Silke H Posted January 3 Share Posted January 3 I have just seen the news the Royal Ballet School's artistic director Christopher Powney will step down in July after 10 years in this role. RBS News 1 4 Link to comment Share on other sites More sharing options...
Jan McNulty Posted January 3 Share Posted January 3 Hot off the presses: https://www.royalballetschool.org.uk/latest-news/ 1 5 Link to comment Share on other sites More sharing options...
Sim Posted January 4 Share Posted January 4 A post (and therefore one relating to it) has been hidden whilst under discussion by moderators. 1 1 Link to comment Share on other sites More sharing options...
Geoff Posted January 4 Share Posted January 4 May I ask a point of information? The RBS website says: >>Christopher returned to The Royal Ballet School and took up the post of Artistic Director in September 2014. In 2022 he was made Artistic Director & CEO. So the “decade” in post has been as AD but he has only been CEO for a year. What are the distinct functions of the CEO role at the RBS and what is it about them that might make someone not want to continue after such a short time? 1 Link to comment Share on other sites More sharing options...
Peanut68 Posted January 4 Share Posted January 4 I was rather intrigued to see the added role of CEO….& this last year does seem to have seen a huge uplift in the seemingly ‘commercial’ side & exploits of RBS - merchandise widely advertised for sale (beyond just by PTA at open days etc as used to be more the norm) plus added online pay to view courses, added non selective day courses, added sign up to teach opportunities such as affiliate program….all money earners…. No bad thing to subsidise UK dancer (well…???) training….If this aids the taxpayer from being relied so heavily upon or plugs shortfall of philanthropic gifts that todays times bring or means less reliance on taking overseas sponsorship aimed at championing specific country students…. No, wait, I think that also is a more recent add on….hmmm 🤔 I personally feel that any educational establishment in the arts such as dance should have 2 separate leads - one for Artistic management & one for ‘running the business’ elements. Perhaps this duel role is partly to blame for reports of (& personal experience of) facts that the AD rarely is seen at UK auditions for the school & for seemingly to not be as personally in tune with (like knowing names of) their students? I once worked for a business membership body that was a registered charity which then had a whole new separate arm called ‘xxx Enterprises’. So, whilst the members all felt cosy that we were a charity & all for their benefit, trust me the ‘Enterprises’ side was very much run along purely commercial money-making lines (with salaries & performance related pay in line with purely commercial ventures). So, yes, profits no doubt were then solely for the ‘charity’ but the Enterprises ‘wrapper’ as I saw it then allowed for much more money to be siphoned off into salaries & business costs (offices etc). Not necessarily a bad thing may one deduce but it could very much angle individuals focus (I speak as one from a sales team so yes, I confess my main goal was in getting my very generous commission from every achieved sales target! And having the wholesome link to the ‘charity’ & it’s roots/connections/kudos did make selling services (often ones available from the purely commercial sector too) that much ‘easier’ in my personal opinion & from my personal experience. I did note a few years ago now that the RAD all of a sudden has RAD Enterprises alongside the charity membership & education body which seemed to take over many of what I guess are the purely money-making things such as merchandise/book sales etc. to make clear I have no personal experience of RAD beyond that of student/parent/ & (expired) membership. 2 1 Link to comment Share on other sites More sharing options...
capybara Posted January 4 Share Posted January 4 In recent times, my IG feed from the RBS has been so predominantly commercial that one could easily lose sight of the school’s primary purpose. 7 Link to comment Share on other sites More sharing options...
Fonty Posted January 4 Share Posted January 4 9 hours ago, Geoff said: And also, to move to an important curriculum specific, a strengthening of the school’s traditional commitment to Cecchetti. Despite relentless “how much better dancers are today” propaganda, objective comparisons of Royal Ballet recordings from over half a century ago show many areas where technique is now not just different, but worse (perhaps another reason so little Ashton is programmed these days). Absolutely. I am told that today's dancers really don't like Cecchetti, and hate classes devoted to it. I don't know why; I did Cecchetti classes when I was a teenager and loved them. Been so long since I did them I can't remember exactly what was included, but I believe it was brilliant at correcting tiny errors in body alignment and placement. I really don't think today's dancers are better overall, just different. Yes, the majority of men can jump higher and do more spins that the males of the past. But as far as the women are concerned, broadly speaking athleticism seems to be the key attribute now, rather than artistry. Watching Fonteyn's Magic of the Dance programme only emphasises what seems to have been lost. 5 Link to comment Share on other sites More sharing options...
Kerfuffle Posted January 4 Share Posted January 4 32 minutes ago, Fonty said: Absolutely. I am told that today's dancers really don't like Cecchetti, and hate classes devoted to it. I don't know why; I did Cecchetti classes when I was a teenager and loved them. Been so long since I did them I can't remember exactly what was included, but I believe it was brilliant at correcting tiny errors in body alignment and placement. I really don't think today's dancers are better overall, just different. Yes, the majority of men can jump higher and do more spins that the males of the past. But as far as the women are concerned, broadly speaking athleticism seems to be the key attribute now, rather than artistry. Watching Fonteyn's Magic of the Dance programme only emphasises what seems to have been lost. It seems like a different sort of athleticism, one based on grand allegro. British ballet is known for its petit allegro from what I’ve read - speed of footwork with a lovely lyrical upper body. Competition culture seems to lead to the upper body being neglected alongside real artistry and musicality (not a pasted on smile). 4 Link to comment Share on other sites More sharing options...
Lifeafterballet Posted January 4 Share Posted January 4 Wonder where he is off too 🤔 3 Link to comment Share on other sites More sharing options...
Fonty Posted January 4 Share Posted January 4 34 minutes ago, Kerfuffle said: It seems like a different sort of athleticism, one based on grand allegro. British ballet is known for its petit allegro from what I’ve read - speed of footwork with a lovely lyrical upper body. Competition culture seems to lead to the upper body being neglected alongside real artistry and musicality (not a pasted on smile). @Kerfuffle I think that should read "British ballet was known for its petit allegro...... That was the real thing I noticed when watching both Fonteyn and Seymour in the first Magic of the Dance programme. Their arms and hands were glorious, and I still can't get over how fast the Sleeping Beauty pdd was. All performed by Seymour looking as though it was the easiest thing in the world to perform at that pace. 3 Link to comment Share on other sites More sharing options...
Kerfuffle Posted January 4 Share Posted January 4 (edited) @Kerfuffle I think that should read "British ballet was known for its petit allegro...... That was the real thing I noticed when watching both Fonteyn and Seymour in the first Magic of the Dance programme. Their arms and hands were glorious, and I still can't get over how fast the Sleeping Beauty pdd was. All performed by Seymour looking as though it was the easiest thing in the world to perform at that pace. I was thinking while watching The Magic of Dance just how confident Margot was about British ballet at that time (80s) like British ballet still had a clear identity. Fonteyn and Seymour really did have beautiful arms and musicality. I am sure with a bit of old school training that fleet of foot quality could return! I also loved Le Corsaire with Nureyev. Edited January 4 by Kerfuffle 2 Link to comment Share on other sites More sharing options...
BalletcoForum Moderators Posted January 5 Share Posted January 5 This thread has been locked whilst under discussion by the Moderators. Link to comment Share on other sites More sharing options...
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