American - Writer | April 29, 1931 -
One of the eternal mysteries of ballet is how untalented choreographers find backers for their work, and then find good dancers to perform in it. Is it irresistible charm? Chutzpah? Pure determination? Blackmail? Or are so many supposedly knowledgeable people just plain blind?
Robert Gottlieb
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What really matters is that 'Black Swan' deploys and exaggerates all the cliches of earlier ballet movies, especially 'The Red Shoes,' another tale of a ballerina driven mad and suicidal.
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Blood is the leitmotif of 'Black Swan.'
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'Black Swan' does what Hollywood movies have always done - it spends its energies on getting some surface things right while getting everything important wrong. Darren Aronofsky, the director, applies the same techniques and the same sensibility here as he did with 'The Wrestler,' only with a prettier protagonist.
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Raimund Hoghe is a little man with a spinal deformity who was once Pina Bausch's dramaturge.
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Ballerinas are often divided into three categories: jumpers, turners and balancers.
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'Seven Sonatas,' with its flowing series of meetings between men and women in an identifiable emotional world, is in the mould of Jerome Robbins' glorious 'Dances at a Gathering.'
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Paul Taylor's 'Offenbach Overtures' has lots of zip and charm, and its pair of dueling soldiers in red, who end up starry-eyed about each other while their disgusted seconds take up the quarrel, is nonstop funny.
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Choreographers, historically, are born, not made - their talents drive them to it.
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'Beloved Renegade' is a meditation on Walt Whitman, on tenderness, on dying.
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All ballet galas are unbearable, but they're unbearable in different ways.
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Shakespeare has always been up for grabs, and choreographers have every right to use him any way they choose.
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