinderstnd The Royal Danish Ballet do it, I wonder about The Royal Swedish as well? (Etudes) S.E.B. Is danced in Australia, as part of it is on their 40 plus DVD. Now that would be an expensivwe excercise. As well as POB, evidently Englisdh National Ballet has the costumes and musical score still. Maybe those of us in the UK could ask for it to be performed???? I missed it in Paris last time, as all the seats were sold out. Fingers crossed for the future!!!

Cecchetti is still taught in the UK today at The Royal Ballet and Arts Educational at Tring. (May have changed its name now).

One of the recent Ballerina's to have studied the method was Darcey Bussell.

Sorry Leonid, no I dont think so, it was me having a "brain storm", Despite me calling it Scene on Blanc, it is still Suite en Blanc. I KEEP GETTING IT WRONG. I must be getting very forgetful.

I have been recently looking up these two ballets on YouTube, as they both are great favourites of mine, I thought I would ask other members which they prefer (if they like them!!).Or if they like them both equally as I do myself?

In connection with this thread, I have just discovered an excellent recording on CD of the complete ballet music to Etudes by Knudage Riisager(after Carl Czerny) The recording is on Chandos, by the Danish National Radio Symphony Orchestra, conducted by Gennady Rozhdestvensky. CHAN 9432. The work was created with the composers close collaberation with Harold Lander in 1948 for the Royal Danish Ballet.

This music is very tuneful, and exciting, with the use of many instruments including xylophone, piano

percussion, and full orchestra. It is light and includes 21 movements which gradually build up to a climax both in the choreography and musical score. When the ballet is danced well it is a work of technical brilliance. If you are in to Ballet music then I would really recommend this CD. Cost ordered on-line £9.82 inc. postage from Digical Waves - Play.com

Now to Suite en Blanc. I have also discovered a good recording of this, it is by Edouard Lalo and is called Namouna, Suites from the ballet No's 1 and 2. Played by The Royal Philharmonic Orchestra, conducted by Yondani Butt. Recording ASV Digital. CD DCA 878 1994 (Academy Sound and Vision Ltd) I got it from Prelude Records in Norwich. Who ordered it specially for me. Another one for you to enjoy.

And yes, agreed; good conductors for dance are much scarcer even than good accompanists for dance. Have known dancers to "explode" the moment they're offstage.

Absolutely. Stewart Kershaw, for many years the very reliable conductor for Pacific Northwest Ballet, retired this autumn. He'd conducted almost everywhere, for almost everyone -- it was quite a coup when then directors Kent Stowell and Francia Russell got him here. It's going to be a real trick to replace him.

Going back to T.L. at the Royal (On tour) he was known as Tare srse Terance. (excuse the language)

and was known to speed up if he wanted to get away early, or fancied a visit to the local.

As well as his speed, when he went slow it was at a snails pace. The dancers never knew what to expect., and used to make light of it, as he could not be controlled. We will just dance and go along with him, they would say most of rthe time. but there were a few rumbles when he was really outrageous.

He was a bigger than life character, smallish, well rounded, and I remember him wearing braces, with his trousers hoisted up too high, showing his socks.

Thank you SO MUCH!!! I wondered if that might be a House of Bernard Alba and a Romeo & Juliet! So that's Wayne McGregor! I liked the costumes for Genus...

Was it Matthias Heyman who did the effortless batterie then? Though there were many examples of superb dancing.

Do you remember the waltzing ballroom ballet? What was that?

I don't mind there not being text onscreen identifying people & choreography, because I understand that would change the way we saw the movie... this was much more dream-like or silent observer... I'm not sure exactly how to describe why, but I do think identifying would change the experience... but it would have been nice at the end to give a quick rundown with images during the credits... BUT I wasn't free to wait & watch the credits, so for all I know everything WAS identified there...

It would be nice if it were an option on the DVD.

The waltzing ballroom "bit" was probably Paquita Act 2 Valse de Invites. prior to the Childrens Polanaise and famous Grande Pas de deux.

I saw "La Danse" last night at Film Forum, and I loved it! I could have watched another three hours of footage about that glorious company.

I was able to identify almost all of the dancers and choreographers. But I do have two questions for sharp-eyed and informed Ballet Talkers. Who was the dark-haired female dancer with Wilfried Romoli during the Medea section that was filmed onstage and in costume? She wasn't dancing the role of Medea (not Emilie Cozette or Delphine Moussin) and I think she's in the corps rank. Also, what piece was Yann Bridard rehearsing towards the end of the film?

Was it Marie Agnes Gillot as she was in the DVD that was releaed of it.

No one is ever seen dissing the Nureyev repertoire… His work looks so full of steps, so difficult, often too busy, as if he choreographed it to a slower tempo in his imagination...

I think you've really put your finger on it here!

Yes and this is also what the POB dancers say about his choreography, Aurelie Dupont calls it "fighting with the ghost".in an interview she gave when the company went to Ausdtralia in 2009.

In Nils Tavernier documentary "L'étoile" I remember it was said that retirement age for dancers at POB was 40 for women and 45 for men.

Hasn't this since been changed to 42.5 years for both men and women? Manuel Legris and Wilfried Romoli retired under the old scheme because they were still entitled to do so.

Madame Brid. Lefv. said in the film, when discussing contracts, that the official agne of retirement for the dancers was 40.but they could continue after if they wish. It seems they can officially leave at 40, but return as a guest artist up to 42 in Paris. She mentioned the difficulties that had arisen due to the difference in the age of retirement in general.

Interestingly enough, when they rehearse the Sugarplum variation, it's slower than I've ever heard it! (But beautiful dancing and the nuances would be lost at higher speed). I don't, know though, it might have only been slow for rehearsal purposes.

I have noticed on a number of occasions and with different ballets the Paris Opera often seem to dance at a slower tempo. Whether it is down to the conductor or the actual dancers themselves who request the changes I am not sure. I know for a fact the conductor can change the speed on a whim. Terance Lovett was a real nightmare at the Royal, wheras Ashley Lawrence was reliable.

Memorable Lilacs? Lyubov Kunakova (definitely!). Yulia Makhalina was also interesting to look at. Her lines are absolutely gorgeous when she dances after Aurora pricks herself... However, I don't think she is as "warm" as Kunakova (at least in that particular performance -- video with Lezhnina).

Also, in the scene where Aurora appears and dances a little with the Prince (for the 1st time) these two ballerinas do it a little differently. For example, when Aurora seems to escape from the Prince, and runs behind the corps de ballet, Kunakova seems to help the Prince capture her, whereas Makhalina almost tries to prevent him from capturing Aurora... I just thought it was an interesting observation.

Yes, Kunakova was lovely, and she stood out to me. She did have a warm stage personality and you were drawn to look at her. I am pretty sure I saw her dance live.

There is a wonderful opportunity here, so hopefully it will not be missed.

I think the Paris Opera production has some nice costumes, some of the sets have a grandeur but with vulgar kitsch touches and for me the Paris Opera style has (Yvette Chauvire excepted) always shown too much semaphoring of the physicality of the steps they are executing and in general, the epaulement of the last two generations of dancers is a generally a killer.

Rudol Nureyev has to take some blame. but the significant legacy of Sylvie Guillem in the performance of academic classical ballet in Paris and across the world. has left a most negative impact and influence.

Chac un a son gout.

Here, here, Leonid, regarding Guillem's negative impact and influence. I genuinely can't stand her dancing.

I agree with what you both say about Guillem's style and technique, she woulld not be my favourite dancer, I also find her attitude (personal rather than the balletic one ) is not very endearing, professionally known as Madamoiselle Non!!! Again it is a case of technique over shadowing other essential qualities. But I do not feel negative over other Paris Opera dancers. Some I like, some I do not. It is the total image they project which gains my appreciation/admiration..No Guillam is not even on my list of favourites.

I think the Paris Opera production has some nice costumes, some of the sets have a grandeur but with vulgar kitsch touches and for me the Paris Opera style has (Yvette Chauvire excepted) always shown too much semaphoring of the physicality of the steps they are executing and in general, the epaulement of the last two generations of dancers is a generally a killer.

Rudol Nureyev has to take some blame. but the significant legacy of Sylvie Guillem in the performance of academic classical ballet in Paris and across the world. has left a most negative impact and influence.

Chac un a son gout.

Yes, but the Paris Opera is not the only company guilty of this, it seems to be a modern requirement, which actually effected the Bolshoi and Kirov, their lifts and general technique amazed the West when it was first seen here. The higher the leg extends the better, as far as some people are concerned, making a modest arabasque or movement look insignifigant to the eye, which nowadays looks restricted. Sylvie Guillem's amazing technique, won her grteat aclaim and brought ballet into the realm of athletiscim, which had only been seen in visiting companies mainly from Russia.

Now we have got used to this style of dance, it is hard to return to the older rechnique as it is not as exciting or spectacular. As long as it is not over the top, and retains the elements of musicality, lyricalism and careful performance, which is appriopriate to the role being danced, it is acceptable.

Yes... Ruddi and his passion foir R.D.J's. he was a real devil about them, I can remember him adding them to his Solo's, even when they were not part of the original choreography. He seemed to be really hung up on them. I think the extra long Prince's solo he put in the vision scene of Sleeping Beauty, is really effective, you have to be very patient, as it seems to go on and on. The stamina the Male lead needs to portray this must be huge, you can see Manuel Legris using his breathing control to be able to continue to the end. But he makes it so effortless. The portrayal and steps that are used by the Prince in this version, takes the role out of the usual supportive cavalier status, to a man with feeling and expression, looking for his special love to fill his loneliness. The Lilac Fairy comes to his rescue by showing him Aurora, when she asks hum "why are you crying"? he tells her "it is because he has not found love". The DVD is well worth buying to enjoy the performance and production. It really excells over the Royal Ballet version from an aesthetic point of view.

This may surprise everyone, but I actually prefer the Nureyev Paris Opera version, where both fairies are not danced in a tutu, they present an image of a much more superior being, They are dressed in lovely court costumes, equivilant to the King and Queen, In fact the roles are mimed. they are very gracious in the case of the Lilac Fairy, who wears a beautiful lilac coloured dress, in the period style. There is a much longer variation for the Prince in the vision scene, and when the Lilac Fairy comes to him she plays a major role, and clearly takes up the stage. When Princess Aurora arrives into the vision, she is drawn to the Fairy, and does her biding. After the scene, the Prince and Lilac Fairy travel in a boat, and then alight in front of the palace, where the evil Carabosse is spinning cobwebs, with her attendants who were the knitting girls. The Lilac Fairy exciiles the evil one, who collapses to be carried off to her doom. The latter character is played by a woman, not a Man, and is still fairly beautiful, but a mis guided and evil person. wearing a lovely costume with dark blue satin and sparkling jewels. The whole Paris Opera production is excellent, the costumes are exquisit, it is lwell lit and the scenery is very true to life, representing a wonderful palace,ballroom, and a woodland glade.

On the DVD the cast are{Aurelie Dupont (Aurora) Manual Legris, (Prince) Beatrice Martel(Lilac Fairy)

Nathalie Aubin(Carabosse).The fairies are Ruby, Emerald ans Saphire.Lead Fairy Diamond and her Cavalier.

Hello 4mrdncr. thank you for your reply, and for the news aboutg A.C.B. C. funding etc, Ity is good to hear they are getting support. It would be marvelous to see them in the UK.

I can imagine you translating the documents, I too have problems when I get stuff from the Paris Opera. BUt I have found a great help from an internet electronic translator. It is the

SDLDesktop Translater https/secure.freetranslation.com it costs $39.95 per year. and covers quite a

lot of different languages. It is available on line, and i have used it for 3 years now. Very easy to use, you just type the script into the relevant box, choose the countries involved (i.e. spanish to english) click on translate, and the anwer appears very quickly at the side, which you can then print out. Saves a lot of work and brain power. Look it up I can really recommend it.

Don’t be sorry, everyone is entitled to its own opinion… Well I believe it’s a question of taste but I never found Aurélie Dupont could match the others on acting while I think she’s often technically astonishing, There is a kind of non-interaction between these two things which disturbs me because she’s unnatural.

I must admit that up to me, Agnès Letestu is far better paired with Stéphane Bullion or Hervé Moreau than with José Martinez who has the same kind of body stiffness and severe look, but she is a very refined actress, with a very intelligent sense of play, often very subtle and very internal, which is nested in her dancing. That's the difference for me.

Silvermash: I definately agree with you on Stephane Bullion and. Herve Moreau, they are excellent dancers, I like them a lot. Talking about their performing with Agnes Letestu, I saw Stephane B. dance Les Dame with her. He was so passionate and romantic towards her, he could have actually been in love with her full stop. But no way as much so with Isac. Clai. in the same role. I also like Herve Moreau very much, and it is such a shame he seems to be plagued with unjuries. He is very good in the Proust Pas de deux (While she's sleeping) with Elean. Abb.

Back to Aurelie Dupont, I do not understand why you feel she is un-natural, she is very sensitive in life, and down to earth, she is not over sophisticated, and has been quite candid in interviews about herself, but she can be a little reserved and shy. There are some very expressive photographs of her with Herve Moreau in La Bayadere on ballet.net. In which You can see their expression's very clearly Also this month (as a matter of interest) there is an excellent article in Dance Europe, by Emma Manning (?) there are three people who reviewed Giselle. "Aurelie Dupont whose performance was on 29th Septemeber must surely rank her as one of the greatest Giselle's of all time, She captures the essence of 19th centry romantisicum with her unwordly balances, reined in only by the music's command for her to continue, and yet her technical prowess is unsurpassable in modern day expectations. She is also a credible actress. In Act 1 she portrays a young girl afraid of her attraction to Albrecht, in Act 2, her affection and forgiveness is convincingly emphasised by her determination to save Albrecht from the vengeful Myrthr" It is said that people's life experiences mold their character and what they become (in some circumstances) And I think she uses these herself in her roles. which includes being hurt by love. Enjoy your Ballet.

I was contemplating getting a copy of this production, but my set up will not play Blue Ray, although my TV is HD Ready, it plays the ordinary HD Recordings very well. But to date there does not seem to be one available yet. However, I am really unsure of wether to spend my money or not. If it is anything like the Royal Ballet Sleeping Beauty recent DVD I will probably not, or if I do just to watch the dancers and scenery and costumes. I hope it is considerbly better filmed thsn SB, and the lighting and camera work superior. I was so disapointed that SB filming was see the feet cut off of the dancerfs, from many different camera angles, even when it was not in close up,

I did actually telephone Opus Arte to complain, but as they are only the distributors they have no control over the direction or camera crew. But after checking the film, they agreed with my point of view. Informing me it was the responsibility of the Opera House or the BBC who had qommisioned the production. And suggested I wrote to either body.But I have not done so as yet.

By the way the designer Yvonne Sonibend was quite a nightmare to work with, as nshe lacked the knowledge of what is needed to design costumes for ballet. Her idea's were totally inpracticable when I was involved with her designs (I think they were for The Invitation ?) . So I am not surprised at what has been said about the version of Swan Lake.