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 Post subject: What Constitutes a Masterpiece?
PostPosted: Sat Dec 30, 2000 10:21 am 
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Location: San Diego, California, USA
For the audiences of today that so easily confer standing ovations, this article from the New York Times - is a thoughtful question of what is meant by the word "masterpiece".<P><A HREF="http://www.nytimes.com/2000/12/30/arts/30MAST.html" TARGET=_blank>Dissecting a Masterpiece</A><P>


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 Post subject: Re: What Constitutes a Masterpiece?
PostPosted: Mon Jul 16, 2001 12:56 pm 
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I am tempted to bring this up again from a thread in the Ballet Forum on the performance of Giselle by Sylvie Guillem, La Scala Ballet Company.<P>In that thread it is mentioned by Two Left Feet the amount of applause accorded to the performance of this rather controversial production. As a member of this audience I can attest that this included a standing ovation of many, many minutes and a great number of curtain calls.<P>Whilst I am not arguing the taste, or lack thereof, by the audience (with which I disagreed), but rather the ease with which I have noticed standing ovations are given to so many - nay almost all - the performances I have been to the last many years. <P>Standing ovations used to be rarely accorded to a performer - now it is almost de rigueur.<P>What has happened?<p>[This message has been edited by Basheva (edited July 16, 2001).]


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 Post subject: Re: What Constitutes a Masterpiece?
PostPosted: Mon Jul 16, 2001 8:20 pm 
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Location: Seattle, WA USA
Yes I've noticed this as well, Basheva. I have to think on this, and read the NY Times article. I've had a harrowing day, so I'll do it manana.<BR>I often think that the "high-end ticket" audience, often gives a standing "o" to whomever the critics have deigned is the latest "flavor of the month" or whichever company/production is deigned to be "hot". I've often been flabbergasted at what has/has not gotten ovations. To my taste, some of the greatest masterpieces I've seen have been intimate, smaller works by little known companies in small theatres, not the "hyped to death" darlings of the critics or "tastemakers", whomever that might be? I guess dance can become an "industry" just like anything else.<p>[This message has been edited by trina (edited July 17, 2001).]


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 Post subject: Re: What Constitutes a Masterpiece?
PostPosted: Tue Jul 17, 2001 1:39 am 
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Joined: Sun Dec 12, 1999 12:01 am
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Location: The Bronx is up; the Battery's down
Quote:
Standing ovations used to be rarely accorded to a performer - now it is almost de rigueur. What has happened?
It makes audiences feel that they're sophisticated and capable of recognizing greatness (when, in truth, they're merely conferring "greatness" where none actually exists).

<small>[ 08-11-2002, 05:58: Message edited by: salzberg ]</small>

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 Post subject: Re: What Constitutes a Masterpiece?
PostPosted: Tue Jul 17, 2001 6:40 am 
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Joined: Fri Oct 22, 1999 11:01 pm
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Location: SF Bay Area
As I mentioned in the La Scala thread, as amused as I usually am at the Orange County audiences for affording such adulation towards non-deserving performances, I am constantly bewildered by San Jose audiences' rabid laudation of excruciating mediocrity.

Here is a thread that might be somewhat related:

Educating the Audience (Program Notes & Pre-show Talks)

<font size = -2><center>(Edited by salzberg to fix link)</center></font>

<small>[ 08-11-2002, 05:59: Message edited by: salzberg ]</small>


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