Archive for dancebloggers
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
November 6, 2007 at 5:03 am · Filed under dance, class, writing, dancewebsites, dancebloggers, costume, schoool, TAYLOR, communications
Hey everyone,
Wow, midterms and rehearsals have had me going crazy lately! Things are calming down a bit for the moment, but I have lots to share!
To start, I just HAD to post these pictures from our Halloween class. Every Halloween I can remember I’ve been in class or rehearsal, and we always dress up and attempt to have a serious class — but it always ends up being somewhat less than the normal plies and pirouettes and more of a blast of fun! This year was particularly amusing…I was Dorothy from the Wizard of Oz, and 2 of my friends were the Tin Man and the Scarecrow. I made a yellow brick road and actually danced on it at barre! What fun
(note the yellow brick road haha)
Next order of business: The November issue of our college paper, The Monitor (where I’m the Features Editor), is now online. Lots of work went into it…click and go to pages 10-11 for my two articles. One is a set of interviews I did with student choreographers in the Dance Department preparing for a show next week. It was so interesting to hear their processes of working together with other students. Extended interviews here.
Also of note is that I’m starting to crack down and write my senior thesis. As I might have mentioned, our assignment as Communication Arts majors is to consider some aspect of new media and relate it to how it’s changing society.
Being the ballet dork that I am, I am focusing on dance journalism/criticism/discourse and the effect that the internet is having on it - basically the shift that’s going on from print to online dance writing (this website, The Winger, as an example!).
I would love to hear everyone’s thoughts about this and how you think blogs, etc are changing the scope of communication about dance. Below is part of my proposal for my thesis - just a basic outline. Any comments or input would be greatly appreciated!—
Dance Journalism and Criticism in New Media
For my paper I would like to explore the changes that the internet and new media are bringing to arts journalism, specifically dance criticism. With the invention of online communities, blogs, and social networks, the journalism and publishing industries have seen significant changes in recent years. I want to investigate these changes and see how they are leading us to the future of arts journalism.
Being passionate about both dance and writing, this topic has intrigued me for some time now. The culture of the dance world is extremely unique and the way this community fits in and interacts with the larger world has proven to be a special relationship. Concert dance is far removed from mainstream culture and the art form has always struggled to find a place in popular media. I personally want to find a way to integrate this sector of society and raise awareness of what’s going on in the dance world by communicating with the mainstream. In a culture that thrives on celebrity pitfalls like Britney Spears and Paris Hilton it seems as though true art is far underappreciated.
With that being said, the most powerful method of communication about dance, besides movement, has been in print media. Newspapers traditionally provide entertainment listings where dance performances are given brief blurbs of details and ticket information. Only the country’s largest papers allot space to dance criticism, and as a result only few dance companies are represented in the press.
The more important issue is that in recent years there has been a severe cutback in print space given to dance coverage. Magazines, such as New York Magazine, have completely eliminated the position of Chief Dance Critic and run stories on dance very rarely. Newspapers have also seen a shortage of staff on this beat. The New York Times, which is the largest print outlet serving the dance community, has cut space for dance in the popular Arts section in recent years.
Another major issue with dance journalism is the shift in dance magazines, with the merging of all titles into Macfadden Performing Arts Media in 2006.
What seems to have risen as a solution to these two major issues of coverage cutbacks and media convergence is dance criticism online. A number of message boards have been in existence for years, allowing dance enthusiasts and balletomanes to express their opinions on the goings-on of the performing world. But only recently have blogs begun to pop up that provide more in-depth coverage of performances, news, and general issues relating to dance. These sites allow a bigger variety of perspectives to be exposed and are not limited to the restrictions of time and space as print outlets are.
The internet has allowed for a beneficial increase in dance writing and has allowed for a close connection to be developed among the community. There is now an outlet for public discourse around the art form that would be nearly impossible to have without new media. Especially with the New York Times rumors of eventually going out of print and being solely online, this could be the future of arts journalism and potentially publishing as a whole.
Recent Posts by taylor gordon
September 6, 2007 at 3:49 pm · Filed under backstage, dance, lincoln center, video, DAVID, 890 broadway, japan, city, nyc, dancebloggers, paris, abt, broadway, blogging, american ballet theatre, MATTHEW, matthew murphy
I’ve been sitting at my computer for a few tense hours minutes trying to think of a way to introduce myself on The Winger. Even though I’ve been blogging on my own site for a while now, for some reason I was struck with a bit of writers block when it came time to post here. I’d like to take a minute to thank Kristin for letting me join her growing global family (and even out the Lincoln Center scales a LITTLE.) You see, it was because of Kristin’s website that I began taking blogging seriously. David had mentioned it to me when he became interested and other than a few random (and slightly pathetic) MySpace blogs about my feelings, I hadn’t spent much time blogging before I came across this lovely site.
So after a few minutes of writers block, it hit me that I still hadn’t responded to a fellow blogger’s (Winger regular Tonya) tag to share 8 Interesting Facts About Myself. “Interesting” is a quite generic and loose word which almost automatically makes my facts look boring, but I’ll give it a try. Perhaps it will give readers a chance to get to know me (as if “Ranting Details” isn’t personal enough) before I start blogging up a storm here!
1. I am extremely proud of my Montana upbringing.
There are very few dancers that hail from Big Sky country, and even though I was born in New York City, I still consider myself a Montanan at heart. I spent my formative years there before heading off to High School at NCSA and made life long friends that I miss more with each passing day. On top of genuinely nice people, crazy wildlife (we would often have bears walking through my neighborhood), and INCREDIBLE scenery, how often do you get to see a sunset like this?!
2. The only other place I can see myself living soon is Paris.
After visiting Europe for the first time in February (fellow Winger Evan even visited our class), I immediately decided I would live in Paris at some point in my life. The architecture is incredible, the art is overwhelming and the croissants…well, I could live on them (in fact I did which is perhaps why I got mono.)
3. I’m also oddly obsessed with Japan.
My first trip out of the country was with ABT when we went to Japan a few summers ago and it was life changing. Much of Japan feels like being in the heart of Times Square except in “Honey, I Shrunk the Kids.” Everything is so overwhelming, from the mobs of people to the neon lights. I ended up having a rather Asian themed apartment and have a “wall of crap” that contains MANY Japanese toys. One of my favorite posters is an old Japanese movie poster I bought right by these incredible lotus lily pads (?) pictured below. I will always have a special place in my heart for Japan and will never forget wandering around completely lost in the winding streets. We also had an infamous night at a club called GasPanic on our last night in Tokyo, where we didn’t get back to the hotel until 5am. The subways shut down at midnight and don’t open until 5am so we just kept exploring. Too many memories to share in one post.
4. I am constantly in awe of my family.
Being in a family of artists can be difficult at times but I realize I would NEVER be where I am without my family. My father was an actor, my mother a dancer and they both teach now. My sister is also an INCREDIBLE tap dancer (pictured with me below.) All of them push me to reach for more in my art and look beyond the regular and for that I’m eternally thankful.
5. I’m a TOTAL musical theater dork.
Perhaps the most embarrassing fact about me, but true nonetheless. Instead of Sesame Street, I listened to Sondheim as a child and would kill to have dinner with him. One of my favorite things to do in the city is go see shows and prove to people that musical theater isn’t always fluffy nonsense (although a lot of times it is and what’s wrong with that?!) Fortunately, some of my best friends go to school at University of Michigan for Musical Theater so I will get to watch them on stage soon. The picture below is with two of my closest friends, Michael Lowney and Jessica Hershberg who you will see on a Broadway stage in the near future. Perhaps we are acting out a 21st century version of “The Telephone Hour” from Bye, Bye, Birdie?
6. I almost didn’t join ABT.
When I was at NCSA I was offered a contract with Studio Company during my sophomore year but before that I was rather convinced that I would try to go to City Ballet. Melissa Hayden represented that side of my training while Warren Conover took the ABT side, so I loved parts of both companies. The way things fell into place, I ended up at 890 and my jaw dropped to the floor. I still have moments when I have to pinch myself when I look around the room at who is dancing.
(One of my favorite pictures ever with Craig Salstein, Jeff Golladay, and Marcelo Gomes.)
(Me with fellow Winger and best friend extraordinaire, David Hallberg. This is turning into “The many hairstyles of Matt Murphy.” I’ll refrain from the bowl cut I sported my whole adolescence.)
(At the end of the night after my first gala with fellow dancers in 2004.)
7. I can’t drive.
Ugh, I took my first lesson (with Nick and my sister Carson) this past weekend and it was comedic to say the least. Being a dancer prohibited me from ever having time to learn! The following video might scare you…
8. I wrote the screenplay for “American Beauty,” and won an Oscar for it.
Okay, so I lied. I was running out of “interesting” things about myself. It’s one of my favorite movies though…I guess that’s a fact.
Now who do I get to tag? Perhaps I’ll share the love with 8 fellow Wingers? Chosen at random, since I don’t know many of you! Let’s see if everyone can join in and we can get to the know the dancers that much more!
David, Kristin, Cathy, Susan, Carla, Benny, David B., and Candice.
Recent Posts by matthew
January 23, 2007 at 1:06 am · Filed under artists, teaching, TONY, sarah lawrence college, dougfox, videoart, blog, mercecunningham, dancebloggers, bellydance
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| Posted by Tony Schultz
So here we are again. Winter break is over and school is back in session. This semester I am teaching alongside Charles Atlas at Sarah Lawrence College. Charles Atlas is an accomplished dance videographer probably most well known for his work with Merce Cunningham. One of my favorite works of his is Walkaround Time (1972). In this piece Cunningham’s choreography is set amidst large sculptural elements. Fabricated by John Jaspers, these structures were based on Marcel Ducamp’s installation The Large Glass. A clip of this work can be seen in this video that Doug Fox posted last week alongside Septet (1964). Both of these dances include Cunningham’s prickly rose, Viola Farber. I studied with Viola as an undergraduate and am still gaining an appreciation for her work. She begins on the right of Septet. Amazing…
Last night, to help ease the pain of getting back to work I met up with a motley crew of dance bloggers including Tonya Plank, Doug Fox, Salome Justita and our very own Kristin Sloan. This cabal had lots to share including some exciting secrets. Don’t worry, all will be revealed in good time.
Recent Posts by tony schultz
