Archive for choreographers
March 2, 2008 at 9:57 am · Filed under dance, choreographers, EVAN MCKIE, stuttgart ballet, choreography, ballerina, marcia haydee
The Oscars turned eighty this past week and so did Georgette Tsiguirides. (above)
Georgette is an incredible woman who was chosen by John Cranko to assist him and notate while he was creating his masterpieces. She has given close to sixty years of her life to the Staatstheater Stuttgart (she was here at the Opera Ballet before Cranko had his breakthrough in the sixties even…) and she is still in the studio with us every day being deliciously bossy. We marvel at her showing the steps pretty close to ‘full-out’ and any male dancer who has worked with her in any of the world’s big ballet companies can attest to her love of being lifted. (It must be said; she is around five feet..give or take an inch and is a perfect candidate for such aerial activities!) Georgette likes to pay particular attention to detail and nuance in the choreography which brings us closer to re-creating the flow of movement that Cranko intended in his work.
I, myself, am indebted to Georgette so when the time came to celebrate her many years, I jumped on it! Along with two other Georgette enthusiasts, Stefan Stewart and Marijn Rademaker, I started to think about how to properly pay tribute to this awesome lady. The timing was hardly accomodating as we only had two days before boarding the plane to Hong Kong for Swan Lake and two days after returning to organize the event. In the end, however, we pulled a last-minute soiree together with various stars giving hommage through numbers or speeches and close to 150 people in attendance. I made a ’short’ film (ended up being 50 minutes…) where a Georgette-double/crank-yanker-style puppet finds that she’s missing a step from her notes and embarks on a quest through the theater…running into Cranko’s characters (from Onegin to Juliet) in various highlights from their respective stories…(all in drag of course…). Stefan Stewart created a big-bang Broadway-like finale with most of the company doing jazzified- versions of some of Cranko’s most signature steps and Marijn Rademaker stage-managed everything from beginning to end. I was a bit of a tyrant in planning the whole thing with friends and colleagues who really just needed sleep after a 13-hour flight back from China but I’m glad that I was (and I think they were too..) just to see the look on Georgette’s face during the whole thing. I remember Marcia Haydee once saying that if you put good energy out into the world, then it invariably finds it’s way back to you. Well, Georgette Tsinguirides is brimming with the stuff so if we were able to give even a tenth of it back to her as a company then I am satisfied.
Happy 80 Georgette! 
(Photo: Gundel Killian)
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Note: Georgette was one of the earliest candidates to become a ‘Fellow of The Institute of Choreology’
The FI Chor. is the highest award given by the Royal Academy of Dance (incorporating The Benesh Institute) in recognition of outstanding and exceptional service rendered over a substantial period of time to The Benesh Institute and Benesh Movement Notation.
Recent Posts by Evan McKie
February 2, 2008 at 12:13 pm · Filed under ballet, dance, choreographers, video, SUSAN, contemporary, website, students, hamburg ballet, john neumeier, performance, competition, tickets, switzerland, blogging, paris opera ballet, bejart
© Prix de Lausanne
Exciting news: The final competition round of the Prix de Lausanne will be broadcast live on Sunday 3 February, starting at 3.00pm CET (Central European Time). To watch the competition, simply click here.
The Prix de Lausanne is an international ballet competition that takes place every year in Lausanne, Switzerland. Dancers between the ages of 15 and 18 have been competing in this year’s 36th annual Prix all week long. Judging them are some big names: Altynai Asylmuratova (Kirov Ballet), Elisabeth Platel (Paris Opera Ballet) and Anna Maria Prina (La Scala Ballet). Hamburg Ballet’s Director and Chief Choreographer John Neumeier is serving as the 2008 President of the jury.
This year, the finals will not only feature the competitors, but will also showcase two of Neumeier’s works. The first will be his Opus 100, in tribute to the late choreographer Maurice Béjart. The second will be Yondering, which will feature students from the Hamburg Ballet School, the Paris Opera Ballet School and the National Ballet School of Canada.
If you weren’t able to purchase tickets to the sold-out performance or if, like me, you are not able to attend the performance in Lausanne, this is a most excellent and very accessible alternative. Also, for anyone who is interested, the Prix de Lausanne has set up a videoblog to chronicle the competition experiences of six participants. Check it out here.
Recent Posts by susan kim
January 28, 2008 at 2:49 pm · Filed under backstage, ballet, dance, injuries, choreographers, japan, EVAN MCKIE, the stuttgart Ballet, pina bausch, national ballet of canada, wingers, website, dancebloggers, opera house, opera houses, choreographer, issues, dacners, stuttgart ballet, back injury, choreography, bolshoi ballet, suttgart ballet, ballerina, marcia haydee, web, swan lake, injury, stuttgart, paris opera ballet, chirstopher wheeldon, john cranko, reid anderson, marcela goicoechea, luis ortigoza, balet de santiago, patrcio melo, debut, american balet theatre, opening night
( …in the world of Geraldine Georges. more at www.geraldinegeorges.be )
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It’s been awhile!… I suppose it’s high time that I share a few minutes with the ever-popular Winger family!
Though I have become more of a ‘’distant guest contributor'’ here (not my words) due to an increasingly heavy workload, I still check in from time 2 time to see what has been going down. I have been able to meet a few other contributors in 2007 and especially enjoyed catching up with David H. after a decade, seeing Patricio dance with Luis and Marcela from South America and first meeting and then sharing jet-setting tips with Christopher in a german Christmas market only to realize who it actually was a day later!!!! I also want to congratulate Kristin on being an absolute role-model this past year while making difficult life choices. I wish you, Kristin, happiness in your new position at NYCB and am glad you still manage to make time for this site. There doesn’t seem to be any other cyber-place with such a variety of different artistic voices!
I was asked recently what some of my highs and lows of 2007 were…I thought it might be a good way to discuss what’s been going on with me since I last wrote.
Aside from the little problems that can arise in a world filled with blood, sweat and tears, I found myself confronted with some more threatening issues in 2007. I became sort of plagued by a variety of significant injuries that prevented me from doing things that I REALLY wanted to be a part of; like touring to Korea again with Sue Jin Kang, creating a new role in a Christian Spuck ballet, and just generally working on improving my abilities as a dancer. This is when I was forced to realize that ‘lows’ can turn into ‘highs’ if you come at problems from the right angle. Every dancer goes through a huge injury at some point and having the advice of friends and accomplished dancers like Bridget Breiner and Robert Tewsley to guide me through was invaluable. I launched into therapy that taught me new things about my body and I learned about the power of breathing among other things. I decided to have a GREAT time and so I spent days visiting friends from Berlin to Paris. I was happy to see wonderful art and theatre in both places and meet exciting new people. One night after seeing an ABT(on tour) show at the Theatre du Chatelet I found myself on the Avenue de L’Opera. I stood staring at the beautiful Opera Garnier where I had JUST danced one month before. Now I was an invalid dancer shivering outside in the rain wondering if I’d ever be onstage again. A friend called me and invited me to hear him DJ at Le ParisParis which is also on the Avenue de L’Opera so i turned my back on the Garnier and swore to myself that I would forget the stage if just for that night and have a good time. I did but it was difficult to remove my thoughts from the theatre. During the following months I started to let go a bit and noticed an immense improvement in my condition (two ruptured and herniated discs in my lower back). The time soon came to come back to work and I was ready to take on new challenges and more mentally/spiritually prepared to do so than I was before I left for therapy.
Because things move so quick here (the company has had about 70 shows since I penned my last post even…), I was back onstage within a 2 week time period. Being there this time was like a new experience though. I enjoyed myself more than ever because I could feel that through letting go of the ’silly stresses’ of dancing, I had matured as an artist…if even just a tiny bit. 
I won’t bore with other small details that followed this event but I will mention one thing that happened right around that time that I consider to be a highlight of my year: I was cast as Prince Siegfried in Swan Lake!
I was going to dance my first principal dancer role with a great big company AND my partner would be doing it for the fist time aswell! What happened next was a combination of greatness and misfortune…
My Odette/Odile, Linda and I rehearsed and rehearsed. The company and staff were so behind us and I felt incredible chemistry with my partner. We were finally ready to dance our first show! We stepped onstage together and with adrenaline flowing heavily, we delivered to a hungry audience that was eager to witness our virgin attempt of the Tchaikovsky classic. Things went well and the excitement increased as we completed the 3rd act where the sorcerer’s evil swan daughter deceives the Prince and tricks him into marriage. It was time to ‘fall into’ the beauty of the 4th and final act that has a tragic love pas de deux that is exclusive to the Cranko version. We danced together for what was to be the Swan and the Prince’s final dance before she is turned back into a swan creature indefinitely and the Prince drowns trying to save her. I could feel her breath on my neck and the moment was magic when suddenly there was a funny sounding click and I realized that my partner’s shoulder had come dislocated in one of those backwards port de bras movements that distinguished the swan from all other classical roles. We exited the stage and she courageously held-in screams as the orchestra played on. Her shoulder wouldn’t pop back in and it was a devastating sight. I ran back onto stage and somehow managed to improvise with the corps de ballet of swan girls as if I was looking for the swan queen who I had lost somehow. 5 whole minutes played out as I performed the ballet til the end while wishing I could somehow help my beautiful partner who was by now being taken to the hospital.
Thankfully no lasting damage was done to Linda’s body but mentally it was difficult for everybody invloved to have been a part of such a beautiful process that was abrubtly cut short. The newspapers carried the story in their headlines and there was an influx of well-wishing notes. Linda still needed time to recover so I was scheduled to dance with Anna, another of my frequent partners. I was sad to see Linda watch as I rehearsed with another soloist just a day later but the show HAD to go on. Luckily Anna and I have chemistry that matches the intensity of Linda and mine together. This is rare (the two ladies share the same birthday too) but I was happy to be dancing with her and glad to not have to try and manufacture any feelings that should come naturally. Our show went over well and I felt the confidence that only a second show can bring. My ballerina told me she had never had so much fun and I believed her.
Since that time the direction was kind enough to give Linda a chance to redeem herself in the role and we danced the ballet, in it’s entirety, on a Christmas tour of Spain. Due to the incedible emotional journey that the ballet inspired for me, I’d definitely put Swan Lake at the top of my personal 2007 ‘crucial moments’ list.
4th Act embrace with Anna Osadcenko in ‘Swan Lake’ with the Stuttgart Ballet. Galina Mezentseva as Odette.
As Stuttgart’s autumn season brought scattered flurries to the Schlossgarten outside the theatre, indoors there was a blizzard of different ballets being performed. ‘The CRANKO festival’ was underway. Infact it was all planned far in advance to celebrate the company’s founder. We all danced a long list of roles that Cranko had created for his star-personalities of the time and many of them came back to help us get into each individual role. I danced Lenski in Onegin and special parts in ‘Brouillards’, ‘Jeu de Cartes’ , ‘Holberg Pas de Deux’ and ‘Initials’. Infact, I just debuted over this past weekend for the final two shows of ‘Initials’ in the hauntingly beautiful pas de deux created for Marcia Haydee and Heinz Claus from the 3rd movement. ‘Initials’ is one of those rare ballet’s that demands a large company fueled by a sense of camaraderie. Four principals represent four seasons and the music by Brahms is so powerful and melodic that it is hard for me to imagine it without steps attached. The choreography is difficult and there are alot of leading roles so that everyone has their own personal responsability to the ballet. We were all in it together and every single person felt like an important ingredient that was required to bring this ballet to fruition. The Cranko festival was a ‘high’ for me because it afforded me with the chance to dance roles that I loved while being a part of a 3 month long seminar-like expereince where I was able to focus solely on what made Cranko, the choreographer tick. I saw footage that I had never seen before, saw roles that had been lost in ballet history and celebrated (night after night) the ballets and steps that made the choreographer so famous. There were gala events where guests were invited to come dance all of the most popular Cranko roles. How lucky for them to be able to dance such roles on the stage where they were first received and how lucky for us, here, to be able to see how other artists interpret the roles that we know so well. (Alina Cojucaru as ‘Tatiana’ from ‘’Onegin'’ was one of my favourites.) I also thouroghly enjoyed getting to know Polina Semionova while dancing ‘Lenski’ with her ‘Tatiana’ in a special gala performance of ‘’Onegin'’.
1st time Siegfried in ‘’Swan Lake'’. Flirting with Katja Wünsche’s ‘Olga’ in ‘’Onegin'’
I’ll leave it at that for now as the new year is well underway now and I want to go out and accomplish brand-new things to reflect on at a later date. Altogether, I feel good about celebrating the ups and downs that my career as a ballet dancer brought me in 2007 and I want to make sure to thank the people who have celebrated WITH me! Whether it’s european balletomanes, my family and colleagues, or original Stuttgart Ballet members (antiques) who encouraged me to keep writing here at the WINGER (.. ..) I have recently been getting alot of attention in Japan aswell and am frankly quite baffled by it as I have only ever done ONE show there!..BUT I am always thrilled to receive the notes and extremely creative gifts from my friends in and around Tokyo. I don’t know what I did to deserve you but I am thankful and proud to have such a dance-educated group be interested in me! Thank you.
Let’s see what’s in store for ‘08. I promise to do my ballet-best !………
-Ev
Photos: The Stuttgart Ballet. (I am sorry I only have the few from recent while. The truth is I don’t have that many at my disposal!)
Artwork: a gift from the amazing Geraldine Georges
www.geraldinegeorges.be
Recent Posts by Evan McKie
October 8, 2007 at 2:47 pm · Filed under dance, choreographers, DAVID, royal ballet, david hallberg, contemporary dance, american ballet theatre, chirstopher wheeldon, mats ek, sylvie guillem, niklas ek
My ode to one of my favorite choreographers working today. Mats Ek primarily works in Europe, and has created ballets for almost every great dance company in the world…. Paris Opera, Royal Ballet, ABT.
His sense of theatricality and stage drama is what impresses me the most. His movement, beautiful and seamless at times. Having just seen him perform a duet with his wife, Ana Laguna at the Fall for Dance festival, I was inspired to research more of his work that I had not seen.
This piece he did for Sylvie Guillem and his brother, Niklas Ek, in 1995, and is done in three parts. One a solo for him, a duet for them, and then a solo for Guillem. Its the solo for Guillem is what affects me the most and what is shown here. You might recognize the music, used in Chris Wheeldon’s “After the Rain”. This is such a clear example of why I love this art form.
Recent Posts by david hallberg
June 10, 2007 at 10:57 am · Filed under ballet, dance, choreographers, dance event, directors, SUSAN, dance and technology, musical theater, specialevents, awards, los angeles, modern dance, music video, youtube, hollywood, choreography, dancing with the stars, contemporary dance, california
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| Susan Kim
On Thursday night, I attended the inaugural Choreography Media Honors at the Director’s Guild of America. The entire extravaganza was presented in association with the Dance Camera West Film Festival. Hopefully, the night’s event will mark the first of many more to come.
It’s purpose: To honor the craft of choreography in and on the film media. As eloquently stated in the evening’s program of events, “Tonight we come together to celebrate the legacy of dance in media over the past two years–dance in all its various forms of expression. We have dance created to sell products, dance to tell stories, dance to make us laugh, dance to make us cry, dance created for no reason beyond that of pure self expression and artistry, exploring its relationship to film and video.”
So, continuing the work of the American Choreography Awards, the event honoured two year’s worth of choreography featured in commercials, television episodes, television variety shoes, music videos, short films, documentaries and feature films. About two hundred stand-out works created from 2004 to 2006 were nominated for recognition. Over the course of the evening, sixty-six of those nominees were revealed as the cream of the crop. Among them were some very familiar names: Fatima Robinson (”Dreamgirls“), Michael Rooney (”Jackass Number 2 Unrated,” “Think,” a Halifax commercial, “Saving Celebration,” a Target commercial, and “Flawless,” a George Michael music video), Marty Kudelka (Justin Timberlake at the 2006 MTV Video Music Awards, “Transformer,” a Citroen C4 commercial, and “My Love,” a Justin Timberlake music video), Kenny Ortega (”High School Musical“), Mia Michaels (”Calling You,” from So You Think You Can Dance), Tyce Diorio (”Cell Block Tango,” from So You Think You Can Dance), Shane Sparks (”Tranjie,” from So You Think You Can Dance, and “Push It To The Limit,” a Corbin Bleu music video), Wade Robson (”Ramalama,” from So You Think You Can Dance), John DeLuca (”Tony Bennett: An American Classic“), Rob Marshall (”Tony Bennett: An American Classic“), Travis Payne (”Product People,” a Target commercial, and “Commercial Break,” from Suite Life of Zack & Cody), Robin Antin (”Buttons,” a Pussycat Dolls music video) and Michael Minden (”Buttons“). A full list of all honorees is available below.
My favourite clip of the evening was a Nike commercial, choreographed by Luther Brown and Teresa Espinosa.
I couldn’t help but notice that almost every genre of dance but mine own dominated the ninety minute film presentation. Of those ninety minutes, perhaps thirty or forty-five seconds featured ballet, when “Ballet Russe” received an honorable mention under the documentary category. Even now, many days after the function, the thoughts inside my head are unsettled and my mind has yet to be made up as to how I feel about this. In the meantime, I’d love to hear–er, read–what anyone else might think…
For me, the best part of the entire evening had to do with the format of its presentation. The night’s honorees were not asked to approach the stage one at a time, but were asked to stand and be recognized at the beginning and end of the viewing. Adam Shankman, one of the evening’s speakers, said it best: “This is a true celebration. None of us are here to compete with anyone else to win a specific award. We’re all here to simply honor–and, celebrate–the work of all the honorees here today. (Isn’t this so much better than sitting at home in front of the television, patting ourselves on the back while watching our best works on repeat? It’s so much more fun to do it together in this theatre and cheer for each other, instead.)”
Of course, the night was even more noteworthy because I was sitting in the company of celebrities, some of whom have very recognizable names in the Hollywood community. After the special film presentation, the “real” celebration began and I met and schmoozed with Paula Abdul, Carrie Ann Inaba and Dan Karaty, along with the evening’s honorees.
Good thing I don’t get star struck!
Read the rest of this entry »
Recent Posts by susan kim
June 5, 2007 at 3:56 am · Filed under SLOAN, choreographers, new york city ballet, christopher wheeldon, yaniv schulman, premiere, bright sheng
Posted by Kristin Sloan
Photo by Yaniv Schulman (Click the link for more rehearsal photos of the future of Morposes and more)
Our friend Nev shot this photo during one of Chris Wheeldon’s rehearsals for his new ballet The Nightingale and the Rose (that’s Gwyneth in the Winger t!). It will have it’s premiere this Friday, June 8th, at the New York State Theater.
Chris discussed the ballet a bit in a previous post. Also New York City Ballet has a fantastic podcast on their website, with the audio from a panel discussion between Chris and the composer of the music for Nightingale, Bright Sheng. I’ll be there on Friday, perhaps you will too…
Recent Posts by kristin sloan
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