"VerTeDance" (в Актовом Зале)
"Found & Lost" – Шарлотта Йофверхольм
понедельник, 26 сентября 2011 г.
воскресенье, 25 сентября 2011 г.
Performances
ШДИ -
"Мцыри" - Лермонтов / Маноцков / Мишин
**********
Должно быть Лермонтова не читал (наверное, был занят заучиванием)
"Мцыри" - Лермонтов / Маноцков / Мишин
**********
Должно быть Лермонтова не читал (наверное, был занят заучиванием)
воскресенье, 18 сентября 2011 г.
Performances
"Kremlin Gala Звезды балета XXI века" (на сцене КДС) -
"Новая работа Эдуарда Лока" - Брайерс + Харгривз / Лок
La La La Human Steps / Вишнева
«Transparente» - Мариза / Савкович
Винокур / Симкин
Дуэт из «Light» - Вивальди / Бежар
Шалкина / Фавро
«Grand Pas de Deux» - Россини / Шпук
Аматриэн / Рейли
«Потерянное сердце» (возобновление) - Мария дель Мар Бонет + Берберян / Дуато
Лунькина / Сарафанов
«Адажиетто» - Малер / Ноймайер
Буше / Бордин
«If As If» (новая редакция) - Кернис / Галили
Сайдакова / Малахов
«Серенада» - Чьерво / Бигонцетти
Осипова / Васильев
Дуэт из «Дама с камелиями» - Шопен / Ноймайер
Лакарра / Дино
Дуэт из «CHROMA» - Тэлбот + Уайт / Макгрегор
Лунькина / Лопатин
Дефиле - Черни / Выскубенко
"Новая работа Эдуарда Лока" - Брайерс + Харгривз / Лок
La La La Human Steps / Вишнева
«Transparente» - Мариза / Савкович
Винокур / Симкин
Дуэт из «Light» - Вивальди / Бежар
Шалкина / Фавро
«Grand Pas de Deux» - Россини / Шпук
Аматриэн / Рейли
«Потерянное сердце» (возобновление) - Мария дель Мар Бонет + Берберян / Дуато
Лунькина / Сарафанов
«Адажиетто» - Малер / Ноймайер
Буше / Бордин
«If As If» (новая редакция) - Кернис / Галили
Сайдакова / Малахов
«Серенада» - Чьерво / Бигонцетти
Осипова / Васильев
Дуэт из «Дама с камелиями» - Шопен / Ноймайер
Лакарра / Дино
Дуэт из «CHROMA» - Тэлбот + Уайт / Макгрегор
Лунькина / Лопатин
Дефиле - Черни / Выскубенко
суббота, 17 сентября 2011 г.
Performances
"Kremlin Gala Звезды балета XXI века" (на сцене КДС) -
"Новая работа Эдуарда Лока" - Брайерс + Харгривз / Лок
La La La Human Steps / Вишнева
«Transparente» - Мариза / Савкович
Винокур / Симкин
Дуэт из «Ромео и Джульетта» - Берлиоз / Бежар
Шалкина / Фавро
Дуэт из «Онегин» - Чайковский / Крэнко
Аматриэн / Рейли
Па де де из «HERMAN SCHMERMAN» - Виллемс / Форсайт
Осипова / Лопатин
Дуэт «Медитация» из «Иллюзии как Лебединое озеро» - Чайковский / Ноймайер
Буше / Бордин
«Потерянное сердце» (возобновление) - Мария дель Мар Бонет + Берберян / Дуато
Лунькина / Сарафанов
Дуэт из «Парк» - Моцарт / Прельжокаж
Сайдакова / Малахов
Дуэт из «Легкий дождь» - Адамc + Гoтье / Арпино
Лакарра / Дино
Дефиле - Черни / Выскубенко
**********
Оказалось провокативно и очень красиво. Дина красавица, но была необязательной в этом спектакле. Слабо структурировано, и немузыкально, но шаги, тела - сплошное наслаждение.
"Новая работа Эдуарда Лока" - Брайерс + Харгривз / Лок
La La La Human Steps / Вишнева
«Transparente» - Мариза / Савкович
Винокур / Симкин
Дуэт из «Ромео и Джульетта» - Берлиоз / Бежар
Шалкина / Фавро
Дуэт из «Онегин» - Чайковский / Крэнко
Аматриэн / Рейли
Па де де из «HERMAN SCHMERMAN» - Виллемс / Форсайт
Осипова / Лопатин
Дуэт «Медитация» из «Иллюзии как Лебединое озеро» - Чайковский / Ноймайер
Буше / Бордин
«Потерянное сердце» (возобновление) - Мария дель Мар Бонет + Берберян / Дуато
Лунькина / Сарафанов
Дуэт из «Парк» - Моцарт / Прельжокаж
Сайдакова / Малахов
Дуэт из «Легкий дождь» - Адамc + Гoтье / Арпино
Лакарра / Дино
Дефиле - Черни / Выскубенко
**********
Оказалось провокативно и очень красиво. Дина красавица, но была необязательной в этом спектакле. Слабо структурировано, и немузыкально, но шаги, тела - сплошное наслаждение.
пятница, 16 сентября 2011 г.
Performances
Ростовский государственный музыкальный театр (на сцене Стасика)
"Драма на охоте" - Чайковский / Фадеечев
"Драма на охоте" - Чайковский / Фадеечев
среда, 14 сентября 2011 г.
Performances
Ростовский государственный музыкальный театр (на сцене Стасика)
"Гамлет" - Шостакович / Фадеечев
"Гамлет" - Шостакович / Фадеечев
понедельник, 29 августа 2011 г.
Non-Thinking as Evil in Arendt's Book on Eichmann
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
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."
воскресенье, 31 июля 2011 г.
Notes
"What Art Will Make a Ballet’s Life Less Brief?" by Alastair Macaulay
"The pure-dance choreography of Balanchine can be regarded as the supreme achievement of ballet to date without offering a sure model for other choreographers."
"The pure-dance choreography of Balanchine can be regarded as the supreme achievement of ballet to date without offering a sure model for other choreographers."
Notes
"Q&A Special: Choreographer Slava Samodurov" by Ismene Brown
SS: "I think it is a fairly subconcious art really. Maybe in future there will be laws and methods found to help people create".
IB: "Marie Rambert said in around 1910 I think that all dancers should have to learn to read and write dance notation, just as musicians learn from scores, so that there should always be a pure text in itself".
SS: "Ballet is about quality, probably. Tradition, vocabulary, and appreciation and understanding of what is good and valuable and what is not. It is important for a company to have people around - whether society or fans - who can understand the difference between good and bad pirouettes, or good and bad productions of Swan Lake... Not all famous companies have good productions - sometimes they’re surprisingly bad but still the “quality” of dancing is there. Classical ballet doesn’t take liberties. I think here the Royal Ballet is an outstanding company and you can understand why it is so famous. The “qualities” here are far different and more varied than the Mariinsky’s, which is so much more homogeneous and comes from one school. But it’s also about the quality of the audience that has grown up on that quality that is being offered".
IB: "Arlene Croce - you know they don’t like MacMillan’s work in America - who said about one of his pieces, even if it was a bad ballet it was a bad ballet by a good mind. I think the good mind is the key. I can see there are ballets I don’t like, but I know they’re good of their kind - it’s just not the kind of mind I relate to".
SS: "I think it is a fairly subconcious art really. Maybe in future there will be laws and methods found to help people create".
IB: "Marie Rambert said in around 1910 I think that all dancers should have to learn to read and write dance notation, just as musicians learn from scores, so that there should always be a pure text in itself".
SS: "Ballet is about quality, probably. Tradition, vocabulary, and appreciation and understanding of what is good and valuable and what is not. It is important for a company to have people around - whether society or fans - who can understand the difference between good and bad pirouettes, or good and bad productions of Swan Lake... Not all famous companies have good productions - sometimes they’re surprisingly bad but still the “quality” of dancing is there. Classical ballet doesn’t take liberties. I think here the Royal Ballet is an outstanding company and you can understand why it is so famous. The “qualities” here are far different and more varied than the Mariinsky’s, which is so much more homogeneous and comes from one school. But it’s also about the quality of the audience that has grown up on that quality that is being offered".
IB: "Arlene Croce - you know they don’t like MacMillan’s work in America - who said about one of his pieces, even if it was a bad ballet it was a bad ballet by a good mind. I think the good mind is the key. I can see there are ballets I don’t like, but I know they’re good of their kind - it’s just not the kind of mind I relate to".
четверг, 30 июня 2011 г.
четверг, 23 июня 2011 г.
Notes
"The Children of Theatre Street" shows the pioneers' organization meeting in ARB and pioneer salutation under the Sleeping Beauty score.
The comment says that pioneer organization educated the "natural law".
The comment says that pioneer organization educated the "natural law".
среда, 15 июня 2011 г.
суббота, 4 июня 2011 г.
Notes
Северин Боэций: "Persona est nuturae rationalis individua substantia" (индивидуальная субстанция, имеющая рациональную природу). Такое понимание першлов христианство (черех Фому).
Notes
Соловьев о критическом отношении к Канту: "Речь идет о свободе предваряющего доверия к чужому уму, о той свободе любви, которая так много позволила сделать, скажем, лучшим пушкиноведам или тем, кто верил в историческую дальновидность (даже в пророческий дар) Достоевского и Толстого". Любопытно, что оценивает такую позицию в категориях свободы.
воскресенье, 15 мая 2011 г.
Notes
Возможно для понимания истории следует перевернуть оси, развернув время на плоскости, а пространство - по вертикали?
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