BW

I came upon this article in today's Links section: Leap towards ageism is a backward step in dance

Lewis Segal, The Los Angeles Times' dance critic has as his lead "A Delhi High Court shelves dancers over 45, ghettoizing a generation of India’s most fabled dancers."

Interesting article about how the courts in India are legislating specific age ranges in re the designation of "professional dnacers"... In this particular case, it's all about money - and not wanting to subsidize "older" dancers (those over 45).

Mr. Segal goes into quite a bit of detail about Indian dance forms which I found illuminating as I know almost nothing about this, and I enjoyed getting a glimmer of its style. He also touches on some of our past and present Western dancers... His final statement in which her writes:

"Stalinism in the arts is always bad news, and Stalinism coupled with ageism and the assumption that the classic dances of India ought to inspire body-worship rather than reverence is downright ridiculous. Hindus everywhere believe that the whole universe was created in a dance performance by the eternal, ever-potent god Shiva. If so, it's indeed a blessing for all of us that Sikri wasn't around at the time to check Shiva's ID."

I do think that he makes a valid point when he writes about the audience's reactions usually being the key to a dancer's retirement...but I was also wondering what you all might think about the article, the point of view, etc. Is the ballet world subject to its own form of Stalinism, or is this just hyperbole?

Just wondering why ending it before NYC would be on a "high note"? :confused:

Very exciting times on the Portland side of things! I'm really looking forward to hearing more about their upcoming performances, as well as about the changes in the company that are noticed as time goes by.

I have a niece out there and I'd love to buy her some tickets to the ballet as a Christmas present.

fendrock, thanks for bringing this topic up. I think everyone's made good points and illustrated them quite well. I agree with, and understand, Leigh's not wanting straight "reportage"...and, Ed, I loved reading your expansion/interpretation of Croce's quote. I do think that when Alexandra writes:

I guess it's a question, as it often is, of where do you draw the line? For me, what SEEMS to be happening to the critic/viewer is okay; delving into psychological or inner feelings of the dancer is perhaps not.

This is one of the things that used to drive me nuts during my English Literature classes as well as my art history and history of photo classes. How can we, the audience, have the audacity to suppose that we know what any artist/writer/dancer/choreographer/photographer was or is thinking during their particular creative processes and yet, the reader does want more than simple reportage.

P.S. Alexandra I liked your description of "Sublimova" better than Croce's of Farrell.

Here is a good website that will give you plenty of places to stay in Saratoga Springs.

No, a thousand times no! I think it's a fine discussion topic and hope that BalletNYC and others might have more to offer.

Jeanette, I'm sure you'll get some knowlegeable responses as the day wears on but, in the mean time, here are two old threads to check out, in case you missed them: The Legend of Sleepy Hollow and a choreographer's explanation

Rest assured, this is not to say your question has already been answered, as I am sure there's much more to say on the subject!

I'm a fan of The Magic Flute, as well.

dirac, I like that scene too and from everything I've ever read it sounds as though it is really the only way. Please, let it keep being handed down and done well.

Here's an old thread on the Labanotation theme.

Sometimes I can't help but wonder if the passing on is somewhat like Akira Kurosawa's Roshomon, in that every dancers's perception/memory of a ballet is somewhat different?

balletmama, I love your post! Now, maybe I finally will go see the musical... I did like the "real" dancers' parts... However, really I am glad that Renee did not win the best actress award.

glebb, thanks for the "mother-in-law" connection - and I think it meets the test quite nicely!

Mary Lynn Slayden, many thanks for the specifics.

Thank you Victoria. I think it's quite interesting to see the family tree side of ballet... Stanton Welch's mother was, I think, the ballet mistress at the Australian Ballet, wasn't she? Am I correct and are there others?

Is Christopher Stowell (Oregon Ballet) related to Kent Stowell of Pacific North West Ballet, or do they just share the same last name?

I received a flyer in the mail recently announcing their performances in NYC. I'm wondering if some of you who have seen Stuttgart Ballet before can give me an overview of some kind? Thanks.

floss, I don't think it matters that this has taken off on a tangent. Here is my own researdh on Maina Gielgud According to this information, she will be residing with us here in the USA at Houston Ballet!

Ms. Gielgud has certainly had an interesting ballet life - Bejart, the Royal Danish Ballet to Sadler Wells and more!

floss, I have now watched it twice and enjoyed it. Can you tell me about Maina Guilged? I'm embarrassingly ignorant about The Australian Ballet. I did, however, enjoy seeing her interactions with the dancers both while rehearsing and after their performances. They appeared to be a very closely knit company.

(Bilbo, here is my quick suggestion, so not to derail, the steady steam this thread has bulit up... May I suggest that you start by posting a new topic on the Ballet Moms and Dads forum and see what happens? )

Thanks so much Bilbo (BB), Basilo, Doris R, su-lian, and glissade_jete for telling us how you discovered this site. I hope that those of you who have not yet started a thread (topic) won't hesitate to do so if the spirit moves you.

In quickly scrolling through this one thread I've noticed so many different countries represented here - I wonder how many countries we do have represented by different posters here?

Again, thanks to all who've added their own discovery here.

Ed, thanks for that Bugs Bunny reference - I can still picture poor Elmer!

I also like your description of vulgar as being more of a self determined form of bad taste. I guess I'd prefer vulgar over bad taste any day. ;)

Wish I could comment more upon your musically referenced post!

Well, I bought the tape through Amazon but via an alternate source advertised on their site...for a little less money. It is, just as you described, a wonderful introduction for the unlearned and my daughter enjoyed it as well for its backstage, millinery, lighting design, rehearsal/coaching, and excerpts.

Now I will sit my husband down and we'll commit those steps to memory! ;) Seriously, this is an excellent educational tool and it's enjoyable, as well... and you get to see Stanton Welch at a somewhat younger age.

Good one, Gianinna!

Aha, as in stage lighting. I see. ;)

Mel, if Chopiniana has a "bright and light" plot, then there must be some real differences in these two ballets - yes?

Today in the Links forum an article by Leonard Eureka in the "Fort Worth Weekly" discusses Ballet Arlington and Les Sylphides In it Mr. Eureka writes:

...The original concept in 1907 had a piano on stage with a costumed pianist portraying Chopin in the last throes of the tuberculosis that eventually killed him, hallucinating about spooks and spirits dancing around him as he played. The ballet was actually called Chopiniana, but, by 1909, Chopin and his piano had disappeared, the choreography had been expanded, and the ballet had emerged as Les Sylphides we know today...  

Is it true that Chopiniana is no longer performed?:confused: It doesn't seem possible since we have that wonderful photo by Marc Haegeman of The Kirov Ballet in Chopiniana gracing Ballet Alert!'s main web page.

Thanks in advance for the clarification on this one!

Good question Farrell Fan...and I'm glad this thread is still alive and kicking. And, Leigh, I like your relativism "currency" - are we in the same generation? ;)

Hans, I think your points are well taken when you write:

If something is in good taste, it will not be found tiresome when experienced repeatedly. Haydn's "surprise chord" might make you jump the first time you hear it, and 32 fast fouettes might indeed be thrilling, but an entire symphony played fortissimo or an entire ballet of fast pirouettes will become boring fast. Such details must be used sparingly; only then will the audience retain its interest for them because they are seen within their proper context.

If you prefer Picasso to Matisse, I don't agree, but it's a matter of prefence. (De gustibus...) If you prefer Leroy Neiman, that's bad taste--or, in your lexicon, a lack of taste. (A passion for kitsch is beyond the scope of this conversation, but there is certainly such a thing as "knowing" bad taste .)

Yet, interestingly, my cohorts and I absolutely loved Wheeldon's Carousel when we saw it recently and never for a moment did I think of the ballet as having a mysoginistic moment in it! In fact, it was to my mind's eye one of the most beautiful and moving ballets I have seen in a long time. I actually thought it was by Jerome Robbins... not that I'm an aficianado in any sense. Quite frankly, I barely remember the scene that you, Bobbi, refer to. To me it was what I might think could be described as a neo classical, quasi plotless ballet....along the lines of NYCB's (I beg forgiveness from the choreographer whose name escapes me at the moment) "Afternoon of the Faun". Is my reaction versus Bobbi's a "matter of taste" or a preference? Is this where the "de gustibus" wars begin? ;)

Many thanks Giannina! This tape sounds as though it is exactly what parents who are not schooled in ballet could use - now I won't have to keep asking the same questions over and over again: "What's it called when you are up en pointe and one leg is up but bent facing back....?"

Great find!