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bridiem

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  1. bridiem
    Not sure if it's OK to comment on a preview, but if so... I saw this on Saturday evening, and it was amazing. Superbly danced and incredibly powerful. If I hadn't read the programme I don't think I would have had a clue about the specifics of the story (in fact, even having read the programme I didn't know what was actually going on for most of the time). But the general theme/s (love, hatred, revenge, power etc) did emerge gradually (though I don't think the much-touted gender issues came across much for me, except in that Amba's revenge was only possible in a male form). But visually and emotionally it was absolutely fascinating and built up to a terrific climax. I hadn't been to the Roundhouse for many years, and it's a brilliant venue - atmospheric and intimate, in spite of its size. Very effective and imaginative sets and beautiful music/singing from the four actors in the cast. Khan's choreography/staging stunning. A piece that would repay many viewings; but sadly, no more possible for me!
  2. bridiem
    I don't imagine any of us are acquainted with Bussell's personal motivations in her work choices or conduct, so in my view comment should be confined to what she does (or could do, or could not do) - not why she does it. (And my view of her as a dancer has no relevance to my opinion of her as a presenter.)
  3. bridiem
    Thanks, Janet and capybara - I wasn't speculating, just confused! (Thought I'd missed something.)
  4. bridiem
    I thought she was only out for the autumn performances so I assumed she was back now especially since she's been dancing elsewhere. Is she not doing Rhapsody either then? Wouldn't (shouldn't) the ROH website show the new casting/s if so?
  5. bridiem
    I find that if I've really loved a performance I seem to find superhuman hand/arm strength; if it's been so-so, the clapping quickly becomes a struggle.
  6. bridiem
    This is anecdotal too, but I've quite often been disappointed by the audience not clapping enough generally! (There's a limit to how much one person can help it along...). There are plenty of performances where I would happily go on clapping for ages afterwards (but I realise that the dancers are probably aching to go home by then). I get frustrated when sometime curtain calls are 'milked' and at other times the curtain stays down when I'm sure more calls could have been taken. I'm not sure to what extent the number of calls is completely fixed in advance or are a real reflection of the audience's response.
  7. bridiem
    Just to say that I read FLOSS's first paragraph as basically factual, with no automatically positive or negative inference about any of the groups mentioned.
  8. bridiem
    Delighted about the above - but shouldn't David Bintley have been knighted too, especially this year??
  9. bridiem
    I agree with you, billboyd; but I also think that Bussell could afford to be a bit more serious and it would still please/interest the target audience whilst conveying a slightly more 'serious' message about ballet. But equally, I think that ballet can speak for itself to at least some extent - although the presenter is important, the beauty is evident whoever presents it, for those who have eyes to see. And although the style of the documentary was lightweight, there was a lot of good content too.
  10. bridiem
    P.S. Apologies for making a gender assumption here. Should have said his/her, she/he, etc. Though of course that would have produced a longer post.
  11. bridiem
    I hope that FLOSS will NOT shorten her posts; they are long because she is putting forward complex ideas and arguments as well as factual information. And I'm very grateful to her for doing so. (Writing is not ballet, unless perhaps you're writing poetry.)
  12. bridiem
    I think that Schaufuss and Mukhamedov were indeed both brilliant dancers (the Spartacus clips were incredible!), and important in various ways, but I agree with FLOSS that they weren't ground-breaking in quite the same way as most of the other dancers who were featured. But since they did have particular significance in this country I was glad to see them included, and I suppose since the programme was called 'Darcey's Ballet Heroes' (I think) they could legitimately be included on that ground. I found it slightly irritating that reference was made to Eric Underwood's modelling (of course dancers often have beautiful bodies and are often very attractive, so I'm sure most of them could do modelling if they chose/had time to do so). But if it makes dancing/dancers appear 'cool' to a wider/younger audience I suppose that's good (or at least OK!). I agree with your last sentence, Janet, though I think I actually got more than I expected! Really interesting footage and some great interviews (eg with Arthur Mitchell). Seeing Bruhn dance was thrilling, and seeing him and Nureyev together was very moving. And I'd forgotten quite how sensational Baryshnikov was.
  13. bridiem
    Have finally been able to watch this. I agree with the above comments, except that I got rather irritated by the constant implication that contemporary dance in its freedom and reality is somehow superior to classical ballet in its rigidity and artificiality. It didn't question/challenge the validity of any of the statements being made about contemporary dance or the quality of any of the work/s shown; it was all accepted as automatically good and enlightening. That said, there was a lot of fascinating early footage, including of Pina Bausch who was a breathtakingly beautiful dancer when young (and, in fact, when older), and the whole development of contemporary dance was very well covered. Wonderful to see Nijinska, and Ashton talking about the importance of continuity (unlike many other contributors) in relation to asking her to revive Les Noces. And seeing Akram Khan dance, no matter how briefly, is always a reason to celebrate. Given that contemporary dance was clearly shown to have developed as a reaction against classical ballet, I did wonder (not for the first time) on what grounds Wayne McGregor (regardless of any estimation of the quality of his work) is deemed to be the right person to be resident choreographer of the Royal Ballet. But that opens up a whole different can of worms.
  14. bridiem
    A very illuminating interview. Interesting that some dancers (people) flourish within the structures of a company, and some find them restrictive; I suppose this is reflected in other professions too, and happens for all sorts of complicated reasons many of which we (and even the person involved) can't necessarily fully understand. At least Polunin is now reflecting in a more positive way on the nature of ballet and no doubt his views will continue to develop over time as he gets older and experiences more, both in ballet and in life. The comparison with football is interesting too; I support Liverpool FC, where the club is and always will be the thing, and the greatest players (and managers) have shared that ethos. Of course ballet needs stars; but stars need companies, and (often) guidance and formation to achieve the full extent of their greatness.
  15. bridiem
    I'm very fond of Darcey, but she's clearly working to a brief and is actually a lot more effective and less nervous when she's allowed to be more herself. So I wish the producers (or whoever) would be less prescriptive and allow the interviews to be a bit more serious/informative, and as you say let the audience decide for itself whether it's fabulous.
  16. bridiem
    That's interesting. On 17 December I posted a comment about the screening - positive about the performance, negative about the lighting in Act I, and saying that I thought it was inappropriate to fund raise for pointe shoes (or anything else) in the interval. My comment was still 'awaiting moderation' two days later, so I posted another comment asking for clarification of this. Two days later again, both comments are still 'awaiting moderation' and so visible only to me. I don't know if this is extremely slow 'moderation' (in which case people will have largely stopped reading the comments by the time the first comment is 'released'), or the suppression of what I think was a perfectly reasonable comment about the ROH's fundraising practices.
  17. bridiem
    Just to say that reading all these very interesting posts I am gnashing my teeth at all I have missed!! Esp Naghdi/Ball R&J, BRB Swan Lake and much else. Will have to do better in 2016. BUT am very grateful for the wonders I did see in 2015.
  18. bridiem
    Well they used to do it (as Floss pointed out) so clearly they used to acknowledge that the needs of the stage and the screen are different and felt it important to accommodate the screen when filming a performance (though this was pre-live transmission days). I seem to remember that they mentioned this in the booking details for a performance that was being filmed, so that people could choose not to book for it if they thought it would be intrusive. (Though I never found it so.)
  19. bridiem
    Morera/Muntagirov Fille Woolf Works The return (to London) of Alessandra Ferri – Woolf Works and Chéri Dust barbarians – Hofesh Shechter The King Dances Hayward – Juliet The Two Pigeons Acosta and Nunez - Diana and Actaeon pas de deux Hayward, Campbell and Avis – RB Nutcracker
  20. bridiem
    Clearly the BBC thinks that the audiences for Strictly and ballet are completely separate... (or it doesn't care/doesn't programme across its channels). Will have to record Nureyev and watch it later.
  21. bridiem
    That's a very interesting question! I think, though, that if such ranks exist they should be made known, for the sake of both dancers and audiences. I have to say though that if I know that a dancer is not a principal it makes me even keener to see how they deal with a principal role, so I don't mind at all what rank someone is - it all adds to the interest. I know that contemporary companies tend to be more egalitarian/rank-free, but then they don't tend to have such a wide range of roles at different levels (both technically and artistically) in their reps.
  22. bridiem
    I actually have the opposite view in this respect - I normally watch from far away, and the cinema relays are a rare opportunity to see close-ups. And I'm constantly delighted by how the drama is maintained and realistic even in close-up - no mugging or 'acting' and dramatic business beautifully handled. I think the dancers are tremendous. (And even after an incredibly arduous solo or pas de deux, they smile and bow as if they've just done nothing at all. Only their diaphragms occasionally betray the massive effort they've just put in!). Though I do agree that the Act I 'fight' is not very convincing - but I think that's true from a distance too. I think it's a 'theatrical' fight rather than a real one - whether that's intentional (because it's for children) or not I don't know.
  23. bridiem
    I loved the performances AND the sets and costumes! My only quibble is the low lighting for the party in Act I; I'm not sure if this is meant to be authentic/atmospheric etc, but I just find it dark. Other than that - fabulous all round. Hayward and Campbell terrific together and superb performances from everyone else too. The tree growing and growing and the music building and building is one of the greatest moments in all of ballet.
  24. bridiem
    What a great thread! Have only just seen it. A lot of titles I know but a lot I don't know, and will encourage me to seek them out. Thanks to all who have made suggestions.
  25. bridiem
    I think it's very expensive too, and I live in London!
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