bonjour MrGanesh95 ainsi il a introduit la classe adagio à l'Opéra? Je ne savais pas cela - merci d'avoir adopté cette sur nous. il est intéressant de voir la classe himtake - donne une idée de comment il fonctionne. acclamations
This particular clip five minutes of a class in a time when there was not many people seeing ballet let alone trying it. What with the changes in shoes and sheer numbers studying, I think we can forgive the young lady in the back for perhaps flubbing her first and only camera op and say thank you to the Ballet Russe and Serge Lifar for promoting ballet and sharing it with a larger audience.
@wendyverdades It was not the participants and their efforts that I was criticising, but the mythology and empty nostalgia that seem to surround the past regarding opera and ballet, and even classical musicians. I look at films of Plisetskaya now, after having seen her onstage as a young boy, and my opinion is completely different from that time. Everything improves, and there is no sense in thinking things were better in the old days. Look at Ferri and Caracaju, a cut above their predecessors.
The adagio pas de deus is a lovely. Each couple is trying to create their best image and compete. Comparing them to "now" in ballet and how far we've come with the shoes,schools, and technique isn't fair. We owe progress to his daring to use imperfect dancers. It helped to give us Balanchine and others. The barre work was done one at a time and yet at the same time so he could see each one. I am not a dance teacher but I think that is good.
What a mess! Artistry without technique is just corny. Look at all those dancers at the bar trying to muster a simple arabesque, looking disabled or hungover, with port de bras scattered and unfinished like little children. Legends are made of two things: famous names and bullshit.
hi sillyboydeux - was just watching film of tamara karsavina being interviewed by anton dolin about dancing in 'giselle' - at one point dolin asks if she thought lifar was any good and she replied 'not really'! in a nut shell!
@nickwallacesmith Good ol' Karsavina. The Russian girls were quite outspoken, and had to be. Lifar was a joke, and basically, other than her and that band of Kirov primas like Ulanova and Spessitseva, to name a few, there was little to recommend the "pratique" that was utilized then; much like you saw in this roomful of klutzes! Even Pavlova, although magical as a performer, had no technique. She couldn't do 2 fouettés, let alone the 32 required for Swan Lake.
hi pediatrapaola - i was just watching a video where one of lifar's early partners, Olga Spessivtzeva, said quite gently that he didn't have great technique, so to put him down but just to be real about his lacks as well as his strengths, good to hear from you, nick
@sillyboydeux - yes, and in particular i think the corps de ballet was often very sub-standard as a number of ballets rsusses dancers of the second '30s generation noted in the film 'Ballets Russes' [2006]
@sillyboydeux This particular clip is less than five minutes of a class in a time when there was not many people seeing ballet let alone trying it. What with the changes in shoes and sheer numbers studying, I think we can forgive the young lady in the back for perhaps flubbing her first and only camera op and say thank you to the Ballet Russe and Serge Lifar for promoting ballet and sharing it with a larger audience.
Et dire qu'avant Lifar il n'y avait pas de classe d'adage à l'Opera de Paris...
MrGanesh95 2 months ago
bonjour MrGanesh95 ainsi il a introduit la classe adagio à l'Opéra? Je ne savais pas cela - merci d'avoir adopté cette sur nous. il est intéressant de voir la classe himtake - donne une idée de comment il fonctionne. acclamations
nickwallacesmith 2 months ago
excellent
sevent7yl 8 months ago
hi sevent7yl - yes it's interesting seeing lifar at work
nickwallacesmith 8 months ago
sillyboydeux how right you are. What is that old Saw from Newton.
If I have seen further it is because I stood on the shoulders of giants.
I am glad to know we aren't coming from opposite points of view.
wendyverdades 1 year ago
This particular clip five minutes of a class in a time when there was not many people seeing ballet let alone trying it. What with the changes in shoes and sheer numbers studying, I think we can forgive the young lady in the back for perhaps flubbing her first and only camera op and say thank you to the Ballet Russe and Serge Lifar for promoting ballet and sharing it with a larger audience.
Bravo!
wendyverdades 1 year ago
@wendyverdades It was not the participants and their efforts that I was criticising, but the mythology and empty nostalgia that seem to surround the past regarding opera and ballet, and even classical musicians. I look at films of Plisetskaya now, after having seen her onstage as a young boy, and my opinion is completely different from that time. Everything improves, and there is no sense in thinking things were better in the old days. Look at Ferri and Caracaju, a cut above their predecessors.
sillyboydeux 1 year ago
The adagio pas de deus is a lovely. Each couple is trying to create their best image and compete. Comparing them to "now" in ballet and how far we've come with the shoes,schools, and technique isn't fair. We owe progress to his daring to use imperfect dancers. It helped to give us Balanchine and others. The barre work was done one at a time and yet at the same time so he could see each one. I am not a dance teacher but I think that is good.
wendyverdades 1 year ago
What a mess! Artistry without technique is just corny. Look at all those dancers at the bar trying to muster a simple arabesque, looking disabled or hungover, with port de bras scattered and unfinished like little children. Legends are made of two things: famous names and bullshit.
sillyboydeux 1 year ago
hi sillyboydeux - was just watching film of tamara karsavina being interviewed by anton dolin about dancing in 'giselle' - at one point dolin asks if she thought lifar was any good and she replied 'not really'! in a nut shell!
nickwallacesmith 1 year ago
@nickwallacesmith Good ol' Karsavina. The Russian girls were quite outspoken, and had to be. Lifar was a joke, and basically, other than her and that band of Kirov primas like Ulanova and Spessitseva, to name a few, there was little to recommend the "pratique" that was utilized then; much like you saw in this roomful of klutzes! Even Pavlova, although magical as a performer, had no technique. She couldn't do 2 fouettés, let alone the 32 required for Swan Lake.
sillyboydeux 1 year ago
@nickwallacesmith wow l already told too grease and few tecnique.
pediatrapaola 1 year ago
hi pediatrapaola - i was just watching a video where one of lifar's early partners, Olga Spessivtzeva, said quite gently that he didn't have great technique, so to put him down but just to be real about his lacks as well as his strengths, good to hear from you, nick
nickwallacesmith 1 year ago
@sillyboydeux - yes, and in particular i think the corps de ballet was often very sub-standard as a number of ballets rsusses dancers of the second '30s generation noted in the film 'Ballets Russes' [2006]
nickwallacesmith 1 year ago
@sillyboydeux This particular clip is less than five minutes of a class in a time when there was not many people seeing ballet let alone trying it. What with the changes in shoes and sheer numbers studying, I think we can forgive the young lady in the back for perhaps flubbing her first and only camera op and say thank you to the Ballet Russe and Serge Lifar for promoting ballet and sharing it with a larger audience.
Bravo!
wendyverdades 1 year ago
@sillyboydeux agree he was a duffer ,very overrated dancer.
pediatrapaola 1 year ago
hi
Oriolidae
enjoyed finding it and sharing it - glad you liked it - i like to see how dancers and teachers actually worked in class
best, nick
nickwallacesmith 2 years ago
thank you for uploading. proud of having lifar as a kievan
Oriolidae 2 years ago
hey Rudipolt
no problem - best, nick
nickwallacesmith 2 years ago
Fine Show Serge Lifar!
Thanks for posting!
Rudipolt 2 years ago