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 Post subject: Re: Just a touch more Glasco
PostPosted: Wed Dec 27, 2000 11:42 am 
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Joined: Sun Oct 24, 1999 11:01 pm
Posts: 19975
Location: London, England; Tallinn, Estonia
Well worth reading dirk, looking at the plus and minus points of the Glasco affair. There is clearly no question that the total power of ADs has been questioned and there are some squeals of pain. I take heart that one of the most fully unionised comapny worldwide, where the power of the AD is constrained in all sorts of ways, is also one of the very best - Paris Opera Ballet.<P>Interesting that the '3 to watch' is 3 dancers rather than any choreographers. <P>I have a suspicion that the highlights of the year from Montreal would be more exciting. Am I being unfair dirk?


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 Post subject: Re: Just a touch more Glasco
PostPosted: Wed Dec 27, 2000 1:39 pm 
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Joined: Sun Jun 11, 2000 11:01 pm
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Location: Montreal, QC, Canada
dirk, in the past two or three years Jose Navas/Compagnie Flak, Compagnie Marie Chouinard, O Vertigo (Ginette Laurin), Paul-Andre Fortier, Lydia Wagerer, Suzanne Miller and Jean-Pierre Mondor have all been to Vancouver. <BR>Danny Grossman and Robert Desrosiers have been in Toronto for decades now so I hardly think of them as Quebec artists.<BR>


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 Post subject: Re: Just a touch more Glasco
PostPosted: Thu Dec 28, 2000 3:59 am 
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Location: London, England; Tallinn, Estonia
I have been really impressed with the variety of dance events that are discussed and reviewed in Montrealonline each week with dirk's majors on top of that. <P>Les Ballets Jazz impressed me a lot in London recently, La La La have skillful, committed dancers (the choreography does wear after 20-30 minutes) and Les Grands have one of the most interesting reps. of any ballet company in the world.


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 Post subject: Re: Just a touch more Glasco
PostPosted: Thu Dec 28, 2000 12:30 pm 
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Joined: Sun Jun 11, 2000 11:01 pm
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Location: Montreal, QC, Canada
That's ok dirk, you are forgiven (wink)!<P>I'm not so sure that it's a language barrier that keeps the Toronto press from reporting on the Quebec dance scene though, I think it may have more to do with the fact that there's already a lot going on in Toronto. Shows that come to Toronto from Quebec do get press there. Quebec artists also get a lot of press from the english language Quebec newspapers, The Gazette, etc., so maybe the media divide is more east-west than english-french?<P>I agree with you Stuart about LaLaLa's Salt/Exauce being wearing, I have the funny feeling that no one has the guts to tell E. Lock that...after all he did receive a special "fete" (award) at this year's Canada Dance Festival. Did anyone see Louise Lecavalier in the piece before she left the company? And if you did, did she do it on pointe?


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 Post subject: Re: Just a touch more Glasco
PostPosted: Thu Dec 28, 2000 12:54 pm 
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Joined: Sun Oct 24, 1999 11:01 pm
Posts: 19975
Location: London, England; Tallinn, Estonia
'Salt' is mainly on pointe and is extremely demanding of the dancers. Lecavalier did not appear in London. I heard that she became fed up with all the touring, but Lock's delight in pointe work may have had something to with it, as she always seemed to me to be a charismatic and rough-edged modern dancer. Here is a link to various pieces about 'Salt', including my review of the London performance.
http://forum.criticaldance.com/cgi-bin/ultimatebb.cgi?ubb=get_topic&f=5&t=000047

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

<small>[ 08-11-2002, 11:29: Message edited by: salzberg ]</small>


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 Post subject: Re: Just a touch more Glasco
PostPosted: Thu Dec 28, 2000 1:31 pm 
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Location: Montreal, QC, Canada
Thanks for the links Stuart, maybe this should be the "Just a touch more Lock" thread? <P>Everyone seems so surprised that Lock used dancers en pointe last time around but I wasn't surprised at all. Look at the pas de trois in Velasquez's Museum, I think Lock has always used balletic references. <P>Actually, (and I'm probably going to get in trouble for this), I can't deny that I haven't been influenced by his work as one of the better known Canadian contemporary choreographers, but as a child of the whole punk-rock/post-modernist scene I find Lock's work dated, very 80's, which of course, is his generation. It's apparent in his choice to work with musicians like Bowie, and most recently Keven Shields/My Bloody Valentine (ok, Shields is the '90s but the early '90s) and his interest in using balletic-styled movement. I'm not saying I don't like what he does, but I'm not always sure that his choreograpy has really evolved.


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 Post subject: Re: Just a touch more Glasco
PostPosted: Thu Dec 28, 2000 1:46 pm 
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Joined: Sun Oct 24, 1999 11:01 pm
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Location: London, England; Tallinn, Estonia
I'm not surprised that he has not been an influence for you Marie as he has always seemed like a one-off to me. <P>The London reviews were universally poor for 'Salt', but full of praise for the commitment and attack of the dancers.<P>However, as I said in my review, he will always have a soft spot in my heart as his dynamic '80s bursts of energy turned me on to dance. I know I'm not alone in this.<P>


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 Post subject: Re: Just a touch more Glasco
PostPosted: Thu Dec 28, 2000 3:56 pm 
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Joined: Sun Jun 11, 2000 11:01 pm
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Location: Montreal, QC, Canada
I agree Stuart, I think Lock was really positive for contemporary dance in 80s, especially here in Canada; if it wasn't for people like him I probably would have passed on contemporary dance altogether when I was done with ballet, and I do think the dancers working with him on Salt really give it 100%. <BR>I don't know what it's like in Europe but in Canada the dance community is a small pond with lots of little fish struggling to survive. Once you've been around long enough nobody, that includes friends in the dance community and the press, gives you an honest critique, like, "Your piece is too long. We liked the first 30 minutes and are now bored. Edit it, please." Thank god for the London critics who aren't afraid to say it when the Emperor isn't wearing any clothes.


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