Juliet

Hi again--snowed in in NYC......

It's really a matter of the ballet and the costume designer.

Hans is correct, in a separate tutu bodice which is attached to the basque of the skirt, the dancer often has more flexibility. Many costumes are made this way--even if they look like just a fitted bodice and a skirt, they are generally two pieces.

The one piece bodice can be fairly structured, too...the tutu is made with a basque of net or twill or something light and very sturdy, but the bodice is joined to the skirt at the hipline (thus, the one-piece look, as the basque is not seen, but anchors the costume at the dancer's waist under the bodice.)

Now, there are leotards with skirts attached (Serenade, for example, or Tchaikovsky Suite #3 for NYCB), but these are not just whacked on there, they are still fitted to the dancers.

I think the nature of a piece largely dictates the costumes (for me at least). I would not to see Raymonda in a plainer tutu--the fabric and structure are important to the whole "feel" of the piece. Contrary to popular opinion, properly fitted and constructed tutus are NOT uncomfortable. If the panties are cut properly, one can do a full range of movement and they will not ride up.

Hope this is useful.....

Juliet

"Traditionally, European schooling has been to make sure that the students have the correctness in their bodies; time enough to mess them up when they get into the company. As students, they do it over and over and over until they get it right. When they start dancing professionally, then they'll have this in their bodies. I've noticed European (English, French, Danes, Russians) correcting to a fifth position rather than just comin' down close enough and bounding away again. "

With all due respect, Alexandra, I don't think that European schools are the only ones who stress doing it over and over until they get it right. I have direct personal experience with dancers who correct automatically, who feel that placement and line are important, who have it in their bodies--and surprise! they have been trained in this country. There is a vast amount of good dance training in the United States.

I take serious exception to this. Artistry, on the other hand, takes age and experience to develop.

That said, I also take serious exception to Mr. Johnson's review. It was an uncalled-for attack on pre-professional dancers, with gratuitous insults to others in other schools. Helpful to no one, it is the sort of review which earns him a salary but is malicious to no purpose.

I feel very badly for the dancers. I know how much they look forward to reviews when they tour and this was vitriol for breakfast.

I agree with Leigh: Dracula.

(And I've even designed one; but I still hate it.)

This isn't gossip.

Hubbe has had surgery on both knees and a hip.

I am sending him all sorts of get well wishes as I look forward to his return in the spring almost as much as I do the daffodils ;)

Robert Tewsley is tall. Not as tall as Askegard, but at least 6' and maybe 6'1".....

I would like them to do Sleeping Beauty and then we could two perfect Princes in Hubbe and Tewsley......

Well, now I *really* can't wait to see it!!

Hi scoop,

Well, although MPT is not airing this in Maryland (confirming my long-held belief that Maryland is a backwater in more ways than one), WETA is doing it 10 times .....check their site (www.weta.org) or the general PBS site (www.pbs.org) to find other local airings. You should be able to get it on channel 26.....

Treefrog, there used to be ballet, symphony, and opera in Chicago, I promise. Maybe times will change.....one can always hope.

;)

I feel that the events of today have affected everyone's performance.

It is a beautiful, beautiful picture--and I am happy to see information on the spring season (I don't know why I always prefer the spring repetory, but I do....)

Well, it's Really Something.

I am eagerly awaiting others' reactions.;)

This is readily available, through Pratt Library:

AUTHOR: Masson, Colette

TITLE: Bâejart by Bâejart / photographed, conceived, and designed by Colette Masson, Jean-Louis Rousseau, and Pierre Faucheux ; handwritten comments by Maurice Bâejart ; translations by Richard Miller

IMPRINT: New York : Congdon & Lattáes : Distributed by St. Martin's Press, c1979.

EDITION:

SUBJECT HEADING: Choreographers France Biography

PHYSICAL DESC: 253 p. : chiefly ill. (some col.) ; 30 cm.

SERIES TITLE:

ISBN: 0312920490

LCCN: 80067068

There may be othr titles available from special libraries--your library staff should be easily able to look for you and request material.

Juliet

Paul, I feel exactly the same.

This photo and the quotation which you mentioned, late in the book, is as pure a distillation as I have found of why I love ballet so.

Convoluted syntax, but you all know what I mean!

It is a wonderful, wonderful book----

I know!!! Why has no one written about this????

Molissa Fenley is not my idea of fun, but didn't anyone go to any of these performances???

OK, now you have this non-television watcher intrigued!!!

Are these usually on regular TV or do I have to watch for them on ESPN, or, ????

Do tell--I know, I sound like a wackball....

I don't know any dancer who will show a reporter or a stranger his feet, just like that. Banged-up feet from "toe-dancing" in exchange or not.

These people are humans, not performing dogs--she got him after a show, who knows how the Celtic question was phrased (even differences iin pronunciation have been known to misfire in libary reference negotiations, I have found)--so, this was a wash. I think they were speaking different languages--maybe there would have been no need for a translator in a different set of circumstances.

Obviously not a happy match of reporter and subject!

Please.

This thread is, to my thinking, entirely too dyspeptic and critical for the subject at hand.

This is *Nutcracker*--a beautiful score to a holiday ballet. That's it.

I agree that years of over-analysis and let's-come-up-with-something-new have made it an easy target for curmudgeonly response.....

On the other hand:

This ballet is the only way that many companies/schools/dance studios can stay in business.

Whether or not you like a Snow Queen and King, it gives dancers performance experience, jobs, and a chance to change roles. It is beautiful music--many companies do not have the technical gimcrackery to catch your attention, so: they insert a pdd. Not a heinous thing.

Girls are often used in male roles because of the paucity of boys in ballet classes--what, the company is not supposed to do a party because there are no boys available? Girls often do not like being cast in the boys' roles, but sometimes it is a chance for a child who is undergoing an unfortunate body stage to still dance and be part of a production.

Ditto for the mice/rats. (Who cares what they are? Really, now......)

It is *fun* to dance, *fun* to be part of a procuction, *fun* to tie a ribbon on your tail so your parents know which one you are (and hope that the Wardrobe mistress hasn't seen you.....) In professional companies the boys doing Mice have loads of fun--sometimes you need a lift when doing 35 performances of the same ballet in a month.....

This is supposed to be a holiday ballet which is beautful, makes children excited about the magic and the music and the overall festivity....They may not remember much about the perfrmance (my son remembered the red carpet in the theatre with great delight, even though Baryshnikov was dancing...)

Yes, there is a place for scholarly correctness. There is a place for historical exactness (good luck telling a director that half his costumes are inaccurate when they tell you they want more party dresses in a particular style. Ain't gonna happen.) I appreciate a beautiful production as much as the next person (alright, I'll be honest: I appreciiate a beautiful production *more* than the average person, given what I do.)

Some productions are gorgeous but they have stinky choreography. Some have a beautiful look and are historically correct, but no one dances much. Some are obviously a product of Too Much Time on the Analyst's Couch. Some are just the best a company or studio can do given their resources and you know, I say hats off to them! They are introducing children to performing, they are giving audiences a respite from care, they are bringing something beautiful to people who might need that lift, that night.

I understand the reason for dissatisfaction in some corners--I say enough, already. Don't go if you don't like it. Don't spoil people's joy in something that they are achieving. Give the dancers a break--they can't help if they are wearing Louis heels when they are supposed to be wearing flat dancing slippers.

Ballet has enough naysayers out there as it is. If you don't like a particular production or company or choreographer, stay home. Keep quiet. Find something that you love and let us know about it. I'd much rather read all the funny threads on this board---no one takes serious umbrage at the comical: dancers or audience or parents--than harumphing or grumbling about *Nutcracker,* of all things.

We will have the reputation of a board filled with dyspeptic, curmudgeonly old crocks.

Not my style. I did love the idea of Arabian being done in a burka!!!! Thanks!

;)

Well, good luck to him. He's certainly been there long enough .

Thank you so much for these photos! Next to having my family together for once, looking at my favourite ballet is the best start to a new year I can imagine--

Best wishes to everyone for a happy and healthy year.

Juliet

NYCB:

Wendy Whelan

talk about a trooper

talk about an artist....

Edgy

(Makes me think of the Caffeine Fairy)

appealing to a younger audience

bike shorts

Money for dancers.

Good health for dancers.

Jobs for those who need them (see #1.)

A full company and adequate funding for Suzanne Farrell.

good wishes for health and prosperity for everyone on this board.

Well, they didn't waste any time.

Why is it only until the summer of 2007? (Sorry if I missed something important along the way.)

This is obviously a recipe designed to feed the entire ballet company.

Good grief.......

I only make a couple of these each year and feel rather piddling by comparison....;)

Paskha is a molded cheese dessert served at Easter, with Kulich, which is the Easter bread.

Kasha is buckwheat groats, in this country--I suppose they can be eaten sweet.

I agree, this would be a great reprint candidate--

Korbes did not dance.

It is Italy. Things Take A While.;)

If one spends time there, one finds out that this is a good thing., for the most part.

La Fenice is not due for completion yet, but there is a big effort underway

(lots of fundraising, committees, negotiations, etc.) and of course they are trying to present as much as possible in the meantime.

How wonderful it would have been to see Giselle there, though, DanceFish!