Hannah Arendt's challenge to Adolf Eichmann. In her treatise on the banality of evil, Arendt demanded a rethink of established ideas about moral responsibility
By Butler
By Butler
понедельник, 29 августа 2011 г.
пятница, 12 августа 2011 г.
Notes
My job is to be a professional aesthete with serious criteria
Denby remarks, "I guess the critic won't quite avoid being a bit of a pedagogue and a bit of a charlatan. But I'm all for everybody's recognizing that those are not his functions, that his function is as [Bernard] Haggin said: to notice, to order, to report; or as Virgil Thomson has said: to put down a sort of portrait of what went on."
I found that it's never enough merely to have the right views. A critic should take the reader into his or her sensibility, his or her value system. Good taste is valuable, but it has to be connected to the act of discrimination.
To me, criticism is about reconciling heart and head. As you experience a work of art, you feel something you can't at first explain, but then you bring your mind - and your whole being - into trying to explain it as rationally as you can. History is all part of that inquiry.
It’s important – crucial – to entertain the reader. But not to make yourself the center of the entertainment. Your subject can be this performance, this choreographer’s whole body of work, this trend in dance, this dance and other arts, our culture today, the nature of life as it connects to this performance: so many things. But you yourself shouldn’t get in the way. You’re a lens.
Théophile Gautier in the 1830s: once he'd called Marie Taglioni a "Christian" dancer and Fanny Elssler a "pagan" dancer, once he'd written of how Elssler dancing the Cachucha “seemed to shake down clusters of rhythm with her hands”, the doors opened on how dance could be evoked.
I began asking "Do I believe this? Is it true?" not just about acting but about all art.
Denby remarks, "I guess the critic won't quite avoid being a bit of a pedagogue and a bit of a charlatan. But I'm all for everybody's recognizing that those are not his functions, that his function is as [Bernard] Haggin said: to notice, to order, to report; or as Virgil Thomson has said: to put down a sort of portrait of what went on."
I found that it's never enough merely to have the right views. A critic should take the reader into his or her sensibility, his or her value system. Good taste is valuable, but it has to be connected to the act of discrimination.
To me, criticism is about reconciling heart and head. As you experience a work of art, you feel something you can't at first explain, but then you bring your mind - and your whole being - into trying to explain it as rationally as you can. History is all part of that inquiry.
It’s important – crucial – to entertain the reader. But not to make yourself the center of the entertainment. Your subject can be this performance, this choreographer’s whole body of work, this trend in dance, this dance and other arts, our culture today, the nature of life as it connects to this performance: so many things. But you yourself shouldn’t get in the way. You’re a lens.
Théophile Gautier in the 1830s: once he'd called Marie Taglioni a "Christian" dancer and Fanny Elssler a "pagan" dancer, once he'd written of how Elssler dancing the Cachucha “seemed to shake down clusters of rhythm with her hands”, the doors opened on how dance could be evoked.
I began asking "Do I believe this? Is it true?" not just about acting but about all art.
четверг, 4 августа 2011 г.
Notes
"The Ballet That Changed Everything" by Toni Bentley
"This is the first diagonal in "Serenade," a ballet brimming with that merging line: This is female terrain."
"But "Serenade" does not stop there, flooded as it is in beauty, tulle and evanescent moonlight. No, there is an edge, a razor-sharp subversion where the boy-girl affair goes right off the rails and something more profound beckons."
"Balanchine stripped his heroine—she will always be that—of her specificity, her wings and feathers and weighty crown, and of her impetuous dependence. And he sends this creature he finds, this real woman, to her destiny, to Eternity, alone, unadorned but for the echo in her loosened hair of Giselle gone mad. Underneath the elaborate camouflage he has uncovered an artist."
"This is the first diagonal in "Serenade," a ballet brimming with that merging line: This is female terrain."
"But "Serenade" does not stop there, flooded as it is in beauty, tulle and evanescent moonlight. No, there is an edge, a razor-sharp subversion where the boy-girl affair goes right off the rails and something more profound beckons."
"Balanchine stripped his heroine—she will always be that—of her specificity, her wings and feathers and weighty crown, and of her impetuous dependence. And he sends this creature he finds, this real woman, to her destiny, to Eternity, alone, unadorned but for the echo in her loosened hair of Giselle gone mad. Underneath the elaborate camouflage he has uncovered an artist."
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