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May 31, 2005
Latest Dance Articles
On the web
NYCB (Baiser de la Fée, Tālā Gaisma, Brahms-Schoenberq Quartet)
. . . the rival pressure from ABT’s contingent of pyrotechnicians is strong. The appetite of the audience today is for male virtuosity, and NYCB needed De Luz to keep up, but the Balanchine repertory suited to a short male pyrotechnician is limited; principally Edward Villella’s roles. Baryshnikov encountered a similar problem during his brief tenure. Where is their repertory to come from?
And if you like me, find train wrecks eerily fascinating, Nancy Dalva reviews one this week: Eifman’s Anna Karenina.
In print
The latest print issue of Dance View has come out and my piece on the latest Balanchine Foundation taping, Merrill Ashley coaching Ballo della Regina, is included.
Ashley keeps correcting Scheller’s placement. She brushes the front of Scheller’s hips to show what she wants. “This always has to be long. You don’t want to see a crease . . . you’re on balance. I’m never on balance.” Classical placement pushes the body gently forward from the back of the shoulder blades to avoid “sitting back”. Ashley asks for a slightly different, even more stretched alignment by lengthening the front of the hips. For Ashley in Ballo della Regina, classical alignment is stasis.
This article isn't available on the web, but several earlier ones in a series of reports on the Balanchine Foundation Interpreters Archive tapings are. You can subscribe to Dance View at its homepage - do consider it, it also supports the web edition, Danceview Times.
Posted by Leigh Witchel at May 31, 2005 5:02 PM
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