From inception, important discussions, lively debates and
witty banter have ignited the criticaldance.com forum, the heart
and soul of the web site.
Here we compile a few of the most active discussion threads
of all time, representing the hottest topics and a diverse international
cross-section of participants, including artistic directors,
choreographers, dancers, teachers, designers, executive directors,
general managers, administrators, venue promoters, donors, sponsors,
critics, and just plain dance enthusiasts.
"Just think of the possibilities in the
21st century version: Siegfried arrives at the ball in his brand
new, shiny black Rothbart 2000, complete with a 10,000 swan power
engine. He doesn't want to make a big Odille about it, but buying
it put him deep in Odette, and his financial foolishness brings
the family castle crashing down around him."
Paris Opera Ballet
"Legris is perhaps the most elegant male
dancer in the world. He's not tall enough or macho enough to
play a soldier and it matters not one jot. He commands the stage
from his first appearance."
The Graham Company:
"Thank you for supporting our efforts to
bring the Martha Graham Dance Company and School back to life.
You and the hundreds of others all over the world who signed
our letter, have galvanized the artistic community and focused
awareness on this situation. With this as our beginning we will
continue to work until changes are made. We do not have a staff,
and for now must work at other jobs to pay our bills. We are
overwhelmed by the world's support and are doing our best to
make the most of these efforts and to make them matter."
ABT Spring 2001
"I attended the Wednesday matinee performance
of the Modern Masters and found the whole thing enjoyable and
impressive. I had seen Tharp's piece towards the end of last
season, and it looked completely new to me yesterday. The casting
was superb, as was the dancing. I didn't seem to have Kisselgoff's
problem with the 'clusters of dancers at the back.' The corps
work looked typically Tharp with lots of stuff going on simultaneously,
but it was balanced and charming."
Keefer Case and
Body Image B.I.G. Forum
"A panel of experts assembled in a reception
room overlooking the Thames at the Royal Festival Hall to open
the debate on the question of body image in the ballet world:
Julia Buckroyd, teacher and researcher at the University of Hertfordshire
and welfare consultant to vocational dance schools, Maina Gielgud,
ballerina and former Artistic Director of the Australian and
Royal Danish Ballet companies and The Right Hon. Baroness Warnock,
philosopher, and mistress of Girton College, Cambridge."
On Becoming an
"This summer, I'll be in a theatre where
I'll primarily be dealing with interns. In order to try to head
off the types of problems that so often recur, I'm writing a
little note that I've tentatively titled, 'On Becoming an Intern'."
The Keefer Case's
"I just heard last night that the Keefers
are going to appear on Good Morning America and on CBS News.
And that prompted me to wonder, since this controversy is training
a national eye on ballet, will the debate impact ballet positively
or negatively? On the one hand, it galvanizes those many people
who love ballet and wish it to have sovereignty over its own
aesthetics to defend it passionately. On the other hand, it might
turn off some potential ballet audience members who find the
weight issue distasteful or offensive. A friend of mine believes
that *any* controversy is good for the arts--no such thing as
bad publicity, I guess. Just wondering what others think?"
(La Scala Ballet Tours US - Part 2)
"For the program notes of her production
of Giselle, Guillem speaks with a frustration concerning the
course Giselle has taken over time. She mentions Gautier and
Heine's ideas being 'buried by stiff, choreographic, purely mechanical
movements...becoming a kind of incoherent language that was supposed
to 'speak' the story.' She then adds, 'I have tried to rediscover
the real Giselle, to make the blood flow in the veins of the various
characters.' With the exception of a few troublesome set designs
and orientation, I am convinced that she did exactly that."
the Yesses and the NoNos
"I remember when the administrator of our
school blew up in the middle of preparing the school for a Christmas
performance and called me to vent her feelings of shame, guilt
and frustration. I told her not to lose sight of the fact that
this wasn't just about dance, but about creating memories for
children to take with them for a lifetime. Sometimes it's better
to have a less perfect performance and a better time."