Two ballet companies, opposite pins on the globe. Whereas English National Ballet is in the midst of a re-brand, Bolshoi Ballet is on the verge of combustion, grappling under the weight of its own paranoia.
So, where do these two companies find themselves in 2013? And what does it tell us about the future of the art form at a crucial time in both their economic survival?
‘This is a tale, then, of artists and poets, dancers and architects-bewildered, always in conflict, trying to keep alive standards which they knew were essential, but which were also suspect, not to say dangerous.’
Emma Livry in the title role of the Taglioni/Schneitzhoeffer La Sylphide. Paris, 1862
Some people quaff champagne at Port Hercule when they’re in Monaco. I took a tumble and ended up in A&E. So, firstly, apologies for the break in posts. Blame the principality of Monaco for their uneven road surfaces. I do, daily. Continue reading →
I could start the post with a predictable intro about “art imitating life”, but I’m not going to. The fact is hundreds of civilians are needlessly dying as we speak, both in Gaza and Tel Aviv. The whys and wherefores aren’t important here. For eloquence on the crisis, read Alex Thompson’s blog. The dead permeate through his words. I’m not a political activist – I’m an armchair observer. My politics are my own, and anyway, here they’re irrelevant. We have Twitter for that…
When dancers from Brazil’s ballet school for the blind performed at the closing ceremony of the Paralympic Games in London with two of Royal Ballet’s leading stars, Twitter reverberated in awe. I was one of them. Continue reading →