What changes to the ballet world do you *like*?

[canbelto]

I find that very often ballet discussion focuses on unwelcome changes in style, dancing, training, standards, repertoire, lack of choreographers, etc. But what changes in ballet over the years do you like? I can think of a few:

1. More sharing of repertoire across companies. For instance the POB just staged Fille mal gardee, and most big ballet companies now have quite a bit of Balanchine in their repertoire.

2. Historical restoration of old classics, like the "new old" Sleeping Beauty, Bayadere, and Le Corsaire.

3. Guest starring. In the old days companies mostly had a "you can stay or you can go, and if you go, don't come back" policy, but that's changed, and I think it's a good thing.

4. Female dancers' jumps. Wonderful to see a Gillian Murphy or Ashley Bouder fly across the stage in grande jetes that would make men jealous.

5. Better costumes, for the men at least. No more dumpy wigs, baggy tops, and modesty trousers.

Can anyone think of any more?

[bart]

Great topic, canbelto! You're right, cultural commentators often forget to pay sufficient attention to the positive.

And I agree with your list. Here's more:

1) Some companies (POB most notably) have become committed to capturing important llive performances in commercially available videos of the hghest quality. Opera has led the way (thank you, Met), and ballet seem poised to follow. Handled well, this can only increase the audience for ballet. It may also break down some of the barriers and sheer provincialism which occasionally affect even the top companies. (Your first Point relates to this issue as well.)

2) More than ever, ballets by major choreographers are being done around the world -- licensed, set, and coached by those most familiar with the work. The Balanchine Trust leads the way here. We now have the chance to attend performances of ballets like "Jewels" danced by great companies each speaking the authentic Balanchinian language with an accent, style and flair of its own.

[aurora]

this may be controversial, but I do think that the overall technical standards are considerably higher today than they've been in the past.

When I look at older ballet videos, while there are certainly some dancers whose technique would stand them in good stead today, there are many dancers (especially in the lower ranks) with bent knees, mediocre (at best) feet, painfully low arabesques, etc.

I think standards among men, in particular, are much higher than they were in the past.

I think this is a good thing. though I'm certainly not in favor of technique at the expense of artistry.

[canbelto]

Another change that I like is that there seems to be more consideration for injuries. Many dancers take quite a bit of time off for injuries, which is probably much healthier for the dancers than the old "If you can stand you can dance" attitude. Not saying that dancers don't dance through pain and injury, just that it seems more acceptable to take time off for serious injuries.

The other change is more acceptance of dancers having children.

[sandik]

I agree about the change in attitude regarding injuries, but I think this extends to a better overall understanding of human anatomy. I've been so pleased to see teachers and choreographers work with the specifics of biomechanics, especially the structure of the pelvis and hip joints as they affect turn-out.

[bart]

There's also the greater awareness of the need to prepare dancers for what they will do with their work lives after retirement. Career Transition for Dancers (founded in 1985) and other organizations -- as well as many college dance departments and even some companies -- are doing a great job.

http://www.careertransition.org/

[Figurante]

Another change that I like is that there seems to be more consideration for injuries. Many dancers take quite a bit of time off for injuries, which is probably much healthier for the dancers than the old "If you can stand you can dance" attitude. Not saying that dancers don't dance through pain and injury, just that it seems more acceptable to take time off for serious injuries.

The other change is more acceptance of dancers having children.

I am not so sure about consideration for injuries. In my experience, companies still view it as a complete liability (as they should.) I feel it is harder for apprentices and corps de ballet members when you get injured. This goes for having babies as well.

Well, enough about the bad side of things...

I absolutely LOVE the opportunity companies have when Ballet Masters/Mistresses/whomever from other companies can set ballet's on them.

I especially love this because these people are so revered in the ballet world, and it is always interesting to receive their imput and view on a certain ballet.

Unfortunately for us, choreographers like Petipa and Balanchine are no longer with us, so we must rely on other's who have been tangibly influenced by them to help us less fortunate people understand why we are flailing our arms around! It's such a great opportunity!

[87Sigfried87]

I find that very often ballet discussion focuses on unwelcome changes in style, dancing, training, standards, repertoire, lack of choreographers, etc. But what changes in ballet over the years do you like?

I especially like that after Sylvie Guillem,the dancer's legs have raised a lot.I really can't stand watching old DVDs with Fracci with 90° penchés or developpés.Awful!

Maybe It's because I like dancers with high legs,also on me.I love my 180° legs and I've always liked that on dancers,both females and males.And I'd say on male dancers It is even better!Someone thinks It is not a good thing because dance is not gymnatics,but aesthetically is wonderful to me.

[atm711]

To answer Canbelto's question on my favorite change over the years it would have to be the abundance of ballet companies all over the world.....and in particular, here in the US.

[Hans]

I like the fact that Asylmuratova is charge of the Vaganova Academy now. And I definitely agree re: injuries and pregnancy, although the extreme thinness of female dancers remains a major problem.

Pointe shoes are certainly better than they were in the days of Maria Taglioni!

I am glad about some technical changes, such as greater focus on correct turnout, but I think people like Fracci, Asylmuratova, Platel, and Lezhnina ought to be studied by students as dancers who knew/know how to use their extensions in service of the ballet--lower in Romantic ballets, higher in more contemporary works such as Romeo & Juliet. So, I would say that, like Alexandra Danilova, I think it is right to allow those who naturally have high extensions to use them, when appropriate.

Definitely agree with canbelto re: the historic reconstructions. They're not perfect, but they are a gigantic grand jeté in the right direction, and I hope they will help to inspire new choreographers.

[canbelto]

Hans, don't forget that Elisabeth Platel is in charge of the Paris Opera Ballet Academy!

I know this might sound controversial but I'm also glad emploi is not as strict as it used to be. Yes sometimes it leads to miscasting, but it can also lead to some "wow, I didn't think that would work but it did" portrayals. For instance I saw Gillian Murphy in Coppelia. Never, ever thought it would work, but she was wonderful.

[Hans]

Hans, don't forget that Elisabeth Platel is in charge of the Paris Opera Ballet Academy!

Excellent news indeed!

[carbro]

Canbelto, I agree with the others who've congratulated you on opening a great thread. I see the mounting of new/olds as a mixed blessing, since what we're seeing, no matter how true to the original steps and designs, looks not at all like the ballet did in the year from which the reconstruction dates. I wonder if it's possible to train subcompanies of dancers to dance, as it were, with "original instruments."

I think the overall care devoted to dancers' general welfare is definitely a plus. Would that every company had nutritionists and physical therapists, programs with nearby universities to facilitate ongoing education of the mind, etc. And the general acceptance of non-ballet conditioning, such as Pilates and yoga.

I like the internet, which has brought us all together.

[bart]

{ ... } And the general acceptance of non-ballet conditioning, such as Pilates and yoga.

Yes, indeed. Several companies I'm familiar with either have a Pilates, Gyrotonics, or similar facility on the premises. All have special arrangements with local chiropractors, massage practitioners, etc. And all have the rules for disability insurance engraved in every adminstrator's heart.

These are wonderful gains for dancers.

[aurora]

I know this might sound controversial but I'm also glad emploi is not as strict as it used to be. Yes sometimes it leads to miscasting, but it can also lead to some "wow, I didn't think that would work but it did" portrayals. For instance I saw Gillian Murphy in Coppelia. Never, ever thought it would work, but she was wonderful.

I agree. I saw Gillian Murphy in R&J--not something I would see as her type at all--and i thought she was fantastic.

So cheers for giving dancers opportunities that don't seem obvious, but can result in some really fabulous performances.

[canbelto]

[snip!]

Oh another change I like is that the bad old days of severely shortening ballet films because the audience "couldn't take the whole thing" are over. Nowadays ballet releases are usually the complete ballet, which is a nice change from, say, the Ulanova Giselle in which many of the most crucial dancing of Giselle were cut. I still would like more ballet performances released but it's good that what we're getting is the complete ballet, and not just half the ballet.

[Ostrich]

Female dancers' jumps. Wonderful to see a Gillian Murphy or Ashley Bouder fly across the stage in grande jetes that would make men jealous.

And extensions in men that make ballerinas green with envy... OK, not when they are overused, but a grand jete in split or near split looks sooo much more elegant than a jete with the legs making a near 90 degree angle.

[canbelto]

I just thought of another change I like:

the penchee ending to the white Swan pdd. I think it started at the Kirov somewhere in the late 1960s, but I always like that final penchee (done well of course). At its best it suggests a peace and tranquility in Odette.

[bart]

At its best it suggests a peace and tranquility in Odette.

And trust.