20-01-01, 07:16 AM (GMT)|
I had the good fortune to see her compete at Jackson in 1998.|
At the time I understood she was already slated to go to the
Royal, so in a sense Jackson was so much icing on the cake.
There are two memories I carried away with me of her in roles.
One was her dancing a number from Les Sylphides, scarcely a bravura piece for the kind of dancing which was being projected
by Rasta Thomas and Adrienne Canterna. Both these dancers have
been touted in Dance International as representing the dancer of the 21st Century.
Wishinski who went into ballet after some exposure to acrobatics
reminded me of Ballet Russe dancers with a strong projection of mood. As I remember her brief solo (I think it was the Prelude)
cast a brief, but unusual stillness in the auditorium, and I felt quite distinctly I had seen a young artist, a sentiment I did not
feel with the aforementioned two. (Wishinski received a junior bronze medal for the women). The other number had her dressed in black, with a wonderful black fedora, and, possibly a chair -- that shows you how good my memory is. But she had the combination of theatricality, taste and physical strength which just reminded me of the days when Ballet Russe dancers gave us
some emotional content with their dancing and a personality along with it. It probably is the same combination which made the de Cuevas company so popular for a long time.
Having seen Baronova in New Orleans this past June, there are echoes of her focus which I saw in Wishinski, and, mind you, I never saw Baronova dance until I looked at the Australian documentary "An Avalanche of Dancing".
Long live Wishinski!
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