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haydn
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MessagePosté le: Ven Jan 09, 2004 1:30 am    Sujet du message: Ballet à Puteaux Répondre en citant

Des danseurs du ballet de l'Opéra de Paris se produiront en solistes le 25 janvier à Puteaux : il y aura Nathalie Aubin et Alexandra Cardinale. Le rêve, quoi! Very Happy Dès que les détails du programme seront connus, je les posterai ici!


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haydn
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MessagePosté le: Ven Jan 09, 2004 2:18 pm    Sujet du message: Répondre en citant

Précisions : ce sera le dimanche 25 janvier à 15 heures au théâtre de Puteaux, il y aura 4 couples qui danseront :

Nathalie Aubin + Christophe Duquenne
Alexandra Cardinale + Emmanuel Thibault
Eve Grinstajn + Simone Vallastro
Myriam Kamionka + Stéphane Bullion

Que du beau monde!


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sophia



Inscrit le: 03 Jan 2004
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MessagePosté le: Ven Jan 09, 2004 11:10 pm    Sujet du message: Répondre en citant

Une programmation en effet très alléchante! J'attends de connaître le contenu de la représentation... mais je pense réserver avant même d'en savoir plus.


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haydn
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MessagePosté le: Mar Jan 20, 2004 11:26 pm    Sujet du message: Répondre en citant

Voici enfin le programme détaillé du spectacle, désolé, mais même les danseurs ne l'avaient pas avant!

1. La fête des fleurs à Genzano (Bournonville / Helsted/ Paulli), pas de deux de l'acte 1.
Eve Grinzstaijn, Simone Valastro

2. Grand pas classique (Gsovsky / Auber), pas de deux.
Alexandra Cardinale, Emmanuel Thiblault Laughing Laughing

3. Giselle (Coralli / Perrot / Adam), pas de deux, acte 2.
Myriam Kamionka, Hervé Courtain

4. Baktih III (Béjart), pas de deux
Nathalie Aubin, Christophe Duquenne Very Happy Very Happy

Entracte

5. La Sylphide (Bournonville / Löwenskjold), pas de deux, acte 2.
Alexandra Cardinale, Emmanuel Thiblault Laughing Laughing

6. Daphnis et Chloé (Skibine / Ravel), pas de deux
Eve Grinzstaijn, Simone Valastro

7. Tchaïkovsky pas de deux (Balanchine / Tchaïkovsky)
Myriam Kamionka, Hervé Courtain

8. In the middle somewhat elevated (Forsythe / Willems), pas de deux
Nathalie Aubin, Christophe Duquenne Very Happy Very Happy


Risques maximum pris par Alexandra Cardinale et Emmanuel Thibault, mal aimés des concours et adorés du public, avec un programme plutôt corsé! On va voir ce qu'on va voir!

Nathalie Aubin, elle, cela fait longtemps qu'elle n'a plus rien à prouver ; elle est parfaite dans pratiquement tous les répertoires, du classique au contemporain. Hauts les coeurs!

Enfin, Simone Valastro, a fait un concours prometteur, et possède un très joli style. A suivre attentivement...


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haydn
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MessagePosté le: Jeu Jan 22, 2004 12:27 pm    Sujet du message: Répondre en citant

Mauvaise nouvelle : Emmanuel Thibault est forfait pour dimanche Sad Sad , et sera remplacé par Sébastien Bertaud.


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haydn
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MessagePosté le: Dim Jan 25, 2004 12:50 am    Sujet du message: Répondre en citant

Nouvelle encore plus mauvaise, je viens de recevoir un mail (oui, il y en a qui bossent à ces heures indues Wink Shocked ) m'informant qu'en catastrophe, il y aurait encore des remplacements :

Alexandra Cardinale forfait, remplacée par Julie Martel

Hervé Courtain remplacé par Bernard Courtot

En "compensation", on aura aussi droit à une étoile du Ballet du Chili. Son nom ne m'a pas été transmis.

Il nous reste Nathalie Aubin, alors Nath, pas de blague, on compte sur toi!!! Very Happy


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haydn
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MessagePosté le: Lun Jan 26, 2004 12:11 pm    Sujet du message: Répondre en citant

Comme toujours pour les spectacles dans lesquels se produisent les artistes du ballet de l'Opéra National de Paris, le compte-rendu du Dansomaniaque est en ligne dans la rubrique "Critiques" du site. Et il est assez largement d'accord avec Aurélie! Vive Nathalie Aubin!

http://perso.wanadoo.fr/dansomanie/critiques.htm


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haydn
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MessagePosté le: Lun Jan 26, 2004 3:01 pm    Sujet du message: Répondre en citant

Et pour compléter un peu ce qui a été dit, le professionnalisme et l'expérience de Nathalie Aubin et Christophe Duquenne s'est justement aussi retrouvé dans le choix des pièces présentés. Tous les autres (hormis peut-être E. Grinsztajn et S. Valastro pour Daphnis et Chloé, et dans une moindre mesure, la Fête des fleurs à Genzano) ont retenu des pas-de-deux qui nécessitent, pour être exécutés correctement, un très grand espace. La petite scène du Théâtre de Puteaux (rien à voir avec Garnier ou Bastille), ne permettait évidemment pas de folies en matière de sauts, grands jetés etc, sous peine de finir directement dans les dégagements ou dans le public... N. Aubin et C. Duquenne ont fort intelligemment tenu compte de ces contraintes pour déterminer leur programme.
Il faut aussi reconnaître que M. Kamionka et B. Courtot ont "adapté" avec assez de finesse et d'efficacité la chorégraphie de Tchaïkovsky-Pas-de-deux au peu de surface disponible.


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Katharine Kanter



Inscrit le: 19 Jan 2004
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MessagePosté le: Lun Jan 26, 2004 5:22 pm    Sujet du message: Répondre en citant

Théâtre des Hauts-de-Seine
25th January 2004



Whenever was Puteaux a Scene of Mystery ?


On Sunday at Puteaux in the Hauts de Seine, a mysterious little Gala was to include some very illustrious individuals.

Mysterious, because neither the programme nor the names of the artists from the French National Theatre, were made known until two days before the event.

A sudden avalanche of cast changes led to young people being drafted in at the last moment, including a Chilean chap whose name has not yet been made known (?!).

This writer is not keen on galas, as a string of unconnected pas de deux does grate on the nerves, but, on listening to people round one, one realises that they do serve a purpose.

What purpose ?

First, it is good for the public to realise how hard it is to dance. In a major theatre, the audience lies far off behind the yawning orchestra pit, no effort being visible. In a tiny theatre, when they see the heaving bosom and the sweat streaming down, they will get it: beauty is not something one buys ready-wrapped in Cling Foil from the supermarket.

Secondly, the number of children and very old people in the room, variously too feeble or too rambunctious to travel to the Opera Garnier, but who nonetheless wish to see a ballet.

Thirdly, it gives us all the opportunity to see work by people who are cast, in our own dear National Theatre, well below their true ability, a point we shall pleasantly refrain from belabouring here.

***

Might one make a GENERAL remark ? NOT intended in any way as criticism of those who danced yesterday afternoon, and more especially NOT a criticism of M. Bertaud, who, standing in at the last moment, acquitted himself remarkably ?

Gang - until we get this man Auguste Bournonville sorted out, give us a break ! I’ve got to a point that I’d FAR rather see William Forsythe, at least, when danced by the likes of Mlle. Aubin and M. Duquenne.

What a pity though that Forsythe has long since burnt out his brains ! “In the Middle” far outstrips the inventions of Balanchine, Cranko, MacMillan and that lot, in its sliding/shifting facettes, its within/without, its almost-telepathic use of the counts as one measures the rotating plastique, in its use of the floor....

“In the Middle” has real choreographic content, and would be quite as arresting with no pointe shoes and no hyperextensions. Indeed, could we not try it that way, and take some of the wear and tear off the ol’ bod ?

NOW - Is there any reason whatsoever to go on dancing Auguste Bournonville the way he is being danced at the present time ?

NO. There is NOT.

Let us cut it out, right now this second.

Drop it.

Declare a moratorium.

Here is how a conversation with members of the public typically goes (and I repeat, I am NOT referring specifically to yesterday afternoon’s performance, nor to French dancers, for that matter)

Q Did you like the Bournonville piece ?

A Yuk.

Q Why Yuk ?

A Fussy and fretful as a blowsy old virgin.

Q You mean, you didn’t even like the STEP COMBINATIONS ?

A What step combinations ? The dancers looked so uneasy I couldn’t focus.

And this is how a conversation with one of the dancers typically goes:

Q Did you like dancing that piece ?

A Yuk.

Q Why Yuk ?

A Don’t get it. Can’t fit the steps together right. Calves bursting. How did it look ?

Q Pass on that one. But why did you decide to learn it ?

A My teacher said it would help my batterie. Don’t ask me to do that again ! Plus I think I’ve strained something.

Q Where did you learn it ?

A Found a patch of film in the library.

Q Great ! Always the best way to learn a piece, eh ! And who danced in that film ?

A Two BRILLIANT people from the Moluccan Islands.

Q The Moluccan Islands ! ‘Sblood ! And where did THEY learn it ?

A Well, my teacher told me that their teacher who died aged 103 last year, had spoken to Poul Gnatt in New Zealand in 1956.

Q Fascinating ! And then what ?

A And then we spent an hour with our teacher and he polished it up.

Q And what does he know about Bournonville ?

A Dunno.

So, here goes another Modest Proposal

1/ Moratorium. Let Bournonville lie.

2// In the interval, let the Royal Theatre set up a Trust to operate as a Copyright Agency to promote Auguste Bournonville’s Interests.

Yes, I know that this has all been discussed, and then dropped, because it has been felt that in intellectual property matters, the State of Denmark should be all noblesse oblige, but there is a limit to one’s bonhomie.

This cannot be retroactively enforced.

But FOR THE FUTURE, Bournonville’s Interests should be run along the lines of the Balanchine Trust, while avoiding, or so one hopes, the interesting (since we’re talking about interests here) pecuniary implications of the latter body. All Bournonville needs, really, is a sort of “moral” Copyright.

Thus, and unless people come down from Denmark to put up the piece, it will not have the “Imprimatur” of the Trust.

In some far-off place - the Moluccan Islands ? – the Danes may come across someone who Knows. And that person may be given the “Imprimatur” to teach.

From a strictly legal standpoint, this will not prevent the arrogant or the pig-headed from riding roughshod over Bournonville’s ideas, but the public will at least be forewarned. They will know in advance, that what will see, will be some perfectly-decent dancers going through the motions, without épaulement, without any sense of plastique, wivout NUTTIN actually.

Groucho, where were you when we needed you ?

One feels a Strange Interlude coming on, the moment some poor girl slinks in from the wings to flutter coyly about the stage. In fact, now that I think about it, in Act II of Ratmansky’s “Bright Stream” when that chappie comes on as the Sylph, he is more credible than any lady I’ve seen in recent years: the fair sex no longer has the physical strength to look air-borne.

Anyway, the Danes will have to clean up their act as well. Pitchfork out the dross heaped up over the last sixty or so years – those awful double tours en l’air in James’ variations (!), the dizzying pirouettes, the dancing everything GIGANTIC, rather than articulated piano/mezzopiano/forte.

Gigantism was always a flaw in Nikolai Hübbe’s dancing, and it has spread like a brain-numbing blow to the head.


***


Very impressive at this gala nonetheless, M. Simone Valastro. To whom theatrical dancing is, as the name suggests, THEATRE. That one is playing a ROLE, and that over and above the steps, one must get an IDEA across to the public. Conjure up a time other than this time, a place other than this place, and a being other than oneself. M. Valastro came rather closer than most to pulling off the “Flower Festival”, while Skibine’s Daphnis and Chloe (note the ports de bras and use of the hands) was not a night-club act, but acted quite as vividly as it was danced. Whether the partnering difficulties here were due to Mlle. Grinsztajn’s inexperience, or to her slightly larger construction, I cannot say.

***


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Katharine Kanter



Inscrit le: 19 Jan 2004
Messages: 1412
Localisation: Paris

MessagePosté le: Mar Jan 27, 2004 3:38 pm    Sujet du message: Répondre en citant

Myriam Kamionka

(Had not forgotten to raise this, but could not get it right the first time so had struck out the original lines)

Myriam Kamionka, dancing with to a Chilean “Albrecht” who was, it seems, parachuted in the very night before, knocked me for a loop. At galas people will tend to milk everything for show-biz effect – yet another reason to avoid them - but when the lady came out in a serious Trial Run mode for the Real Thing, one suddenly saw her in a quite different light than heretofore. And regretted that one was not to see more.


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Katharine Kanter



Inscrit le: 19 Jan 2004
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MessagePosté le: Jeu Jan 29, 2004 11:11 am    Sujet du message: Répondre en citant

REMOTE ISLANDS ?

M. Haydn has kindly asked this writer to make public, in somewhat more grammatical form, the tenor of a recent e-mail exchange.

Craving your indulgence therefore, for use of the English language !

Without wishing to be insolent, and having neither a television nor DVD to check those passages from a ballet I have not seen since 1992, might I venture to suggest nonetheless that the excerpts from the “Sylphide” danced by M. Bertaud and Mlle. Martel on the Sunday, were indeed Bournonville.

What M. Haydn may have deemed offensive and unauthentic, were the multiple pirouettes and double tour en l’air, and so forth, in the dancing of James. This may have led him to surmise that our very own Pierre Lacotte was involved.

Well, offensive and unauthentic they are. But let us not blame Pierre Lacotte, just this once !
According to Hans Brenaa (1910-1988), it was Erik Bruhn, in particular, who bears responsibility for introducing into Bournonville’s works all manner of bravura elements, notably multiple turns, at which Erik Bruhn was an absolute master.

As we all know, Erik Bruhn made a huge international career, and in Hans Brenaa’s words “always wanted to make more Effect”.

How do we know that those elements are unauthentic and offensive ?

Although circus and vaudeville performers have always turned multiple pirouettes, it was not the custom in the ballet in the 19th Century, being considered a show-biz effect, and indeed, spotting (a “technological” breakthrough, actually !) was not practised in Denmark until Hans Brenaa brought it back from his studies in Paris with Liubov Egorova, in the early 1930s I believe.

Thus do we know that James either could not, or would not, have turned more than twice in 1841.

There is another, interesting drawback to the technique of spotting. Although nowadays, we have almost forgotten how important is the eye, the shedding of the eye’s light, let us focus for one instant on what happens to your eyes when you are spotting – not only are you hypnotised, the public is hypnotised and fixed on that point as well.

The head remains behind for a fraction of a second – and what happens then ? Well, the plastique of the turn is gone ! It is even more striking if you try it with tour en attitude first with, and then without, the spotting, and you will see how that fraction of a second’s strain in the neck, robs the turn of its plastique.

Then try to see yourself in your mind’s eye preparing multiple turns – one bounces, and then over-reaches à l’américaine, to get the impetu for that ninth turn, or whatever. A feat, yes. Music and poetry, no.

Again, is this writer trying to say that we should all stop spotting ? If a Jew may be allowed to say, “For Christ’s Sake”, then, For Christ’s Sake, NO, I am not trying to say that. Multiple pirouettes can, on occasion, be put to terrific theatrical use. But one can have too too much of a good thing. Why allow multiple turns to break up the course of musical thought ?

What’s so damn important about plastique anyway ? Well, if Vestris, Blasis, Bournonville, and that lot, all say that they relied on a study of Masaccio, Leonardo, Raphael and so forth, as their standard for judgment, might we not take them at their word ?

As an aside, neither Bournonville (nor Filippo Taglioni for that matter, whose own Sylphide dates from 1836 I believe) would have composed manège, tour en l’air or pirouette for the man, if he be wearing a costume where the skirt would fly up. They would have considered it undignified, and in poor taste. Full stop.

At the end of the day, what this boils down to, is that certain original elements from James’ steps have now disappeared for good. Is that an earth-shattering tragedy, and should we all break down in hysterics over it ? Well no, eh ? Surely, it cannot be beyond the powers of imagination of someone with brains, whether foreigner or Dane, to devise new and appropriate elements ?

Finally, although Messrs. Bertaud and Valastro very nearly pulled the whole thing off on the Sunday – and hats off to them both ! - one cannot say as much for the ladies, tossed about like a tiny fishing vessel in choppy seas.

This is our WAKEUP CALL - Maria Alexandrova’s brief appearance here at Paris (and no matter what one might say about certain aspects of her work) - has served to remind us all that the dancing of the woman over the last thirty years reflects

Repression

Opression

Depression

and female technique worldover, now boils down to keeping one’s weight well down, picking up the leg, scudding up and down on pointe, and – lest we forget – being flung about the stage like a chiffon-clad sack of potatoes.

The good news, is that in Bournonville we get to use our own dear little feet. The bad news, is that pointe shoes get in the way of all that jumping and beating. In rehearsal, I think it may be worthwhile to experiment on the demi-pointe only, try to get the feel back for the floor, moving softly across the floor, see how this allows one to take the jump through the entire body, and focus on how that alters the feeling from the floor right through to the torso. You are over the jump, the jump is not over you. Use the entire body.

There is a lot more to be said, but could we now call in the experts ?



Did you say Remote Islands ?

Speaking of looking for experts .... I am sitting here writing this with a World Atlas open on the desk, looking for a chain of Remote Islands other than the Moluccans, where people may, at this very moment, be filming a trend-setting video, from which dancers will shortly be learning Bournonville.

There are some very, very remote islands indeed. Has anyone else heard of the Button Islands off Cape Chidley ?

Others, are less remote. For example, the island upon which the Danes have built the city of Copenhagen.

Should anyone be wondering, Nils Kehlet, Arlette Weinrich, Flemming Ryberg, Lis Jeppesen, and other very knowledgeable people of those generations, are most definitely ALIVE and KICKING, vigorously, on that island. Or, if you’d rather talk to someone still on active duty in the armed forces, Thomas Lund.

Experience leads us, if timidly, to surmise that advice from those ladies and gentlemen might lead to more promising results than remote-island film footage.

***


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haydn
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MessagePosté le: Jeu Jan 29, 2004 11:32 am    Sujet du message: Répondre en citant

Pour nos lecteurs non anglophones, et pour résumer (pardon Katherine, la traduction promise de votre long post sur le concours est toujours sur le métier, je suis trop lent!) :

Katherine Kanter estime que je suis dans l'erreur lorsque j'affirme que le Pas de deux de la Sylphide que nous avons vu à Puteaux est largement inspiré de la chorégraphie de Pierre Lacotte. Pour Mme Kanter, cette chorégraphie ne doit rien à Lacotte, et j'ai été abusé les doubles tours en l'air de James et ses multiples pirouettes . En fait, cette pratique serait due au danseur Erik Bruhn, qui, lorsqu'il fit une carrière internationale dans les années 50, avait la regrettable manie de rajouter toutes sortes de figures acrobatiques de ce genre, et qui n'ont pas grand chose à voir avec Bournonville.

A ce sujet, Mme Kanter nous invite à prendre connaissance de l'interview qu'elle avait réalisé quelques mois avant sa mort, de Hans Brenaa, danseur et maître de ballet au Ballet Royal du Danemark à Copenhague :

http://auguste.vestris.free.fr/Interviews/Brenaa.html


Il m'est difficile de répliquer aux arguments très précis de Mme Kanter ; je prends donc acte de ses commentaires et je considère jusqu'à preuve du contraire que j'étais effectivement dans l'erreur en croyant déceler la griffe de P. Lacotte dans ce pas de deux.


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