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By The Dance Insider
Copyright 2004, 2018 Paul Ben-Itzak
Today marks the 214th anniversary of the birth of Marie Taglioni, the first dancer to use pointe artistically. In 2001, the Dance Insider lead a world-wide campaign to place pointe shoes on the dilapidated Montmartre cemetery grave (in the shadow of the impeccably maintained tomb of Nijinsky) identified by the city of Paris as Taglioni’s final resting place. In October 2004, the DI capped the celebration of Taglioni’s bicentennial, of which it was the lead organizer, with a conference and performance co-presented by the Italian Institute and co-organized by Sophie Parcen of the Paris Opera Ballet. As of May 2016, the city of Paris had yet to remove Taglioni’s name from the stationary maps of the Montmartre cemetery. Founded in 1998 by a collective of professional dance artists and journalists to build the dance audience, tell stories not told elsewhere, and give a voice to dancers, the DI is celebrating its 20th anniversary. For information on purchasing your own copy of our archive of 2,000 reviews of performances and art from around the world by 150 leading dance critics, e-mail firstname.lastname@example.org .
PARIS — Officials at the Montmartre Cemetery this morning agreed to take Marie (also known as Maria) Taglioni’s name off cemetery maps after an Italian Institute-Dance Insider conference revealed that Taglioni, the first dancer to use pointe artistically, is not buried in the cemetery tomb which bears her name, but in the Pere Lachaise cemetery under the name of Gilbert de Voisins, the ex-husband she divorced after he turned her away from their home because she wouldn’t stop dancing, as confirmed by Edgar Allen Poe’s contemporaneous translations of French newspaper accounts of the divorce proceedings.
The startling turn of events began Thursday, shortly after the opening of the bicentennial homage to and conference on Taglioni in the ballroom of the Institute’s Hotel Gallifet, where Napoleon first encountered his nemesis Madame de Staehl. But that drama was nothing compared to what happened when Dance Insider publisher Paul Ben-Itzak began speaking about the Montmartre grave. As Ben-Itzak recalled first seeing Taglioni’s name on the cemetery map when he visited the cemetery to view Nijinsky’s grave in July 2001, DI webmistress and art director Robin Hoffman projected images of the Montmartre grave, which bears a cracked placard with the words “Marie Taglioni” and “a sa mere bien-aimee,” or “to his/her beloved mother.”
Seated in the first row of the audience was conference participant Pierre Lacotte, whose 1971 reconstruction of Filippo Taglioni’s “La Sylphide” is considered the authoritative version.
“I’m sorry but I must interrupt,” said Lacotte, who is working on a biography of the Taglionis. “It’s not her grave.”
To receive the complete article, first published on October 6, 2004, subscribers please contact publisher Paul Ben-Itzak at email@example.com. Not a subscriber? Subscribe to the Dance Insider & Arts Voyager for just $29.95/year ($99 for institutions gets full access for all your teachers, students, dance company members, etc.) by designating your PayPal payment in that amount to firstname.lastname@example.org, or write us at that address to learn how to pay by check. Subscribers receive full access to the DI/AV Archive of 2,000 exclusive reviews by 150 leading critics of performances and art on five continents from 1998 through 2015. You can also purchase a complete copy of the Archives for just $49 (individuals) or $109 (institutions) Contact Paul at email@example.com. Sign up by April 30 and receive a FREE Home page photo ad.
By Paul Ben-Itzak
Copyright 2003, 2018 Paul Ben-Itzak
In tonight’s return to the Paris Opera Ballet repertoire of Maurice Bejart’s “Bolero,” Marie-Agnes Gillot will dance the lead. Gillot retires from the Opera March 31. Special thanks to DI supporter NR for enabling our ballet coverage.
PARIS — For the first 10 minutes of Mats Ek’s “Appartement,” created on the Paris Opera Ballet in 2000 and reprised this past weekend at the Garnier, I was all set to write a piece regurgitating the question: Why isn’t Ek, a major contemporizing force in ballet in Europe, programmed by U.S. ballet companies, instead of the safe middling contemporary fare we often get from them? But then I realized the misogynistic vision of women Ek was using his innovative choreography to postulate. On International Women’s Day, no less, the Paris Opera Ballet was presenting a view of women as man-domineering baby-burners who, when they are not subduing their men, have only one thing in mind, to get them to fuck them. (I use the vulgar language to convey the vulgar way in which Ek expressed this.)
On paper, the conceit of “Appartement” is surprisingly full of possibilities. In the program notes, Ek points out that our apartments can be isolated chambers where we are alone with ourselves. (Indeed, the French word for ‘room’ is ‘chambre.’) How we interact with, in, and among its implements and environs is fertile territory for dramatic and kinetic exploration. Onstage, the piece begins intriguingly enough. As seen Saturday afternoon, the ever lissome Marie-Agnes Gillot squeezes under the drawn faux-curtain and onto the lip of the stage — willowy and statuesque at the same time, and a heart-stopper seen at such close range, as evidenced by the gasping of the woman seated next to me. That we’re in the bathroom is indicated, prop-wise, by a solitary bidet-sized bathtub. Where we are is also indicated by Gillot, who stands up and shivers in anticipation as she enters, as many of us do when stepping into the capsule of a hot bath, to be alone with our whimsies, musings… and fantasies. She is suddenly free, her long limbs shooting to the sky…..
To receive the complete article, first published on March 12, 2003, subscribers please contact publisher Paul Ben-Itzak at firstname.lastname@example.org. Not a subscriber? Subscribe to the Dance Insider & Arts Voyager for just $29.95/year ($99 for institutions gets full access for all your teachers, students, dance company members, etc.) by designating your PayPal payment in that amount to email@example.com, or write us at that address to learn how to pay by check. Subscribers receive full access to the DI/AV Archive of 2,000 exclusive reviews by 150 leading critics of performances and art on five continents from 1998 through 2015. You can also purchase a complete copy of the Archives for just $49 (individuals) or $109 (institutions) Contact Paul at firstname.lastname@example.org. Sign up by March 1 and receive a FREE Home page photo ad.