“No dancer should be unconfident enough to need to read their reviews. What would they do? Try to adjust their performance? As Tamara Rojo once pointed out to me, which critic should she try to please?
(…) The memorable interpreters and creators are those who burn us with the heat of the flame that propels them, they’re not asking us to help bring their hesitant little glow to life with our paper cuttings. They know when they felt they’d done well, got it right – and very likely there were no critics there at the time.”
As to the point as Ms.Brown article, is the first comment made by a reader: “I agree with the sentiment of the comment and it does not in the least bother me if I do not agree with what critics have written but … too many critics can make personal and unnecessary comments about the people they are reviewing and that is reprehensible doing a disservice to the artists, audience and readers.” JanMcN
I agree again!!
Ms. Brown writes: “As they [reviewers] write, they have no feelings about the performer at all, only a selfish interest in whether the interpreter delivered them, as spectators, what they sought, what they wanted to feel as a result of experiencing this work of art.” We are often “graced”, however, with the reviewer’s opinion on the performer behind the role, on his character and private motivations… the work of art just a misty background! A missed opportunity to inform, educate and share appreciation of Art.
In an interview when she was still principal of Royal Ballet, in August 2012:
“I try to go on stage and be honest with myself. I can only rely on my feelings. My main aim is to share what I feel with my audience. When I go on stage I forgive myself if my show’s not perfect, but I don’t forgive myself if I did not become who I should be on stage. (…) What I love about working in Hamburg is the creative environment. Even working on ballets that have been created so many years ago, you can bring something to it, and feel like you’re still part of it, bringing ideas to the ballet. That’s nowhere to be found in London of course. You have the people in charge of the ballet trying to protect the choreography… protecting it to keep it looking like it used to be. I do respect the choreographers [but] it’s a constant battle there to bring something to every ballet I perform, to bring something new into the old.”
…but then Neumeier created Liliom for her in Hamburg, she won the Benois Prize on it, and moved on to Tamara Rojo’s now revolutionary ENB. Our luck! When she is on stage, her deeds speak for themselves – she IS what she says! Admirable dancer… AND person!
A battle to bring something new, of her own, to a ballet? Indeed!
What are they so afraid of, there in Royal Ballet? Protecting choreography is more important than “ME”, in the audience? Odd way of thinking – choreographies are already very well recorded, that should be enough!
How nice there is ENB now, where I’m taken into account… I don’t have any doubts where I will chose to be in my ballet evenings – there where Tamara Rojo and Alina Cojocaru will be giving us new choreographers, new ballets, new, individual, ways of performing the worn out old roles!