Jump to content

Recommended Posts

11 hours ago, MAB said:

Danish character dancers are drawn from all ranks, but so much of the Bournonville rep requires acting skills that all are potential character artists.

 

I think it is only in Russia that dances are earmarked for such roles early on.

 

In Russia at least, character dancing is not as much about acting as it is about dancing, sorry if this sounds as a tautology. The Kings, the Queens, the Bathildes, and so on, are character artists, not dancers, while the proper character dancers, the ones who produce orgies of energy, speed, and colour -- or supple elegance in obligatory Mazurkas and Polonaises, in various Russian productions, cannot be drawn from the ranks of retiring soloists and principals for obvious reasons. Also in Russia, a former principal can at his later age become a stately King or Prince on stage. There is also a separate category of comic dancers, situated between these two extremes.

 

The absence in western companies of properly trained dancers doing character dancing is reflected in inferior quality and often severely truncated form of the character dancing segments of Petipa's ballets. As much as I love almost everything about how the French train their dancers, character dancing is perhaps the weakest part of their productions of Classics, I am sure not because Nureev would oppose it (on the contrary, he early formation was character dancing), but because they have no specialized artists to do the job well.

 

I am afraid the current discussion may focus more on the titles and positions in the company than on the essence. Are we concerned about having properly behaving and looking Kings and Queens on stage, great comic actors who can do some dancing, or about having properly trained character dancers?

  • Like 3
Link to comment
Share on other sites

  • Replies 176
  • Created
  • Last Reply

Top Posters In This Topic

Top Posters In This Topic

15 hours ago, Grand Tier Left said:

I hope not.  Those character rôles are greatly enhanced, IMHO, by the performances of the long-serving retired dancers and could well turn into caricature in less experienced hands, when the likes of Thiago Soares and Bennet Gartside could, in the future, do them full justice. It will be interesting to see how the proposals to maintain Zenaida Yanowsky's involvement with the company works out in practice: in the past, the "Principal Character Artist" would have been a solution.

Yes, I agree. Although I was saying what I think they might mean by Kevin O'Hare's "jobs for life" comment, I hope that isn't what he has planned. Maybe, as suggested, some of the character roles will go to current company members but others, which require the extra experience, will go to retired dancers as short-term contracts rather than as permanent company members. That might have the advantage of a larger pool of talent to draw from, which wouldn't be so much the case if there were two or three people on the permanent payroll.

 

I have a feeling that Zenaida Yanowsky wouldn't want to be tied down to a "Principal Character Artist" contract, from comments by both her and her husband in articles I've read. So maybe the solution of engaging retired senior dancers for specific roles might be more appealing to her.

Link to comment
Share on other sites

9 hours ago, FLOSS said:

At the time when he was staging his reconstructed Raymonda in Milan the late Sergei Vikharev drew an analogy between the types of dancers required to perform Petipa's late nineteenth century ballets as he intended them to be seen, and a cake made up of layers, each of which plays an essential part in the creation of the finished product, A company which dances nineteenth century and Diaghilev repertory needs the types of dancers for whom the roles in those ballets were created.if it is to provide the audience with the sort of theatrical experience which the ballets' creators intended. It can try to stage these works without demi-character and specialist character dancers but the result is a one dimensional, diminished account of the work lacking the flavour, colour, range,contrast and clear narrative framework which the choreographer intended it to have.

 

As a postscript to FLOSS's extended and thoughtful post, might I ask for someone who knows their theatre history to give us a guide to the old stage divisions, with maybe a reference or two? The different types - found at least as early as Commedia dell'arte and Shakespeare - survived well into the 20th century, though seemingly now forgotten (suppressed?). Examples of such types would include, not just the romantic hero and the ingénue, but actors/actresses known for playing e.g. "the king", "comic old woman" and so on.

 

This way of thinking - which as FLOSS suggests has vanished with the rise of "all shall play everything", along with democratic/egalitarian theatre practice and the collapse of the repertory system as well as stable state-supported companies - survives in opera for obvious practical reasons, see https://en.wikipedia.org/wiki/Fach

 

My point is that certainly 19th century, at least, choreographers and theatre people generally, thought in such "stereotypic" ways (I imply no value judgement, just how a company was organised). I'd like to see a well-sourced list, say of the kind which theatrical managements would use for contracts.

  • Like 1
Link to comment
Share on other sites

1 hour ago, Geoff said:

 

(...) might I ask for someone who knows their theatre history to give us a guide to the old stage divisions, with maybe a reference or two? (...)

 

A "standard" definition of the traditional 3 genres of classical dance was put forward in 1817 by Pierre Gardel, who had been at the helm of the Paris Opera ballet since 1787, and his assistant and a distinguished choreographer, Louis Milon.

 

La danse noble exige une taille élevée, bien proportionnée et surtout une physionomie noble. Son genre embrasse tous les mouvements d'airs connus sous les noms suivants : la sarabande, la passacaille, l'adagio à 3 et 4 temps, la loure, le menuet noble, la chaconne à 2 et 3 temps, l'air marché à 2 temps, tel que marche, etc., la gigue lourée, la gavotte noble, qui approche du mouvement de chaconne à 2 temps, et généralement tous les grands caractères tels que faunes, tartares, polonais, furies, etc.


    La danse demi-caractère exige une taille moyenne, svelte, gracieuse, et une physionomie agréable. Son domaine renferme : la romance, la sicilienne, la musette galante, le menuet gracieux, l'andante, la pastorale agréable, le 6/8 idem, la gigue ordinaire, la gavotte, le passe pied et généralement tous les caractères de zéphirs, sylphes, troubadours, bergers français, grecs, romains, etc.


    La danse comique exige une taille peu élevée plus forte que fine ; une physionomie enjouée, riante et vive ; voici quel doit être son apanage : la musette champêtre et montagnarde, le menuet de genre et comique et grotesque, le 4 temps louré, le 3/8-6/8 et 12/8, le tambourin et généralement tous les airs de pâtre, contre-danses françaises, allemandes et les caractères comiques ou de genre, tels que le chinois, le lapon, l'anglaise, la cosaque, les furies, les sauvages, etc.

 

 

  • Like 4
Link to comment
Share on other sites

  • 2 weeks later...

An Australian newspaper appears to have promotion news before it's announced here.  An item on the five Australian dancers in the Company contains the following (the highlighting is mine):

 

"The five Australian dancers have been with The Royal Ballet between five and 14 years. Two were promoted within the company: Ella from first artist to soloist and Richardson from artist to first artist." 

 

http://www.theaustralian.com.au/arts/stage/australians-bolster-royal-ballets-family/news-story/1513077c464595b9fa71f039262d993f

Edited by Bluebird
  • Like 1
Link to comment
Share on other sites

Well...when will the RB announce the promotions to their audience and fans here in the UK?

I must admit I am really curious to find out who has been promoted after such a wonderful Season.

What are they waiting for?

Edited by Nina G.
Link to comment
Share on other sites

I just discovered that the link I pasted in above to The Australian doesn't seem to work.  When I tried it just now it took me to a subscription page.  The original link came from Twitter.  If anyone is interested in reading the article, they should go to Alex Campbell's Twitter account.  The link there seems to take you straight to the article without any need to sign up for a subscription.

Link to comment
Share on other sites

39 minutes ago, Yaffa said:

In the comments on the ROH announcement about joiners http://www.roh.org.uk/news/new-dancers-to-join-the-royal-ballet-for-201718-season, Chris Shipman has just replied to a question about the promotions saying: "Information will be released in due course after the completion of the Company's tour to Australia."

 

Thanks Yaffa. So now we know, it will be after 9th July.

Link to comment
Share on other sites

3 hours ago, Bluebird said:

 

"The five Australian dancers have been with The Royal Ballet between five and 14 years. Two were promoted within the company: Ella from first artist to soloist and Richardson from artist to first artist." 

 

http://www.theaustralian.com.au/arts/stage/australians-bolster-royal-ballets-family/news-story/1513077c464595b9fa71f039262d993f

 

I think that these two promotions were widely anticipated. Great news!

 

But the article includes incorrect information. Calvin Richardson has been in the Company for less than five years and Harry Churches is actually in his first year in the RB proper having been an Aud Jebsen Young Dancer last season. Moreover, Steven McRae and Alexander Campbell were also "promoted within the Company".

 

I did get wind of a rumour that promotion news would issue before the RB returns from Oz, possibly next week. Maybe this 'leak' will expedite matters.

 

 

Edited by capybara
  • Like 2
Link to comment
Share on other sites

I do know that a promotion of one dancer was made during the last triple bill of the season, but it hasn't been announced yet. (And it isn't either of the Australian gentleman mentioned above).

Link to comment
Share on other sites

Re the character roles, I would just like to say that at the Australian Ballet, far too often these roles are given to young members of the corps, and they are dreadful to watch. I thoroughly enjoyed seeing senior dancers (not 82 years old, but you know what I mean) sharing their experience on my recent European tour - Royal Ballet, Staatsballett Berlin, and Stuttgarter Ballett to name the most wonderful examples.

  • Like 3
Link to comment
Share on other sites

On 28/06/2017 at 23:08, Darlex said:

I do know that a promotion of one dancer was made during the last triple bill of the season, but it hasn't been announced yet. (And it isn't either of the Australian gentleman mentioned above).

 

Even more reason for them to hurry up and make the announcements then!

  • Like 2
Link to comment
Share on other sites

Agreed.  It seems very strange that dancers have been told in private.  Surely it would be better to have an official announcement day, which is when everyone finds out, including those that are being promoted.

 

Maybe certain dancers had indicated they might be thinking of applying to another company, and were dissuaded by being informed of their promotion in private? Pure speculation on my part, of course, but it seems a slightly odd way of going about things.  

Link to comment
Share on other sites

28 minutes ago, Fonty said:

Agreed.  It seems very strange that dancers have been told in private.  

 

I don't think it's strange at all.  In most businesses, those seeking promotion are told whether they are successful or not before a full announcement is made to the rest of the company/firm etc.  I don't see why a ballet company should be any different.  We are talking about people's employment here.

  • Like 11
Link to comment
Share on other sites

42 minutes ago, Fonty said:

Agreed.  It seems very strange that dancers have been told in private.  Surely it would be better to have an official announcement day, which is when everyone finds out, including those that are being promoted.

 

 

Dancers like Akane Takada have explained that they were informed about promotions during their individual season-end conferences with the AD. 

Edited by Mimi
Typo
Link to comment
Share on other sites

I think there is a huge difference between a normal firm and a ballet company.  In the former you normally have an interview, and those who work with you will know that you are actively seeking promotion.  It may take a while for it to be officially announced to the company at large, but here is nothing secret about it, at least not in any of the places I have worked in.  Be impossible to keep it quiet!  

 

It may very well be that everyone who has been promoted by the RB already knows about it, of course, but if so, a few people seem to have talked about it already. 

Link to comment
Share on other sites

14 minutes ago, bangorballetboy said:

 

I don't think it's strange at all.  In most businesses, those seeking promotion are told whether they are successful or not before a full announcement is made to the rest of the company/firm etc.  I don't see why a ballet company should be any different.  We are talking about people's employment here.

 

Agreed. Dancers' discussions with their AD range, I am sure, across a whole range of aspects of their performance (not only on the stage), upcoming repertoire/roles, aspirations, areas for improvement etc. Promotion news is one aspect of this essentially private exchange.

 

Along with everyone else, I am bursting to know which RB dancers have been promoted but it seems that we'll just have to wait a bit longer.

  • Like 4
Link to comment
Share on other sites

1 hour ago, bangorballetboy said:

 

I don't think it's strange at all.  In most businesses, those seeking promotion are told whether they are successful or not before a full announcement is made to the rest of the company/firm etc.  I don't see why a ballet company should be any different.  We are talking about people's employment here.

 

 

I think most ballet companies work this way and it is usual for the end of season announcement to be at the end of the season.  I don't know if all companies have annual assessments but I know of one company where it is at their assessment that the dancers are told.

 

In the olden days when the organisation I worked for had promotion boards (rather than applying for a specific job) the results were always issued at 10:00 on a given day (including a full list of people who had passed).  The year I passed a particular board, in my branch all the senior managers bar one were on leave so he had a lot of people to tell.  I was called in at 0930 but was told under no circumstances was I to breathe a word before 10:00.  A colleague later told me he assumed I had passed because he saw me skipping down the corridor!

  • Like 5
Link to comment
Share on other sites

At least you only had to keep it quiet for half an hour, Janet.  I can't tell you how many times somebody has said to me, "Don't tell anyone, it's a secret, but....." followed by something I am meant to keep quiet about for a couple of weeks.  I've never blabbed myself, but somebody always does, without fail!

Link to comment
Share on other sites

I once worked in the finance department of a business in financial difficulties and I knew who was going to be made redundant. I had to keep quiet about it for several months, which wasn't easy as I knew them all, and several were quite close friends.

Link to comment
Share on other sites

It wasn't much fun - especially as it had been my job to prepare the departmental reports so the bosses could see which departments weren't profitable. So in a way I felt responsible that the axe was going to fall. I guessed why I was doing it, and my boss guessed that I had figured it out, so he confirmed it to me. 

Link to comment
Share on other sites

Apologies if this has already been talked about but does anyone know when we are to expect the announcements? I noticed last year it was June. I too think Yasmine must be promoted to principal- she is just stunning. And I think Marcelino and Valentino also. So much talent...

Link to comment
Share on other sites

Thanks- looking forward to hearing! Must be such a difficult choice- there are so many wonderful dancers. And thank you for the warm welcome. I've just recently started following ballet again after some years preoccupied looking after my 3 young children. Been to the cinema live streamings and hoping to take my eldest  daughter to Covent Garden for the nutcracker later this year!

  • Like 7
Link to comment
Share on other sites

Surely all the dancers had their meeting with Mr O'Hare before departing on Tour. It seems like an endless wait this time around :(  Tour finishes this weekend so I hope they don't make us wait much longer!!!!!! 

  • Like 5
Link to comment
Share on other sites

Guest
This topic is now closed to further replies.

×
×
  • Create New...