I would put Irina Kolesnikova on the list. But as has been said, it is very subjective and the Telegraph list gives no hint as to who complied it or how. I've been thinking about this. Would the dancers considered great in the olden days match up to the greats of today or does greatness transcend generations because of something indefinable. The technique of current day dancers has moved on from what was required I believe even 50 years ago but when I watched the Darcey Bussell documentary last night with clips of Margot Fonteyn and Anna Pavlova, for example, the magic was there even on a small screen.
For me the greatest thing Pavlova did was to inspire a very young Frederick Ashton. Whatever were her limitations he put her into pretty much every ballet he ever wrote via the Fred Step. Few artists anywhere in any discipline have that kind of immortality.
Oh absolutely, Janet. Clips of Pavlova performing the Dying Swan still bring a lump to my throat, while more recent offerings leave me cold. Incidentally, why do people now say that Pavlova was not technically proficient? She was trained at one of the greatest schools, and was promoted to soloist straight away, I believe, and that doesn't happen to dancers who are poor technicians. Her later public performances may not have displayed technical brilliance.
However, she may have deliberately gone for less technically demanding dances, to allow her to tour as extensively as she did. I've got one, Fonty: Elisabeth Platel. I saw her only once, when she appeared at the Lowery with the POB as Nikiya in 'Bayadere' in what was - if memory serves - the very first performance of any kind at the Lowery.
She was simply mesmerising, and I remember thinking at the time that she was probably the first real 'ballerina' - in the strict sense of the word - that I'd ever seen. Not just her beautiful line and her exquisite dancing, but her authority and command over the entire stage. When she pointed her accusing finger at Solor and Gamzatti just before her snakebite death, the entire theatre, not just the guilty pair, seemed to freeze.
I felt quite cheated that she retired before I had a chance to see her in anything else. Although I agree with you about Elisabeth Platel, and I would also mention Pontois, I think we must point out that Sylvie Guillem is deservedly on the list and is also French so the nation is represented.
The good point here is that the richly illustrated ballet topic in a large-circulation newspaper might awake interest in classical ballet and reach ballet-fans of the future.
Sorry, TwoPigeons, you are right, but I was thinking of dancers from the POB, whose names may not be widely known in this country for that reason. Having finished my ironing I am going to be even more subjective now. I have been lucky to see dancers whom I would regard as ballerinas, some I think of as stars.
I can instantly think of three greats whom I would regard as both. The list is probably longer if I think about it but my gut reaction is. To be really controversial I would regard Viviana Durante as a ballerina and Darcey Bussell as a star but not necessarily a ballerina.
I will now retire with my tin hat on in case of incoming missiles. I think versatility has to come into it somewhere. There are so many GREAT dancers but once you start to bring "all time" into it somehow gets much more complex as you have to be "judging" dancers you may never have seen but only read about. I never saw Pavlova dance but would feel one would have to include her because she did so much to enhance the cause of ballet and was obviously great in her time Really one is probably choosing one maybe two from each generation 10 years who rose above their peers in some way and would have to have been the muse of a choreographer or formed a great partnership or been brilliant in many varied roles to fully qualify.
I would include the above three two pigeons This is an interesting topic and naturally any list of any field actors, singers etc would be subjective. Not so long ago I remember a list of the greatest actors of all time and no1 was Judy Dench who of course is extraordinary but it was focused on british actors and even in that respect was not complete the great Peggy Ascroft was not on the list for example. To go back to this list, I would say several criteria could be taken into account.
The appeal of a ballerina, popularity, versatility, charisma and influence. There are some dancers who have reshaped the language of dancing and the very image of female dancers. Two names which come to mind are Sylvie Guillem and Plissetkaya the latter unfortunatly not included on the list.
So the influential dancer, whether male or female is important in my opinion in shaping such a list. Today when asked many dancers confirmed or even aspiring ones around the world whom they considere as a model the answer usually is Guillem for female dancers and Baryshnikov for male dancers.
And if I were to make a list of great male dancers Baryshnikov, Nureyev and Vassiliev would definitely be there. With regards to this list, no objection at all to the contrary to the inclusion of Fonteyn since she did have that mythical status of a great international ballerina with huge appeal. These I would include over let us say Osipova who still has a long way to go and even the wonderful Rojo or Cojocaru. There are so many "great" dancers mentioned I haven't been privileged to see beyond a few filmed roles.
I think the concept of "greatness" is a difficult one, but to me it suggests more than technical accomplishment. Perhaps it's about legacy i. When I look at some names mentioned, it is probably too early to be able to access if this is the case.
I guess we all have our personal favourite dancers who may have moved us, but does tha make them "great"? I wonder how many people would be thinking that Darcey Bussell was so great if she hadn't had so much non-ballet-related publicity.
Actually I wonder how many people would have even heard of her, outside the small group of ballet aficionados. The so-called ideal ballerina body has changed over the years and continues to evolve.
Instead of a softer shape, a muscular body is more common. But really, more people appreciate and accept dancers of all kinds of different body shapes today than ever before. Actively scan device characteristics for identification. Use precise geolocation data.
Select personalised content. Create a personalised content profile. Measure ad performance. Select basic ads. Create a personalised ads profile. Select personalised ads. Apply market research to generate audience insights. Measure content performance. Develop and improve products. List of Partners vendors. How will your life change without them? Everything you give up to pursue your dream comes at a cost.
Evaluate it carefully and make sure you are prepared for it. Take some time to work out how you can plan and prepare for a change later on. Take a good honest look at who you are: what makes you tick, what excites you, what are your strengths?
Is the ballerina dream still the best fit for who you are becoming? Everyone is unique, so you need to find what is right for you. People often ask me if I miss dancing professionally. I actually love what I am doing now as a counsellor, and I find great reward in helping others overcome the things that hold them back. Who knows, perhaps I will do more good for the dance-world as a counsellor than as a dancer?
0コメント