Misguided ideas about dance film: Angelo Silvio Vasta

May 18th, 2017 § 0

Opus-Jazz-Passage-For-Two-promo
Frin Opus Jazz: Dance Filmed Right: Exciting, Dynamic

For years I’ve been a member at a site called NoFilmSchool – short form – NFS. Originally the online workbook of aspiring filmmaker Ryan Koo. Gradually Koo’s film projects (Vimeo) took him away from writing NFS and publishing standards have fallen.

1. They steal content from more reputable writers and re-post it as “click bait”
2. Judging by the brief and easily agreeable copy it’s easy to tell that the newer writers barely understand what they’re writing about nor do the writers even watch some of the tutorials/case studies they post anymore.
3. Ryan Koo, Robert Hardy and Joe Marine don’t write enough. And when they do it’s half-assed. They are this blog, and they are dropping the ball.
4. Quality over quantity has been lost and the reputation of the blog is suffering as a result. The basic idea of “think before you speak” could really benefit some of the writers here.

Gordon Robert’s critique is pretty much right on.

Misguided ideas about dance film: Angelo Silvio Vasta Continues »

Berlin, City of Glass and Concrete: Photo Essay

May 15th, 2017 § 0

Berlin needle from Gendarmenmarkt
Berlin needle from Gendarmenmarkt

Last weekend I was in Berlin for the first time for WordCamp Berlin 2017, despite having met and collaborated with some talented Berliners like Luci van Org in my days as a dance film director. Visually I was astonished by the amount of concrete and glass.

Berlin is also very flat, like Holland so it’s an ideal place to cycle. If you come to Berlin be sure to rent a bicycle immediately as the U-bahn is somewhat expensive (€2.80) and dark and smelly. Much less joyful than gliding along beside Berlin’s canals or through its huge parks on your way to your destination.

WordCamp Berlin 2017
Remnants of Wars Lost

Berlin, City of Glass and Concrete: Photo Essay Continues »

Wiener Volksoper: Eifman’s Red Giselle a Triumph

May 6th, 2017 § 0

Giselle-Rouge-Red-Kommissar-with-Giselle-Vladimir-Shishova-Nina-Polakova
Giselle-Rouge-Red-Kommissar-with-Giselle-Vladimir-Shishova-Nina-Polakova

There are few companies in the world who can pull off the first scene of Red Giselle. Boris Eifman puts eight princes on stage in glittering classic princely raimant and eight princesses in exquisite white tutus.

It’s a hallucinigenic and disorienting spectacle to face that many principal dancers at the same time, each dancing his or her grand role. Staatsoper is a particularly beautiful ballet company with the men for the most part fine featured and long limbed. The Staatsoper corps-de-ballet women are slim, soft curved and graceful. Thanks to their pretty faces and fine dancing skills the illusion of eight princes and eight Giselles convinces.

Staatsoper is a better match than Eifman’s own company for Red Giselle as the Staatsoper dancers perform the classics every week and are prettier. Eifman’s own group are a bit shorter and more muscular – primarily modern dancers.

Red Giselle’s story follows a principal ballerina who abandons her choreographer director husband in the early years of the Russian Revolution for a fling with a Red Kommissar. Initially her plans were for a short affair but the black coated kommissar is not prepared to let her go.

Wiener Volksoper: Eifman's Red Giselle a Triumph Continues »