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Obsidian Tear (New McGregor)


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Lee, many thanks, most helpful and I'm now fully in the picture - one that seems remarkably short on female dancers.  And once Wayne McG has grown the dark beard that he seems to have started, we can perhaps have another day full of comment on how well it fits with his shaven head.  Such fun!

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And there was me thinking it was some kind of obstetric rupture!

 

I’m afraid I gave up long ago trying to make sense of Mr McGregor’s lengthy expositions & titles and relate them to his choreography but, Hey -  artists must find their inspiration where they may and who can or should gainsay them. “What’s in a name” as someone or other once said. “The play’s the thing!” 

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I’m afraid I gave up long ago trying to make sense of Mr McGregor’s lengthy expositions & titles 

 

I saw first saw Chroma on its third night in 2006, back in the ballet.co era.  Later that night, in penning some remarks, I asked if anyone could explain to me one of the passages in Mr McGregor's programme notes.  Nigh on 10 years later I am without response.

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I take it Obsidian Tear and Apache Tear are the same thing. Reading about Apache Tear and what went down - literally - at Superior, Arizona, I was reminded of that film U Turn, starring Sean Penn and Nick Nolte, amongst others. An everyday tale of murderous and psychotic folk living in and around Superior. There were quite a few tears in that story! Presumably this isn't McGregor's homage to Oliver Stone.

I have a ticket for the second matinee of this triple bill. Can't wait to read the reviews but I will go anyway.  :rolleyes:

 

I saw first saw Chroma on its third night in 2006, back in the ballet.co era.  Later that night, in penning some remarks, I asked if anyone could explain to me one of the passages in Mr McGregor's programme notes.  Nigh on 10 years later I am without response.

Would it be possible to reproduce that passage here, or is it a copyright thing.

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My computer won't work with live relays but look forward to reading about it tomorrow, am going to watch something I recorded from the BBC, his first ballet Antibiotics, or Symbionts, it shows Wayne himself dancing with Deborah Bull, Thomas Whitehead, Christina Arestis and others, possibly Edward Watson, does anyone else remember this, I never saw it at the ROH, think Qualia was the first one I saw live.

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Wayne has just said that it is both.

 

If I remember correctly, he explained this in a sense that life would also be ambiguous at times.

 

I can't see the recording on the ROH Youtube channel yet however the link to the live-stream is already in the news item that announces the live-stream. http://www.roh.org.uk/news/watch-obsidian-tear-in-rehearsal-live-streamed.

 

I liked the way the presenter moderated the evening, she came across as natural, interactive, and involving both interviewees in equal measure.

 

As this was the second Insight evening in a row that was live-streamed, I am hopeful that this will become a more regular feature in the future.

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I wonder whether those attending felt that 62 minutes was good value (the Insight had been advertised as being 90 mins)? Oh for the days when Insights were day long events and, in the case of mixed bills, covered all, or at least two of, the pieces. [i think that we could have done with an Insight for The Invitation as well.]

 

The presenter, Clemency Burton-Hill, is, I believe, the grand daughter of Humphrey Burton who was once i/c the arts for the BBC (I think). She was engaging and asked questions which had some research behind them.

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62 minutes?  That's ridiculous.

 

I tend not to bother with Insights any more, now that I have to come in from out of town - it's just not worth the hassle for such a short time.  Plus I remember at least one insight which didn't tell me a thing I didn't already know, so not very insightful.  They were a lot better when they were a couple of hours long.

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I wonder whether those attending felt that 62 minutes was good value (the Insight had been advertised as being 90 mins)? Oh for the days when Insights were day long events and, in the case of mixed bills, covered all, or at least two of, the pieces. [i think that we could have done with an Insight for The Invitation as well.]

 

The presenter, Clemency Burton-Hill, is, I believe, the grand daughter of Humphrey Burton who was once i/c the arts for the BBC (I think). She was engaging and asked questions which had some research behind them.

The insight continued after the live stream finished. It was about 80 minutes in total.

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It would probably be too much to hope that Ms Burton-Hill was effectively auditioning to become the presenter for the ROH streaming events.  (She and Alison Balsom have been presenting the BBC Young Musician rounds on TV this year - a pleasing and knowledgeable pair, if I may presume to comment.)

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Wayne has just said that it is both.

 

 he explained this in a sense that life would also be ambiguous at times.

 

Now this is just insulting, at best showing-off, at worst an arrogant attempt to demonstrate some kind of intellectual superiority. 

 

Dressing up his work with such verbal obfustication serves no useful purpose and certainly will not blind his audience to any deficiencies. Dance has its own language; when successful it needs no explanation.

 

We can ignore all this silliness and evaluate his work in its own right. But there are serious underlying issues that should not be ignored and that have been mentioned several times on this forum:

 

(1) What are the implications of the Company’s obvious intention to extend its traditional focus into contemporary dance? Where does the future balance lie? Is the Company’s name becoming a misnomer?

 

(2) What are the implications of this changing focus for the bodies and careers particularly of the younger dancers who will be under enormous pressure to put themselves forward?

 

I would like to see discussion on these points. The physio facilities at the RB are said to be amongst the finest in the world but how is the effect of changes in the repertoire being monitored. Injury levels seem high – have they increased? At what level are they occurring? is there a process of automatic review when injuries occur or are they just accepted as part of the job?

 

There are worrying similarities between the two sides of the House. On the Opera Side we have been subjected to a range of Regietheater productions that many see as expensive failures. On the Dance front there has been a drive for new choreographers. In both cases a free hand seems to have been given with no apparent attempt to moderate or guide.

 

The saving grace has been the remarkable singers, musicians and dancers. In the Royal Opera only its reputation is at risk. In the Royal Ballet, it is the dancers themselves that are affected and I for one would like assurance that the effects of some of the currrent new directions are being properly monitored and assessed.

Edited by David
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Argh typical!!!!

 

Doesn't Our Wayne have form in this regard? I am sure I have read, when asked what's it all about Wayne, he has gone all mystical, saying things like something can mean one thing, either thing, anything, many things or even nothing. Take your pick.

Anything can mean whatever you want it to mean. So, don't bother trying to work it out as it probably doesn't mean anything at end of day like. Moving forward, we should just appreciate the quality and the workings of a mind on a higher plain than us simple folk. 

Apparently, he's a really nice bloke in real life. ;)

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