How many balletomanes have corresponded with a dancer? What have you written to them about.. aside perhaps the obvious praise of their dancing... ? Are the replies substantive or simply polite acknowledgments? Have your correspondences developed into considerable depth?... veered away from ballet? Or even resulted in something beyond correspondence? Do you think dancers like to correspond with the public or prefer more privacy? What was your experience? What would you like to say to a particular dancer if you could?

There is a thread called Dancers that respond to your letters that was started in 2004 and revived earlier this year. You might want to look through that one, which I've closed and linked to this one, and we can continue the discussion on this thread.

Ah, this brings me back many years...... when I first saw Lourdes Lopez in the NYCB Corps and responded so strongly to her dancing that I wrote to her, first when she and (the unfortunately late) Victor Castelli did the "jumping" pair in "Symphony in 3 Movements."

She responded then, and to future notes possibly because I was very specific about what she (and Victor, at that time) had done that I felt was outstanding, even though I knew the names of NO steps.

But what made me first start watching her, which I told her about, was that one day, back in 1978 - 80, don't remember exactly, coming down the steps after a performance, was that someone was holidng a handwritten sign above his head that said, "MORE LOPEZ!" So I wondered, "who's Lopez??" and watched until I figured out who she was....and loved what I saw.

I had learned from someone in theater that artists really love to hear from their audience, but especially when the writer shows that they observe what the artist is doing, because usually it is something they have worked hard on...and I have kept that in mind whenever I write to a dancer.

ViolinConcerto,

Are dancers writing back to you? Do your correspondences continue on? Do they ask about YOU etc?

Thanks for sharing this, Violin Concerto. Do you ever still write to her?

As it happened, I met Lourdes later on, many times in other settings. She was always very cordial. When she was at the George Balanchine Foundation, I saw her at numerous events, and ran into her on B'way/61st St often. I still think she was a wonderful dancer.

I've written now and then to other dancers, when they do something special, or when I see a choreography they've done. Again, I try to be specific. I've always been impressed by dancers' positivity and often their humility (totally unwarranted!). Some of course, couldn't be bothered. But it's important to respect privacy and not get personal.

I certainly agree, and because I've scrupulously adhered to this, my correspondence with Suzanne Farrell has gone on for nearly twenty years.

This is definitely the highest and sincereest form of flattery -- and the only one which seems to have any legitimacy with, or value, to the serious artist. I've never written to a dancer, but this certainly applies to conversations.

I sent a couple of cards to a dancer with BRB (I did not include a return address). She took the trouble to contact the BRB Friends Co-ordinator to get my address and sent me a lovely note of thanks.

I've also sent cards to some dancers at NBT and they have thanked me in person when they have seen me at a Friends event or even in the street.

They are all delightful people.

I've posted elsewhere about the time I wrote to ABT to have a book autographed by two principal dancers for a friend of mine who was ill at the time and so could not attend performances that year. The dancers wrote personalized autographs and the book was returned to me the next day. I believe this is the only written correspondence I've received.

Both in writing, (I've made and given a few cards), and conversation, I make it a point not to "gush" simplistic compliments, but only speak if I have a specific observation or question about technique, business, or performance schedules. And yes, I NEVER ask a personal question beyond inquiries about an injury or recovery. If you respect someone's space and privacy, they will respect you in return. One time, I didn't even approach a dancer I met (they were busy with fans, I was exhausted);I merely smiled and waved, and got a 'flash of recognition' and a smile and wave in return.

Sometimes you are lucky, and 'bump' into someone on a street or have a chance to chat after a performance, and twice now, I believe the restraint and respect I have shown in the past, has allowed me to have an informative and honest conversation with some very well known dancers. I've also noticed that they respect the sacrifices and long distances many travel to see them.

I once received an email, but since I couldn't believe anyone famous would ever write (though I have received emails from the family of a well-known actor), I opened it fast and deleted it for fear of a virus. When no virus ever appeared on the computer, it did make me wonder if the email was legitimate. Unfortunately, I didn't note a return-address. (It would probably have been blocked anyways.) If it was legit, then that was pretty amazing.

The original thread for this noted the receipt of autographed pictures and notes by some fans. As always, I am amazed at how kind and generous the dancers of this generation are. Previously, I remember a much more guarded demeanor, and often entourages or actual security surrounding the more famous from any contact(s).

I have a few brief emails from some dancers.

Recently I was in the Met Opera Book store and there was a poster announcing that Anna Netrebko was going to be there for a signing / promotion of her new Russian CD.

Being an admirer of her singing I am considering taking the opportunity to purchase the CD, and see Ms Netrebko up close and perhaps get a signed copy.

This may not be correspondence, but it is but is more akin 4mrdncr's experience with encounters of artists on the street. I wouldn't expect to have any sort of conversation about her work.

How do I get an autograph from a dancer?!

Some of others might comment on Rosie's question...

Can you wait at the "stage door" of the threatre with some flowers or something? Dancers do go home and rest I suppose...

I did go to the Netrebko PR event and got some memorabilia signed. She is very gracious and a good sport to sit there for a huge line of fans. The Met Opera Guild photographer snapped pictures and sent one to me... which is on my desk of yours truly smiling in disbelief next to the opera divsa herself. That was a thrill!! A kodak moment as they say.

I don't know that dancers do PR events like CD releases a singer might do.

I think if Rosie writes to the dancer c/o their company, there is a good likelihood he or she will send a signed PR photo back to her... I would give that a try.

Ok, do you really think that a ballet company would allow sendig letters to a dancer
i really hope so

I think most companies would be delighted to know that the dancers' fans are devoted enough to take the effort to write.

Good luck!

When I was a young ballet student I used to write to dancers asking them for an autographed photo.
Almost all of them replied. Then, when I had my ballet school in Spain I gave most of them away to my pupils - all my photos were nicely framed. But I have kept three and they are all hanging in my study now;
Margot Fonteyn, Svetlana Beriosova and an authographed program with Alexandra Danilova.
There are some antiquarian book shops selling autographs as well, but of course it is more fun to get it from the person him or herself.
I might have told this before, but I still blush with shame when I think about it. I saw Flemming Flindt with London Festival Ballet and he was so handsome, really to die for. He had just done the Drummer in Graduation Ball and I asked him (in Danish) to please write with my own fountain pen. It was somewhat old and leaky and I noticed to my horror that his fingers became stained with violet (yes!) ink. But I still keep that old program in my collection - just a bit sad to notice that some of them are no longer with us, f.ex. Toni Lander and John Gilpin - they were marvelous in Etudes. :huepfen024:

what an embarrssing moment
it´s feels great that dancers do replay when they receive post from fans all though a dancers day can be quite hectic sometimes. It´s sad when dancers die but in a way they will never be forgotten there will always be a change seeing them in a ballet or on you tube

It occurs to me that dancers and opera singers (to a lesser extent) don't get close to the public. They rehearse, perform and they are rarely put in front of a camera for an interview unless they are really a major celeb. They seem more "invisble" than athletes, skaters and pop musicians... they rarely employ PR people and seem to be all about their art. When one thinks of these talented people who have studied for decades... perhaps a handful of their names are even known by the general public.

We (society) treat artists very poorly for what they give us (general public).

That's sad.

Equally sad I would imagine is the financial compensation dancers receive. I cannot imagine it being a particularly remunerative occupation. But that is perhaps a subject for another thread. (Has there been one?)

Regarding letters to dancers, would anyone care to estimate how often dancers hear from their public? Are they deluged with fan mail, or is it usually a sporadic thing? And do dancers tend to treat a thoughtful letter as something special to them, or do they just toss most of their letters aside thinking, "Oh, God no, not another annoying fan!"

Klavier,

How true about cmpensation... but we do have a problem with economic justice and fairness all through this society. Willy Randolf just signed a 5.8 million dollar 3 yrs contract to manage the Mets. Fine and dandy... Imagine if those pay scales existed for the Choreographers or ballet masters?

It's a winner take all deal... But I am sure only the top dancers are well compensated for their art. For the rest it's a labor of love and an exploitation of their talent and dedication.

Unions were supposed to level the playing field a bit. I will write to a dancer or two and see what their opinion is on compensation. I don't expect any replies.

I have a feeling dancers don't hear quite as often from their fans as they would like.

And as far as responding to those fans. I believe many would take the time out to respond if warranted by the sender. EXAMPLE If a fan would ask for a signed photo or such, a dancer could easily acquire a photo. But in the end, I think it depends on the dancer.

I wrote to Irina Kolpakova and sent her a picture and not within two weeks it was sent back to me, signed.

Off topic but in response to sander0 and Klavier's remarks about publicity and compensation:

'they rarely employ PR people and seem to be all about their art. When one thinks of these talented people who have studied for decades... perhaps a handful of their names are even known by the general public.

We (society) treat artists very poorly for what they give us (general public).

That's sad.



Equally sad I would imagine is the financial compensation dancers receive. I cannot imagine it being a particularly remunerative occupation. But that is perhaps a subject for another thread. (Has there been one?)'


The corps de ballet dancers at NYCB get good pay, at least according to what I googled a while back. Not great, but good. Much better than it was 20 years ago. They deserve it and the soloists deserve big bucks if they can get it. I think they're paid fairly and that sports figures are paid stupidly because that adds to the excitement for the fans. Same with movie stars getting absurd figures for poor work--or even a great singer like Streisand 10 years ago doing the comeback and getting 10 million for a concert. That's just part of the hype. Ballet isn't supposed to have hype and People Magazine stories, and serious dancers know this.

Probably dancers at the smaller dance companies don't get paid much, that's more serious, I'm sure. As for the big companies, I can't get worked up about their financial problems. NYCB, ABT or RB is a good life even besides the art. Plenty of even NYCB dancers have had tons of big money, they've got fine houses, etc., and real property: it just wasn't publicized, because that didn't fit the image. ABT stars got even more, and Nureyev and Baryshnikov got more. But all ballet stars have been fairly compensated. It's fine except for the less famous ones, and is the same as it is in all the serious arts. I think all the concern for compensation should be for the obscure ballet and modern dancers, none for those in the big ones, who actually have a very pampered life even if there's a lot of work.

Good news for the dancers at least in the larger companies, not so good for those in smaller ones. I don't endorse the inflated pay given to sports stars and movie actors either.

Another issue is the longevity of a dancer's career. However well or ill they are paid now, they cannot expect to continue past a certain age, and must look for other ways to make a living.

Would you be able to estimate the average annual compensation a dancer at NYCB can be expected to receive in each of the three main ranks, vs. the compensation at a smaller company?

If this is too OT by now, perhaps another thread would be in order.

Here's a fairly long discussion of ballet pay that, I think, should interest those who missed it before.

Please feel free to add to it. The topic is worth exploring further.

http://ballettalk.invisionzone.com/index.p...l=compensation*

makes me reminisce on my ROH encounters in '05. I rushed out of ROH and found Jonathon Cope just leaving and throwing away a coffee cup. (no, I wasn't about to thrust myself in the trash can) I asked him politely to sign my program....with that handsome dark features and rich hair... Then he just walks off into the night on the London streets, just like he was a 'normal' person. Then outcome Nicolas Le Riche, then Monica Mason. After waiting almost an hour Sylvie Guillem finally comes out. I will always keep her picture of us together. But I guess Darcey Bussell, Cojacaru, and Kobborg snuck out.

So I guess it depends, I'm sure they are all tired and don't want to deal with fans. But others are flattered, as long as it is done w/ sincerity. at ABT's Giselle, many waited for Julie Kent....

Celebrities obviously have a love hate relationship with the public. They want their attention, love and support of their work, but they also want a private lifeso they can live without harassment of being stopped by strangers.

Obviously these encounters can range from polite to being stalked... which seems to be the case with pop stars or atheletes.

Probably the best and safest environment to meet celebs is an organized event where the artists are availble to interact with their fans, such as a PR event. These can satisfy the needs of the fans to interact on a "personal" or almost a one to one level, even for a brief time, but also allow the artists their privacy. I think many companies organise variations of non performance public events for their artists. And for the fan they don't have to feel as if they are accosting somone who is essentially a stranger.

Being a well known public person creates very assymetrical relationships for fans and artists, who know will know lots about the artists, but the artist will know abosolutely nothing about the fan, except that they admirer the artist's work.

I would have liked to chat a bit with Ms Netrebko, but since their was a long line and all sorts of security, photographers etc standing around, there was really very little personal interaction possible. Bummer that.

Weird ain't it?

I found this thread the same morning I had an email from Julie Kent. I treasure notes from Magot Fonteyn, Lynn Seymour, Marianna Tcherkaasky, Cynthia Harvey and others. In July, I was surprised by a card from many of the women in ABT's corp thanking me for remembering them on tour.

Unfortunately, rereading the above, it seems an ego trip...it was not meant to be, let me begin in another way, more as a coach...

I began sending notes to dancers who impressed me, sometimes I would have the good fortune to meet some of them. Now and then there was recognition that my note had been appreciated. Meeting them again, a conversation might and often did take place. A dancer introduces you to another dancer and another conversation takes place and a correspondence sometimes begins

I have an ongoing email thread with one dancer who is an opera nut (in the best sense of the description) and we share notes on performances and perfomers. As the years have rewarded me with several friendships and a godson (now a young man, the son of two dancers), I would chance to say that dancers appreciate the correspondence...they may not always have time to reply especially at the etoile level...but they are very aware of the letters.

And two recommendations...our words have greater potency for those in a corps de ballet; and remember to keep in touch with those who have retired...until her passing Nora Kaye and I would share stories...hers were much better than mine

After numerous postcards, letters, notes, and greeting cards over the years, my correspondence with Suzanne Farrell recently took a new and different turn: we exchanged e-mails.

Slightly OT... do you think that people in the companies, dancers and so forth read Ballet Talk?

Sander
The marketing folks are aware and some are avid readers...I know some dancers are aware of discussions that involve them or their ballets. Have seem some corps members of one national company on the site looking at comments about a new production, not sure if they are posters...but they may well be.

I can certainly appreciate that they don't want to make a presence here for obvious reasons. But I would imagine that many would read here as it is quite an interesting resource and a way to get the pulse of the ballet public... so to speak. I met an ABT fan when he asked me if I was a supporter or member... I was wearing an ABT T shirt out in LI entering a breakfast place. We chatted for a few minutes and he goes regularly and often but had never heard of ballet talk. Perhaps he will be a new member? I can't imagine that the dance world would not be readers of this site. I can't even recall how I found it... Google? Diversion over.

True--and for all we know, you're Ashley Bouder!

That's how I found Ballet Talk. I was Googling something having to do with NYCB dancers during the 1960s and several wonderfully insightful and literate BT posts came up. Thank you, Google!

I beg your pardon. How do you know I'm not Ashley Bouder?

Because everyone knows you're Jilanna. And I'm Una Kai.

Curses! my cover is blown!!

I wasn't sure about posting my only experience, but here it goes, as maybe a lesson for some of us...
One time i posted a comment on a dancer, (not in BT), wich wasn't favorable, but not disrespectful -(will omite her name). On that same site were , literally, hundreds of postings praising her dancing, and i guess i was the first one to dare to have an opposite view. Mine was basically a comparisson of my last recent experience of seeing her to what i'd seen almost 10 years ago, when she had just started as a professional dancer. Days after, i was surprised to see her screen name in my inbox (i knew it from her web site). It was a short and polite e-mail in which she seemed hurt by my comment, and asked me the basis on which i disliked her dancing. I wrote her back right away, exlpaining that i didn't dislike her at all, (i even screamed and whistle on her last performance), but i just happened to had seen her since her very begginings so i was making an experience-based comparisson, (not favorable, true), but, as i said earlier, always in a respectful way. I tried to be concise and sincere. She didn't answer me back. From that time on, i learned a lesson: to refrain myself from speaking out loud, unless i'm Clive Barnes.

well i'm george balanchine.

ok, to be honest, here is my confession: I'm Alicia Alonso.

Reminds me of the old Dorothy Parker verses:

Welcome to all our distinguished, though originally anonymous, Ballet Talk members.

I know...i know...me, the diva..the Prima...the One and Only...

Enough, girl, enough ...get up...WHEEERE IS MY SWAAAAN COOOSTUME?!?!?!?! I WANT IT NOOOOWWWW!!!!!

It's coming!!!!

Good.

I knew it!

yes...the Diva, the Prima...the One and Only...