Рет қаралды 313
When I was learning my craft (remember Balanchine brought me to NYC at 19 as a choreographer first), he wanted me to watch every performance. “Watch and learn,” he said. He also sat with me lighting my 8 ballets for the company, so I learned firsthand how crucial lighting was to him. In LA VALSE this Is tremendously important. Here are two sections where the lights are everything. The first is the beginning of the “La Valse” section, and the second is after the heroine dies, and at first we’re back in the ballroom, but suddenly everything turns into a nightmare. I conferred with our company’s resident lighting designer, Ronnie Bates, how to achieve these effects, and this is how it looked with the Mariinsky Ballet when I staged it for them in 2004.