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You know that a dancer is getting on when their mini biography in the programme suddenly becomes coy about when and where they trained ,the date they joined their current company, their career progression in that company and where they worked before they joined it. It is a sad fact that Watson, Yanowsky and Morera have all had filleted mini biographies for some time and that Bonelli now does too.

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You know that a dancer is getting on when their mini biography in the programme suddenly becomes coy about when and where they trained ,the date they joined their current company, their career progression in that company and where they worked before they joined it. It is a sad fact that Watson, Yanowsky and Morera have all had filleted mini biographies for some time and that Bonelli now does too.

 

Yes, very noticeable and rather poignant.

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I haven't noticed that but I wouldn't read those bios in that way. These are all principal dancers - and so they have made it to the top - and surely details of when they joined the company, got their promotions etc become a bit irrelevant if these things happened years ago. Morera and Watson haven't danced anywhere else (have they?) and so nothing can be put down about their previous companies. I think that all three dancers are very fortunate to have had such long careers, with interesting roles to dance and even works created on them on the later part of their careers.

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You know that a dancer is getting on when their mini biography in the programme suddenly becomes coy about when and where they trained ,the date they joined their current company, their career progression in that company and where they worked before they joined it. It is a sad fact that Watson, Yanowsky and Morera have all had filleted mini biographies for some time and that Bonelli now does too.

 

FLOSS, you make an interesting point, and, having had at look at my 2014 Winter's Tale and 2016 Wheeldon bill programmes, I was going to agree with you, but I don't think it's actually that straightforward.  If it were, Steven McRae would be approaching retirement too!  It's seemed to be accepted practice for some years now that you cut out the intermediate ranks between the dancer's joining date and their promotion to their current rank.  Yanowsky, Watson and Bonelli all have details of their training given, plus previous companies where applicable.  I guess the "filleting" is actually more of a concertina-ing: as a dancer's career progresses, some things have to be squeezed out to fit the details into the available space, and it would seem that created roles are seen as more important than other roles, so that a dancer's "inherited" roles may have to be reduced to "classical/dramatic/contemporary" or "works by MacMillan/Scarlett/Tetley/Cranko etc."  (Indeed, I suspect you will have noted the glaring omission in Watson's CV as regards choreographers: Daphnis, Monotones, Symphonic Variations, Oberon and Palemon are some of the roles which come to mind).  Even Muntagirov's bio is slightly compressed from where it was 2 years ago, shortly after he'd joined: a little less coverage is given to his ENB career, whereas the roles he's danced since joining the RB are listed.  That will surely be compressed even more if he continues to go through the RB repertory at the current rate.

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