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 Post subject: From Bach to the Beatles, Yeah Yeah Yeah
PostPosted: Fri Apr 07, 2006 3:34 pm 
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Posts: 358
Location: Paris
From Bach to the Beatles, Yeah Yeah Yeah



Or at least, the comparison would be more accurate, if one could listen to the Minkus score without developing vertigo...


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 Post subject:
PostPosted: Fri Apr 07, 2006 3:44 pm 
...


Last edited by fedora on Wed Sep 13, 2006 3:02 pm, edited 1 time in total.

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 Post subject: Septime Webre Peter Schaufuss, même combat!
PostPosted: Sat Apr 08, 2006 2:51 am 
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Posts: 358
Location: Paris
I think Septime Webre and Peter Schaufuss should form a trades union.

Read this:

http://www.ballet.co.uk/magazines/yr_06 ... s_0306.htm

by our very own Jeffrey Taylor, on at it again.

Why we get offended when others say "dancing is low-brow", I can't imagine.

I mean, this stuff is Neanderthal, actually.

Anyway, speaking of the Decadent West, and to get back to this Maryinskii business, I do hope our Russian friends will shortly come round to realise

a/ that the West IS decadent (too mild a word, baby) and

b/ that Russia will now leave mass cultural suicide to us bright little bunnies on the other side of the Urals.


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 Post subject:
PostPosted: Mon Apr 10, 2006 5:23 pm 
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Last edited by fedora on Wed Sep 13, 2006 3:03 pm, edited 2 times in total.

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 Post subject: Elasticity ain't hyper-flexibility
PostPosted: Tue Apr 11, 2006 4:30 am 
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Joined: Sat Nov 06, 2004 12:01 am
Posts: 358
Location: Paris
Would advise everyone to look at that tiny clip of Sizova not once, but many, many times.

To understand what it means to DANCE.

Then look at the more-or-less-same passage danced by Zakharova, who could be anyone, actually, because everyone today "dances" like that.

One could write a thousand words, but this precise comparison shews how we have spoilt the body in the last thirty years, leached out the ligaments, spoilt the hip. We can't jump, we have neither ballon nor elevation, neither elasticity nor strength - we do not have the integrity of the body, so we cannot DANCE any more.

We have to simplify the choreography, so we can get through it.

Elasticity is NOT the same thing as hyper-flexibility.

We have replaced ballon and elevation by splitting open the legs in movements taken from Jazz dance - so it looks like a jump, from a safe distance, but it ain't.

At least, the ladies cannot dance. There are still some men who dance, but the Gremlins are Getting to Them too.

There is not one woman on the planet alive today who could do what Alla Sizova does on that film.

There are ladies who have a true artistic talent, and long to do so, in their mind, but the body is spoilt.

So keep the Gremlins away from the Men.


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 Post subject: Re: Elasticity ain't hyper-flexibility
PostPosted: Tue Apr 11, 2006 10:00 am 
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Joined: Tue Oct 25, 2005 8:17 am
Posts: 374
KANTER wrote:

There is not one woman on the planet alive today who could do what Alla Sizova does on that film.
.


KANTER, go see Alina Cojocaru's Aurora next month, either in London or Washington, DC, in the new Royal Ballet production. She dances Aurora's Entree variation exactly as did Sizova - same subtle elegance, same incredible ballon on the grand jetes, same overall 'girlish freshness' and charm. Cojocaru, dancing as a guest ballerina in 'Sleeping Beauty 1890' at the Mariinsky, performed impeccably. Finally I could enjoy this greatest of productions without the leading dancer being an anachronistic gymnast! I hope that a few of the 'vulgar babes' were watching from the wings and learning a thing or two.


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 Post subject:
PostPosted: Tue Apr 11, 2006 10:07 am 
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Last edited by fedora on Wed Sep 13, 2006 3:04 pm, edited 2 times in total.

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 Post subject:
PostPosted: Tue Apr 11, 2006 11:27 am 
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Joined: Wed Mar 20, 2002 12:01 am
Posts: 3000
Location: San Francisco
KANTER, I too lament the current general preference for the hyperflexible dancer. But I disagree with your statement that "[t]here is not one woman on the planet alive today who could do what Alla Sizova does on that film." The San Francisco Ballet's Tina LeBlanc is a compact, strong dancer with a high, springy jump in addition to a generally phenomenal technique, excellent line and lyricism. But best of all, to my way of thinking, she is a very warm dancer who always manages to convey the joy of dancing -- and I do mean dancing.

Seeing Sizova again (I have that tape of the Kirov Sleeping Beauty) reminded me of how much I miss the old school grand jete position, namely, with the emphasis on the back leg getting high up in the air, rather than the front leg.


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 Post subject: Re: Alla Sizova
PostPosted: Tue Apr 11, 2006 11:43 am 
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Joined: Tue Oct 25, 2005 8:17 am
Posts: 374
fedora wrote:
KANTER,
.... I thought that Somova is a queen of Italian fouetté....
***


Sorry, fedora but...

Where the heck did you get that idea? The poor gal can barely do them. I have yet to see her do a cleanly-finished sequence of them.

"Queen"? She barely qualifies for "citizenship"!


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 Post subject:
PostPosted: Tue Apr 11, 2006 11:57 am 
Well, well, NataliaN… We won’t agree on certain points any time soon. I hope you don’t mind :lol:


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 Post subject: Sizova again
PostPosted: Tue Apr 11, 2006 12:10 pm 
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Joined: Sat Nov 06, 2004 12:01 am
Posts: 358
Location: Paris
Tina LeBlanc was here at Paris with the San Fran crowd last year. Certainly, a beautifully trained, "old school" artist, with a remarkably pure technique.

That film with Sizova was made when she was 22. Tina LeBlanc performed here last year when she was, I believe, 42, so there are certain things that it would be foolish to compare.

In all fairness, one should add that at the time, Sizova was considered over-athletic by some at the Maryinskii (then Kirov), and if you look at her performance in La Vivandière, you will see what they meant.

But overall, Sizova was a truly great dancer, and the general point - namely that technique today, as Cassandra says,

"is at an all-time historical low"

remains.


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 Post subject:
PostPosted: Tue Apr 11, 2006 8:43 pm 
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Joined: Wed Jan 30, 2002 12:01 am
Posts: 943
Location: Santa Barbara, CA USA
Hmm, is it a style of the period to have one's back leg in attitude for the grand jetes? Sizova seems good for her time, but if we're talking pure technique here, there are lots of ballerinas today whose technique easily eclipses hers.

--Andre


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 Post subject:
PostPosted: Wed Apr 12, 2006 1:13 am 
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Posts: 678
Location: Petaluma, California
Sizova was a remarkable dancer then and would be a remarkable dancer today...She was an amazingly gifted ballerina. I will never forget her in Le Corsaire pas de deux, nor will the San Francisco audience who saw her performance. I have rarely heard an entire audience gasp when a ballerina executes grande jetes a la seconde (female variation)...It lives in my memory as one of the most exciting performances I have ever seen. Her partner was Yuri Soloviev. What an awesome pairing they were!


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 Post subject:
PostPosted: Wed Apr 12, 2006 3:23 am 
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Posts: 1639
Location: London UK
Classical vocabulary in dance is analogous to vocabulary in general, to put it simply dancers in the past had the vocabulary to read War and Peace whereas far too many of today’s bunch would struggle to read the front of a cornflakes box.


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 Post subject:
PostPosted: Wed Apr 12, 2006 10:23 am 
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Joined: Wed Jan 30, 2002 12:01 am
Posts: 943
Location: Santa Barbara, CA USA
One has to be careful with sweeping generalizations about today's dancers versus yesterday's dancers. Access to ballet performances today is easier than ever, and we get to see more dancers, so naturally one sees more of the bad as well as the good. And in the short term, it's always easier to harp on the dancers we don't like, but in the long term, we're left with just the positive impressions of the dancers we loved --- I am grateful I quickly forget bad performances!

--Andre


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