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 Post subject: Re: Developing Choreographers
PostPosted: Thu Jan 09, 2003 12:59 am 
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Joined: Fri Oct 22, 1999 11:01 pm
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Location: SF Bay Area
Here's an interesting comment by Bruce Marks, Artistic Director emeritus of Boston Ballet (the following is an excerpt from CriticalDance.com's interview of Marks):

Quote:
Marks said that when he began at Boston Ballet, he did things that boards would more than likely veto today: “We did a festival of dance called On the Edge. It included three weeks of three different programs of contemporary choreography, where I brought in tons of other people.” more
So, is he implying that it is not in the interest of the powers-that-be to encourage new choreographers?

<small>[ 09 January 2003, 02:00 AM: Message edited by: Azlan ]</small>


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 Post subject: Re: Developing Choreographers
PostPosted: Thu Jan 09, 2003 1:16 am 
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Location: SF Bay Area
Pacific Northwest Ballet Artistic Director Kent Stowell seems to agree, based on his comments in this interview for CriticalDance.com by Francis Timlin and Dean Speer:

Quote:
Drawing a parallel to the evolution of music, dance evolution has been compressed into about 75 years. Composers have historically built on what has gone on before. In ballet we also get a lot out of each other; it's a natural evolution. I think it's unfortunate for choreographers that their work is so quickly accepted or rejected, without allowing much time for reflective assessment. Critiques are instantly positive or negative.
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<small>[ 09 January 2003, 02:30 AM: Message edited by: Azlan ]</small>


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 Post subject: Re: Developing Choreographers
PostPosted: Thu Jan 09, 2003 1:33 am 
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Location: SF Bay Area
Here's a funny comment by Graeme Murphy, Artistic Director of Sydney Dance Company, about the commercialization of dancemaking:

Quote:
My productivity is very high. I've done more than 40 works in the last 24 years and over half of them have been full-length works. One year, recently, I didn't do a new work in Sydney and the press rode me ragged. I thought, “Excuse me I am not a sausage machine; I need to want to do new works.”
Click here for more of this interview by Jennifer Leake for CriticalDance.com.

<small>[ 09 January 2003, 02:43 AM: Message edited by: Azlan ]</small>


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 Post subject: Re: Developing Choreographers
PostPosted: Fri Jan 10, 2003 3:42 am 
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Joined: Sun Oct 24, 1999 11:01 pm
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Location: London, England; Tallinn, Estonia
Citibob, thanks for your comments and a good example of how one successful model, "combined roles" can work well, in the case of Jose Mateo and his Company. Recent similar Anglo-Saxon examples include Balanchine and Ashton although, as they were running major companies, they had others to share the Ballet Master role. Nevertheless, I believe Balanchine was called "Ballet Master" in the Company roll-call.

However, for some, such as MacMillan, the AD post did not really suit and eventually he resigned this role at the Royal Ballet to focus on choreography.

In general, I take your point citibob as to how the deep understanding of the strengths of particular dancers can assist a choreographer in creating new work which fits like a glove. But, I have just read ksneds review of an NYCB performance where she writes that Mauro Bigonzetti's work was one of the best to emerge from recent Diamond projects. This did not come as a surprise to me as Bigonzetti's "Coppelia" for Estomian National Ballet is one of the most interesting full-length ballets I have seen for some time. Thus it is possible for itinerant choregraphers to achieve excellent results and I suspect that this trend will develop further alongside the company choreographer model. I wish there were more top quality choreographers to go round.

<small>[ 10 January 2003, 04:44 AM: Message edited by: Stuart Sweeney ]</small>


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 Post subject: Re: Developing Choreographers
PostPosted: Fri Jan 10, 2003 6:20 am 
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"So, is he implying that it is not in the interest of the powers-that-be to encourage new choreographers?"

I think that he is saying that more and more, a board of directors has artistic power and tends to veto anything that has the faintest suggestion of risk, even though I also think that without some kind of risk, no progress is made.


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