http://www.dancecritics.org/blog Engaging the dance community in thoughtful conversation. Tue, 27 Mar 2012 19:30:16 -0400 hourly 1 http://wordpress.org/?v=3.1.3 http://www.dancecritics.org/blog/?p=37#comment-270 Judith judson Tue, 27 Mar 2012 19:30:16 +0000 http://www.dancecritics.org/blog/?p=37#comment-270 One person's "snark" is another's reasoned criticism. Cutting criticism often comes from the intense rage felt when one's treasures are gutted by hamhanded fools. Most of those efforts these days are from the frantic attempts to make works which have stood the test of time seem "relevant." I once spent a lot of time writing a scathing review (it was not for publication, but for friends who shared my outlook) of Kudelka's revolting notion of Swan Lake. When I had vented my spleen I felt a little better and a little less bitter. (This was the production that had the visiting Princesses standing on little perches as if they were for sale a la Corsaire--amongst other asininities.)The most recent example of this for me was Hubbe's wanton destruction of that charming Biedermeier piece, Bournonville's A Folk Tale. I happened to be at the Kennedy Center performance which was also attended by the the Queen of Denmark, who was obliged to sit still and be polite as she was confronted by a troll girl dressed for Miss Julie and opening her legs to the audience in the manner of every third rate "competition" candidate--(and alas, many a contemporary ballerina in many re/deconstructions of Swan Lake and Giselle). Writing a scathing review of that horror was a duty. And two nights later what a joy! The careful, respectful, honorable, loving reconstruction of Giselle by the Pacific Northwest Ballet. One could sit back and purr. But the emphasis on tricks and athletics and crotch that prevails in "classical" ballet these days can lead to a lot of well-deserved "snark"--and such love and respect felt in Seattle is becoming more and more rare. One person’s “snark” is another’s reasoned criticism. Cutting criticism often comes from the intense rage felt when one’s treasures are gutted by hamhanded fools. Most of those efforts these days are from the frantic attempts to make works which have stood the test of time seem “relevant.” I once spent a lot of time writing a scathing review (it was not for publication, but for friends who shared my outlook) of Kudelka’s revolting notion of Swan Lake. When I had vented my spleen I felt a little better and a little less bitter. (This was the production that had the visiting Princesses standing on little perches as if they were for sale a la Corsaire–amongst other asininities.)The most recent example of this for me was Hubbe’s wanton destruction of that charming Biedermeier piece, Bournonville’s A Folk Tale. I happened to be at the Kennedy Center performance which was also attended by the the Queen of Denmark, who was obliged to sit still and be polite as she was confronted by a troll girl dressed for Miss Julie and opening her legs to the audience in the manner of every third rate “competition” candidate–(and alas, many a contemporary ballerina in many re/deconstructions of Swan Lake and Giselle). Writing a scathing review of that horror was a duty. And two nights later what a joy! The careful, respectful, honorable, loving reconstruction of Giselle by the Pacific Northwest Ballet. One could sit back and purr. But the emphasis on tricks and athletics and crotch that prevails in “classical” ballet these days can lead to a lot of well-deserved “snark”–and such love and respect felt in Seattle is becoming more and more rare.

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