HomeMagazineListingsUpdateLinksContexts

 


 Ballet.co Postings Pages

 Some Special Threads:
  GPDTalk about George Piper Dances ! NEW !
  NBTTalk about Northern Ballet Theatre
  SBTalk about Scottish Ballet
  ENBTalk about English National Ballet
  BRBTalk about Birmingham Royal Ballet
  TodaysLinks - worldwide daily dance links
  Ballet.co GetTogethers - meetings and drinks...

  Help on New Postings


Subject: "Yanowsky a principle" Archived thread - Read only
 
  Previous Topic | Next Topic
Printer-friendly copy     Email this topic to a friend    
Conferences What's Happening Topic #1991
Reading Topic #1991
Jason

13-08-01, 11:22 AM (GMT)
Click to EMail Jason Click to send private message to Jason Click to add this user to your buddy list  
"Yanowsky a principle"
 
   Whatever next, she is not prinicple material, she has stage presence, that is as far as it goes, she is not a ballerina, What is happening to the R.B IS IT THE STORY OF LITTLE AND LARGE, first tiny Cojocaru, who is really not ready for priniple roles, now tall elegant Yanowsky, who is soloist material, not principle, who will they make up next, I shudder to think.
Paris Opera must think the management of the Royal have completly flipped, or is this Anthony's farewell gift.


  Printer-friendly page | Top

  Subject     Author     Message Date     ID  
  RE: Yanowsky a principle Catherine 13-08-01 1
  RE: Yanowsky a principle Isobel Houghton 13-08-01 2
     RE: Yanowsky a principle Jane S 13-08-01 3
     RE: Yanowsky a principle Jason 13-08-01 5
         RE: Yanowsky a principle Catherine 13-08-01 6
         RE: Yanowsky a principle Anneliese 13-08-01 10
         RE: Yanowsky a principle Isobel Houghton 13-08-01 11
             RE: Yanowsky a principle alymer 14-08-01 25
         RE: Yanowsky a principle victoria 13-08-01 19
  RE: Yanowsky a principle momo 13-08-01 4
     RE: Yanowsky a principle pmeja 13-08-01 7
     RE: Yanowsky a principle jason 13-08-01 8
         RE: Yanowsky a principle Catherine 13-08-01 9
             RE: Yanowsky a principle Sonja 13-08-01 13
         RE: Yanowsky a principle Marie 13-08-01 12
             RE: Yanowsky a principle Jason 13-08-01 14
                 RE: Yanowsky a principle Catherine 13-08-01 15
                 RE: Yanowsky a principle victoria 13-08-01 16
                 RE: Yanowsky a principle Marie 13-08-01 17
                 RE: Yanowsky a principle Sonja 13-08-01 18
                 RE: Yanowsky a principle Isobel Houghton 13-08-01 20
                     RE: Yanowsky a principle Catherine 13-08-01 21
                         RE: Yanowsky a principle Isobel Houghton 13-08-01 22
                             RE: Yanowsky a principle Catherine 14-08-01 26
                             RE: Yanowsky a principle Renee Renouf 16-08-01 27
                         RE: Yanowsky a principle Isobel Houghton 13-08-01 23
                             RE: Yanowsky a principle pmeja 13-08-01 24

Conferences | Topics | Previous Topic | Next Topic
Catherine

13-08-01, 12:06 PM (GMT)
Click to EMail Catherine Click to send private message to Catherine Click to view user profileClick to add this user to your buddy list  
1. "RE: Yanowsky a principle"
In response to message #0
 
   I never see on stage Zenaïda Yanowsky but I saw her in the Nutcracker video and she impressed me. She was at beginning at POB. I found she merits title. Cojocaru also even if she is tiny.
At POB, you have both categories of dancer the tiny and the tall. Tou are lucky to have nomination because at POB you don't have none and we just have three etoiles now.
I think only seing the nutcracker videos that she merited all both her title. No Dowell has reason to name etoile like that. At POB the much "etoilisable" are Clairemarie Osta, little dancer and Marie-Agnès Gillot tall ballerina.
Cojocaru was nominated young and it's good for her career at POB, they don't nominated nobody before they have 27 or 28 years it's too late, they make very short career. The most brilliant etoile of POB were always the younger nominated as Guérin (23), Guillem (19), Maurin (24).
No I don't think RB became "crazy", I think he gives example to POB who doesn't want to nominate the littlest and the tallest


  Printer-friendly page | Top
Isobel Houghton

13-08-01, 12:27 PM (GMT)
Click to EMail Isobel%20Houghton Click to send private message to Isobel%20Houghton Click to view user profileClick to add this user to your buddy list  
2. "RE: Yanowsky a principle"
In response to message #0
 
   Dear Jason
What is it exactly you expect from a principal. And please don't trot out the standard qualities one hears all the time (having danced major roles, a continuation of tradition etc etc) and please don't fall back on standard physical definitions that have charactereised RB pricipals up till now (little and large? Really). I've heard all these reasons, and appreciate them.

Please qualify those special, personal qualities YOU expect to see in a dancer, those qualities which affect you on a deeply personal, emotive level, those qualities which turn the dancer from the mundane into the "other". And why Yanowsky and Cojocaru fall short of this mark.

I'm not being antagonistic, it's just insufficient to make such a statement without explaining what you expect from a principal. You have a total right to your views, I don't argue that, but rather I'd like to know in detail your personal reactions to a dancer, how a dancer affects you.

I have to say seeing Yanowsky dance Agon pas de deux left me reeling, the scorching sexuality, made me wonder if that was the affect its original creator, the great Amercian ballerina Diana Adams, must have originally brought to it. It was at that moment sitting in my seat, rocked to the core, having seen Yanowsky stun me in a way I've never seen her before, that I thought wow, she really does have it to be a pricipal.

Perhaps Dowell thought so too?


  Printer-friendly page | Top
Jane S

13-08-01, 12:38 PM (GMT)
Click to EMail Jane%20S Click to send private message to Jane%20S Click to view user profileClick to add this user to your buddy list  
3. "RE: Yanowsky a principle"
In response to message #2
 
   Interesting how people pick up different aspects of the same dancer! I wasn't terribly impressed by Yanowsky in either Nutcracker or Agon, but I think she's an outstandingly good actress and I'd love to see her in roles that would show that off - Caroline in Lilac Garden for instance - and if it was up to me I'd cast her as Tatiana in Onegin. (Both being roles for a principal!)


  Printer-friendly page | Top
Jason

13-08-01, 12:50 PM (GMT)
Click to EMail Jason Click to send private message to Jason Click to add this user to your buddy list  
5. "RE: Yanowsky a principle"
In response to message #2
 
   A principle dancer must------
BE PERFECTLY PROPORTION
good acting skills
strong, but beautiful feet
Wonderful port de bras
perfect line
arched supple back
good elevation
easy to partner
small head, short body long legs
musicality
lyrical
to be a star on and off stage while in the public eye.
Catherine I must say P.o.B SEEM TO HAVE MORE OF THESE QUALITIES, THAN THE R.B NEW prinicibles
Darcy Bussell certainly fits the bill when it comes to star quality, on and off stage,maybe these new princibles of the Royal could take note from her.
Catherine it would be nice to meet you at the R.B NEXT SEASON AND TO SEE THE COMPANY LIVE.


  Printer-friendly page | Top
Catherine

13-08-01, 01:02 PM (GMT)
Click to EMail Catherine Click to send private message to Catherine Click to view user profileClick to add this user to your buddy list  
6. "RE: Yanowsky a principle"
In response to message #5
 
   I will like to go in London to see Royal Ballet live,

I think it's not because you are tiny or large that you don't have ideal proportion. In France Marie-Agnès Gillot looks as Zenaïda Yanowsky and she is very fine proportionned. It's true they are wide shoulder but no importance if the dance is impressive and please to audience. It's the case for Marie-Agnes Gillot. Often tallest dancer have something impressive who gift to her more interest. The only problem with the taller dancer is the partnership. Because you don't have so many dancer who can dance with her. In POB, only Martinez, and Bart could really dance with Gillot. Le Riche toot, but I don't love their couple in Diamonds.

For the little dancer, it's not a problem.
You are right when you said that POB has perfect proportioned etoile but if they could nominate as I said before the tiny and the large I will be so happy as the majority of the french balletomanes.
Acting is something you have with the experience of stage and maturity. But If you must wait that, oh my god ! You will have really old etoile
Musicality and lyrical could be gone with size of dancer. Especially musicality, for lyrism, it's other thing, it doesn't depends of size. Aurelie Dupont is the perfect etoile with all the qualities you said, but she begins just to be lyrical and not also for everybody. It's the same thing for Letestu who is lyrical just now. I think you never find the perfect etoile if you want all these characteristic in same time. Acting, lyrism, could be worked and found.

Will you come to POB next season, I will happy to meet you too.


  Printer-friendly page | Top
Anneliese

13-08-01, 01:36 PM (GMT)
Click to EMail Anneliese Click to send private message to Anneliese Click to add this user to your buddy list  
10. "RE: Yanowsky a principle"
In response to message #5
 
   Which of these qualities do Yanowsky and Cojocaru lack, in your view? And which of the other Royal Ballet principals (PRINCIPALS, please note) do you think have all of them? (Incidentally, I find your "small head, short body long legs" comment highly entertaining!)


  Printer-friendly page | Top
Isobel Houghton

13-08-01, 01:53 PM (GMT)
Click to EMail Isobel%20Houghton Click to send private message to Isobel%20Houghton Click to view user profileClick to add this user to your buddy list  
11. "RE: Yanowsky a principle"
In response to message #5
 
   My, my Jason what an exhaustive list, albeit, insular, mysogynous and very British. I assume as well that ballerinas, shouldn't marry, menstruate, have babies, affairs or sully the tradition of ballet with anything so crass as a personal life. Unless of course its perfectly proportioned.

What about artistry, those, indefinable qualities that make a dancer great?

Fonteyn, well she had the proportions, it was just everything else in the technical side that fell somewhat short of her contemporaries. Then there's Seymour, Ulanova, Plitseskaya, Danilova, Kowroski, Adams, Baryshnikov, Nureyev, Vasiliev, Pavlova, Karsarvina, Nijinsky, Grey, Aldous, Gregory, Jameson, Haydee, Lopokhova, well quite a few in fact, who physically fell short of all manner of criteria.

Except for that thing called artistry, that genius in performance, and the adapting of a less than perfect instrument into a vessel that an audience is bowled over by in appreciation of the art of dance.

I look at Yanowsky and I see a blistering, searing, gorgeous woman/artist/dancer, with the ability to take centre stage and at her best make you forget anyone else is onstage with her. Which is one of my criteria for what a ballerina should be.

And what's this drivel about being "easy to partner", ah yes ballerina as little lady again. A pas de deux is a discourse a conversation, the centre of a ballet, and thank god for dancers who aren't little polly pockets and who force male dancers to be on their mettle and up the ante. Peter Martins once said that one of the most difficult ballerinas he ever partnered was light as thistle down, but was almost impossible to lift because she did nothing to help him. A pas de deux is a dance for two, and a tall dancer can seem as light as air if she helps the male dancer.

I take it you're a ballet fan? Well, grow up. Dance is an evolving art form, and its views like that which disallow the progression of dance, and the dancer by rooting it in an outmoded, Draconian and ultimately reactionary image that ultimately do the ballet great harm.

Just think what a first-time ballet viewer, who may have once have subscribed to your view of the ballerina, might think of seeing Yanowsky in all her glory centrestage.

Your views, which are woefully common, makes me more certain than before that in terms of promotion, Dowell's decision was a brave, wise and challenging one.


  Printer-friendly page | Top
alymer

14-08-01, 10:50 AM (GMT)
Click to EMail alymer Click to send private message to alymer Click to add this user to your buddy list  
25. "RE: Yanowsky a principle"
In response to message #11
 
   Isabel, I would be fascinated to know in what areas Fonteyn's technique fell short of her contemporaries? I assume you must have watched her performances over many years to make a statement like that, as well as those of Elvin, Shearer, Grey, etc. I'm sure we would all be most interested to hear your recollections. I find it a very intrigueing statement, especially given the difficulty some of today's dancers seem to have with say, her variation from Birthday Offering.


  Printer-friendly page | Top
victoria

13-08-01, 03:57 PM (GMT)
Click to EMail victoria Click to send private message to victoria Click to add this user to your buddy list  
19. "RE: Yanowsky a principle"
In response to message #5
 
   Jason,

I think the Kirov Ballet and the Paris Opera Ballet are very selectiv about the criterias you`re describing above,but not so much English people,they are more focused on "something else".
Why not?


  Printer-friendly page | Top
momo

13-08-01, 12:43 PM (GMT)
Click to EMail momo Click to send private message to momo Click to add this user to your buddy list  
4. "RE: Yanowsky a principle"
In response to message #0
 
   Jason , why do you mention Paris Opera?Do you think they pay attention to what is going on at the RB?Or is it the Royal who cares about POB?Do both companies have connections?Do you mean that they are "rivals"?I don't understand!Please enlighten me!

I won't comment about Cojocaru and Yanowsky's legitimity of being a prinicipal but it's true that one is tiny and the other very tall.About Cojocaru , I think she 's lovely but perhaps not "powerfully charismatic" for the moment.About Yanowsky , the one thing we could say is about her unusual physique for a ballerina.She's very tall , broad-shouldered , big foot , and a slight masculine face.I apologise in advance to the fan of C&Y :I didn't say that they don't have plenty of other qualities and I don't mean to be naughty.


  Printer-friendly page | Top
pmeja

13-08-01, 01:07 PM (GMT)
Click to EMail pmeja Click to send private message to pmeja Click to view user profileClick to add this user to your buddy list  
7. "RE: Yanowsky a principle"
In response to message #4
 
   good heavens, by those criteria, any number of stars would never have been made principal dancer. and that wouldn't just be a question of differing tastes from one era to another. even when fonteyn was young she had colleagues whose technique and physical equipment were "better" than hers. it is what she made of what she had that made her special. in the united states there are any number of ballerinas that i could name about whom the same statement could be made, in any era. what makes it for me, at any rate, is an intangible, a shining light that cannot be ignored. or even easily defined. it is more than just a strictly defined limiting factor or an entry on a balance sheet. but you know it when you see it.


  Printer-friendly page | Top
jason

13-08-01, 01:29 PM (GMT)
Click to EMail jason Click to send private message to jason Click to add this user to your buddy list  
8. "RE: Yanowsky a principle"
In response to message #4
 
   Yanowsky danced with P.O.B and was never made up, although in her biography it says she danced---
KITRI, TCHAIKOVSKY PAS DE DEUX, LE cORSAIRE, AND CREATED ROLES IN AUTOUR DE JUAN, SEBASTIAN KINGAND HERMANAS WHERE???? NOT WITH P.O.B, SOMEONE PLEASE ENLIGHTEN ME.


  Printer-friendly page | Top
Catherine

13-08-01, 01:36 PM (GMT)
Click to EMail Catherine Click to send private message to Catherine Click to view user profileClick to add this user to your buddy list  
9. "RE: Yanowsky a principle"
In response to message #8
 
   She was surnumeraire at POB, dancing only in corps. She appeared as a member of shade corps in Bayadere and certainly in other productions. I must look to find the seasons where she was surnumeraire. It should be after Eurovision competition with his Brother but I don't really remember when.


  Printer-friendly page | Top
Sonja

13-08-01, 02:35 PM (GMT)
Click to EMail Sonja Click to send private message to Sonja Click to add this user to your buddy list  
13. "RE: Yanowsky a principle"
In response to message #9
 
   Zenaida won the Eurovision competition in 1993, if that is of any help?! (source: http://www.bbc.co.uk/youngdancers/past_winners.shtml#5)


  Printer-friendly page | Top
Marie

13-08-01, 02:27 PM (GMT)
Click to EMail Marie Click to send private message to Marie Click to add this user to your buddy list  
12. "RE: Yanowsky a principle"
In response to message #8
 
   It's true that POB dancers have those perfect proportions of body , those who come from POB school at least.

Jason , may I ask you what POB productions you have seen?

Like Catherine said , Yanowsky was a "surnuméraire" at POB.It means that she was hired to appear in the corps.Then there is an audition to become a "real" member of POB but it's very difficult.Only one or two dancers are hired from 100 and more.When you succeed this "audition" , in fact it's a competition , you become "quadrille" and then you have a competition each year to become , then , "coryphée" , "sujet" ,"premier danseur".


  Printer-friendly page | Top
Jason

13-08-01, 03:02 PM (GMT)
Click to EMail Jason Click to send private message to Jason Click to add this user to your buddy list  
14. "RE: Yanowsky a principle"
In response to message #12
 
   I have seen many productions danced by P.O.B as I go to Paris often,and have been doing this for for many years, and have always admired their work greatly, also I believe that because, they mainly only use dancers who have been through the school, they have a purer company then the Royal, I personally would like to see the Royal Ballet British, as it used to be, very few dancers taken who had not been through the school, I am not saying that dancers from other schools are not good, but it would be nice to have the company 90% British again, and rediscover the English style.
We have English national who are an international company, and very nice too, but as The Royal Ballet is the leading company in the United Kingdom,and our flagship abroad, it would be rather nice to see English dancers in the company, I have noticed there have not been any english boys or girls promoted at the end of this season, all quite disturbing, and these are the reasons I envy Paris Opera BALLET ESPECIALLY FOR ITS MARVELLOUS CORPS.
ALSO THE WAY THE DANCERS HAVE TO TAKE EXAMS TO BE PROMOTED, MAYBE SOME THINK THIS IS HARSH, BUT IT MAKES WONDERFUL DANCERS.


  Printer-friendly page | Top
Catherine

13-08-01, 03:16 PM (GMT)
Click to EMail Catherine Click to send private message to Catherine Click to view user profileClick to add this user to your buddy list  
15. "RE: Yanowsky a principle"
In response to message #14
 
   ALSO THE WAY THE DANCERS HAVE TO TAKE EXAMS TO BE PROMOTED, MAYBE SOME THINK THIS IS HARSH, BUT IT MAKES WONDERFUL DANCERS.

If the competition was just it will be perhaps a matter of luck, but it's not the case. Did you red the comments about last internal competition. Every girl in every class has the same look but it's not the best who will go up. It's the one who will the best well-loved by Direction or Balletmaster. It's like that that dancer as Paquette who has nothing of a premier danseur became it. And if Eleonora Abbagnato is a future big dancer, she was not the only girl who can become premiere danseuse. Fanny Fiat could become it, so well as Nolwenn Daniel. All the sujets will be principals in other companies. And all the coryphées will be soloist.
The competition could be a good thing if it's well-organized and well-judged, but as well in all the companies, it's the favourite of the moments who grow up and not the best dancer. All the girl have perfect line.
It's evident that Royal Ballet seems more "heteroclite" as composition than POB, but it's Royal Ballet, he always had guest artists, it's not the politic of POB. And it's true that this different politic give differents results on stage. Because all the principals in France will come from POB school of ballet and will have same style.
But never don't judge exam as a selection criter. It's true that never very very best not become what they must become but it's true that too many dancers in quadrille or coryphée merit more than they are.
I think it's also a basis question about Royal Ballet artistical politic and Paris Opera ballet


  Printer-friendly page | Top
victoria

13-08-01, 03:28 PM (GMT)
Click to EMail victoria Click to send private message to victoria Click to add this user to your buddy list  
16. "RE: Yanowsky a principle"
In response to message #14
 
   I didn`t know Zenaida has been promoted to "principal",when did that happened?At the end of the last"mixed bill" performance?
Can anyone tells me details about that?


  Printer-friendly page | Top
Marie

13-08-01, 03:44 PM (GMT)
Click to EMail Marie Click to send private message to Marie Click to add this user to your buddy list  
17. "RE: Yanowsky a principle"
In response to message #14
 
   Jason , may I ask you if you are a dancer?

I totally agree about the fact POB has a wonderful corps.It's all due to the schooling.The POB corps is homogenous -bodies and style.I personaly think they are all principal material.

If you want to see the school's training , each year in december there are what are called "démonstrations" ; in the morning the little ones and in the afternoon the bigger ones.But maybe you know about this already!


  Printer-friendly page | Top
Sonja

13-08-01, 03:54 PM (GMT)
Click to EMail Sonja Click to send private message to Sonja Click to add this user to your buddy list  
18. "RE: Yanowsky a principle"
In response to message #14
 
   Jason, again - what do you mean by "wonderful dancers"? Technically wonderful? I do like good technique, but not in all ballets I want to see acrobatics or gymnastics on stage, but what I call "artistry". And as so many have written before, this is something you cannot define generally. I admit I have only seen POB on video so far and I really admire them, especially the standard of their corps in the classics - but what I have loved at RB has always been the acting in dramatic or comic ballets where dancers can shine who are not as brilliant as some technical whizzards... Art is always a matter of personal taste.


  Printer-friendly page | Top
Isobel Houghton

13-08-01, 04:13 PM (GMT)
Click to EMail Isobel%20Houghton Click to send private message to Isobel%20Houghton Click to view user profileClick to add this user to your buddy list  
20. "RE: Yanowsky a principle"
In response to message #14
 
   90% British? Rediscover the English? Purer? I'm sorry is this a ballet discussion board or a hustings for an Anglo-Aryan rally.

Yes, the POB has a greater corps, but then the polish and perfection could also be partly due to the fact that its country cherishes the company, and huge funds are made available.

I don't contend every point you make, the school under Dame Merle Park has been conspicuous in its lack of stars being produced, Dowell has also been guilty of not promoting some very talented British dancers - all true. But, my God man its the tone of your messages, the language and views expressed.

France is a deeply, DEEPLY racist country, support of the arts aside one cannot escape the fact that perhaps the pure, undiluted, style of the company is indeed a very valid reflection of the country from which it comes. And let's not forget politically, historically the high arts and repressive or reactionary political regimes go hand in hand.

I'm sure that given the extra funds at the POB's disposal the Royal could allocate the extra time to polish the corps into a shining veneer.

But ballet if it is to be pertinent must reflect the society for which it is made, and thank God we have a company which is a cultural melting pot. With black, asian, eurasion, Japanese, european, ex-communist bloc dancers are all welcome, the proviso being talent.

Now, one thing that Dowell has succeeded in is in raising the technical standards of the company. When he took over the RB was in a dreadful state after Norman Morrice's leadership. And the one thing that Morrice did which caused the RB great harm was in attempting to make the company a Brits only club. He stopped the use of Guest stars, he cut off the creative link to the rest of the ballet world, he left Dowell with a company that was lacklustre and far more removed from or incapable of performing in the "English style" than it is now.

Come on man, I'm upset that your view that Yanowsky is not principal material (your view and I would not dream of dissuading you from holding it) has given in to these mysogynous, politcally obtuse and insular outpourings.

I love ballet, I love it and I defend it at every turn to my friends who see it as an elitist, stunted socially unaware art form, but I read your views and I do worry.


  Printer-friendly page | Top
Catherine

13-08-01, 04:52 PM (GMT)
Click to EMail Catherine Click to send private message to Catherine Click to view user profileClick to add this user to your buddy list  
21. "RE: Yanowsky a principle"
In response to message #20
 
   "France is a deeply, DEEPLY racist country, support of the arts aside one cannot escape the fact that perhaps the pure, undiluted, style of the company "

How could you write that, you have also strangers dancer, but it's true we have an unity of style. It's not a question of colour. Charles Jude was asiatic origin and was etoile from POB but he has french style. It's not a question of racism. It's just a question of School. We have "coloured" dancers in corps but they came from School of ballet.
And since some years, we have also some strangers from school who enter in the company as Carbone, Vantaggio, Valastro, Parzcen. They are from Italie or Hungary.
POB has not the same politic than RB who promoted foreign etoile. It's not the case of POB, which is like the Kirov a troup where the member are issued almost of their School of Dance.
ABT or Royal Ballet prefer to have different style of principal. It's your choice, but it's not because we are racist than we don't have many origin dancers, it's the rules of POB. As to have quest etoiles is the rules of Royal Ballet. It's stupefying to not see more english etoile by the fact in England but perhaps RB School is not able to give so many good dancer than POB school.

And yes I'm agaisnt a guest politic, we have so many talents we don't need to ask for other dancer from other countries to come dance with POB.


  Printer-friendly page | Top
Isobel Houghton

13-08-01, 05:01 PM (GMT)
Click to EMail Isobel%20Houghton Click to send private message to Isobel%20Houghton Click to view user profileClick to add this user to your buddy list  
22. "RE: Yanowsky a principle"
In response to message #21
 
   I was actually referring to the rise of far-right political parties as typified by the delightul Jean Marie Le-Pen and the Front National.

As to the RB school not being able to produce dancers of merit as opposed to the POB school? That certain companies are so incomparable or unimpeachable that they could never benefit from looking at outside influences, schools etc etc and perhaps by taking on board stylistic and cultural differences themselves grow in stature and merit? Well whatever, but what was I saying about insular and racist attitudes?

Of course there also remains the fact that it's widely recognised that it was the pioneering leadership of Nureyev that re-established the POB as a main player on the world ballet stage, after so many years of dissolution and neglect. Now there was a man who could kick a ballet company into shape.


  Printer-friendly page | Top
Catherine

14-08-01, 11:35 AM (GMT)
Click to EMail Catherine Click to send private message to Catherine Click to view user profileClick to add this user to your buddy list  
26. "RE: Yanowsky a principle"
In response to message #22
 
   If you know really french politic, you will know that Le Pen is finished as well as "extreme-droite" parties. I know it's far from Dance, but how you speak about him. I just want correct this point.


  Printer-friendly page | Top
Renee Renouf

16-08-01, 04:59 AM (GMT)
Click to EMail Renee%20Renouf Click to send private message to Renee%20Renouf Click to add this user to your buddy list  
27. "RE: Yanowsky a principle"
In response to message #22
 
   The fact that there can be over twenty responses to the
comments about Yanowsky's being named as principal speaks
not only for her qualities but to the health of ballet.co.!

I saw Yanowsky when she got a gold at the Jackson Competition
in 1994? She was partnered by her brother who is a principal at Boston Ballet. Both were trained by their father who had been
a dancer at Lyon. She was striking then, if young. Seeing her
in an off stage situation, particularly crying when her gold
medal was announced, I did not find her particularly tall, in
contrast to Darcy Bussell. But she was intense and concentrated without question.

I would like to suggest that Yanowsky had an advantage in being
raised in a dancing family. I ask somewhat rhetorically, "How many English dancers go through The Royal Ballet training who
have a dancing family background?" Indeed, how many anywhere?
I say that having read about the dancing families which created the likes of Gardel and Vestris, Blasis, etc. There also is that old saw about various cultures having dance in the blood, and there is something to be said for the Slavs and the Latins in that regard.

I would like to mention something which I have noticed until recently and that is the fate of Asian dancers in the Royal Ballet School. Three Royal Ballet-trained dancers migrated to
the San Francisco area in the eighties and nineties. One of them, Richard Chen See, is now with the Paul Taylor Company.
Another, Shan Yee Poon was born in Tokyo and grew up in Hong Kong
and the third, Kelly Teo, is native to Singapore. They went
through the School, apparently when the Royal was not hiring
Asians. I remember Richard speaking of how lonely and alien
he felt - both he and Kelly have distinct choreographic abilities
if highly colored by their cultural heritage. So, Sir Anthony
Dowell's willingness to engage and promote Asian dancers, even
if they may have come from outside the Commonwealth, is quite salutary from my perspective in a city where literally one-third of the population is now Asian of any one of thirty definable cultures.

I think you have to realize that island cultures, and England, like Japanand the Philippines, are definitely island cultures, historically tended to be insular in their viewpoints. But at the same time,they look to the sea and what lies beyond with a curiosity and a zest that some of us land-locked nationalities do not. It was part of the vive la difference! And now such generalizations can be totally shot through with holes!



  Printer-friendly page | Top
Isobel Houghton

13-08-01, 05:07 PM (GMT)
Click to EMail Isobel%20Houghton Click to send private message to Isobel%20Houghton Click to view user profileClick to add this user to your buddy list  
23. "RE: Yanowsky a principle"
In response to message #21
 
   I was actually referring to the rise of far-right political parties as typified by the delightul Jean Marie Le-Pen and the Front National.

As to the RB school not being able to produce dancers of merit as opposed to the POB school? That certain companies are so incomparable or unimpeachable that they could never benefit from looking at outside influences, schools etc etc and perhaps by taking on board stylistic and cultural differences themselves grow in stature and merit? Well whatever, but what was I saying about insular and racist attitudes?

Of course there also remains the fact that it's widely recognised that it was the pioneering leadership of Nureyev that re-established the POB as a main player on the world ballet stage, after so many years of dissolution and neglect. Now there was a man who could kick a ballet company into shape.


  Printer-friendly page | Top
pmeja

13-08-01, 05:26 PM (GMT)
Click to EMail pmeja Click to send private message to pmeja Click to view user profileClick to add this user to your buddy list  
24. "RE: Yanowsky a principle"
In response to message #23
 
   can you honestly say, however, that there is any country anywhere that does not have a racist element? we have it in the u.s., i am sure britain has it, le pen is an obvious one in france. but at the same time, there have been brave people everywhere who countered it, in the u.k., in the u.s., in france, both in the present and historically. i believe that the point can be raised that any country that has a national designation for a group of artists can be forgiven somewhat in requiring some link by birth or by naturalization or otherwise with that national designation for the artists it employs, at the same time that it will admit the influence of whatever people have been admitted to its borders as legal residents or citizens. a pure style does not necessarily call into question the race or politics of its practitioners.


  Printer-friendly page | Top

Conferences | Topics | Previous Topic | Next Topic

 
Questions or problems regarding this bulletin board should be directed to Bruce Marriott