Jump to content
This Site Uses Cookies. If You Want to Disable Cookies, Please See Your Browser Documentation. ×

Rock

Senior Member
  • Posts

    200
  • Joined

  • Last visited

Posts posted by Rock

  1. I went back to the NYT article to make sure I read it right. Yup, "for years" greeting her in class Ramarsar was "tweaking my nipples." In company class. In front of oh easily 40-50 other people. No one batted an eyelash. Am I the only one who has trouble with that? Those aren't little girls. Those are professional women. I don't believe for a minute plenty of them wouldn't have said something - to GP, to Amar, to the AD and the ED.

  2. I thought Sofia Coppola's film was thrilling. It's the first time, with maybe the exception of a couple of Fred Astaire movies, that I felt the camera was adding rather than subtracting. I had the most trouble with the Liebeslieder excerpt - which I also think was natural lighting - but having watched it several times I felt the camera angles from rings above added contrast to the close-ups. I also liked the "space" - the feeling of one couple alone in the ballroom. Like 'after the ball.' I liked the camera inventiveness most in the Peck piece. To see that fascinatingly unique, elegant dancer from every which way added much to my enjoyment. The Divertimento was also beautifully filmed. Nothing tricky and like a breath of fresh air. The company looks wonderful.

     

  3. What's unfortunate is that some audience members might have read or watched all that stuff so when they get in there and they're actually watching ballet dancers ballet dancing they think those smiles are fake. Forced. Which is untrue. Those people WANT to be out there. It feeds them. It's what they live for. And they didn't work 12 hours that day and they're not starving themselves and they're not miserable. They're happy. They're thrilled to be performing. 

  4. Mr. Balanchine died in 1983 - that's 37 years ago. There were hundreds of dancers who worked for him, many of whom became stagers, ballet masters, teachers, and directors. His legacy was passed on as carefully as has been possible. Every major ballet company in the world performs his ballets. Some minor things may have evolved here and there but in general those stagings are amazingly faithful to the originals as are the works presented by the NYCB. There's also a change in the viewers. It's a different time, they've seen a lot of other ballets in the meantime, society has changed, expectations have changed, dancers have become stronger and more technically proficient. But none of those factors reflect diminished performances. It's hard to imagine how shocking and new Agon must have seemed in 1957. It can't shock like that anymore, but it has other pleasures to offer. With the advent of film those are probably the most recorded ballets in history. They may evolve somewhat, and maybe that's a good thing - to keep them relevant - but there's no danger of them actually being lost.

     

  5. I liked the Justin Peck piece. I was afraid it was going to be sentimental but it wasn't. And they DANCED! And the camera had  a point of view - there was an idea there. It's the only one of these pieces I liked. It may have been outside and they were in tennis shoes, but they looked like and presented themselves as ballet dancers. And it had steps. And they moved.  I don't really get this thing with the modern choreographers. Where are the ballet people? 

  6. Susie Hendl was one of those behind-the-scenes, unsung heroes of the ballet who had enormous influence with generations of dancers. Her eye and her taste were unmatched. She also had a manner of working with dancers that, in a very subtle way, communicated you can do this, you're going to be good. She strengthened their self confidence - men as well as women. She'd been a ravishing dancer herself, but it was her contributions in the studio and at stage rehearsals that made such a difference to so many dancers. She will be greatly missed. 

  7. What do you mean it had no impact to their careers? Catazaro was too traumatized to return to the company. He went to Europe to find work. You call that no impact? Ramasar had to deal with protesters outside WSS picketing. Were there comments from Catazaro posted in the lawsuits? I didn't see that. Waterbury didn't need to "protect" them, she attacked them. She paid nothing; their lawyer fees are staggering. 

  8. It's not true that she has no victims. Nor that all the men in the lawsuit have great careers. Finlay did this to himself, but the other careers are compromised. This has been traumatic for everyone involved. Whether the NYCB or the SAB have money isn't, or shouldn't be, the issue. "August institutions"? They were dragged thru the mud, it was so bad the dancers had to defend themselves from the stage. It's amazing you take those accusations and lawsuits so casually. "Big whoop." Like it's nothing. It's not nothing. It's humiliating and damaging. They would have just cause for suing her back.  

  9. They'll live? There was a tremendous amount of negative press about both organizations, who had no part in this. Articles about the wisdom of sending little girls to these ballet schools. It was awful. And that's what people remember - not the part about those lawsuits being thrown out. That didn't get so much press did it? It's not nearly as much fun to write about. Waterbury ruined careers and lives. Intentionally. What about her victims?  

×
×
  • Create New...