Dominic's Thoughts.

Over the years I have seen this video maybe 100 times.  I started dancing the year after this was filmed in 1976.  What an amazing time for ballet in the U.S. It was an explosion of  love and care for the craft.  Just notice the care and attention to detail with the elasticity, pull and phrasing of the first tendus, perfectly phrased with the musical score.  That is no accident.  I love the breath and full interpretation of the steps with the music.  Never early, never late, and never random.

Pure love and understanding of the craft.

We saw Houston Ballet on Opening Night yesterday in “Theme”, such a treat.  

The acceptance speech….

The acceptance speech….

some images from the induction to the Fox Valley Hall of Fame in April…

Another oldie….My first year dancing Des Grieux in “Manon” with Houston Ballet.  

Don’t miss this one opportunity to take a class by the world renowned, Yannick Boquin. His classes are always just a perfect balance of clean simple work from the center of the body, and ease of movement through space in the centre work. Come a little early to register. See you Saturday 1:00-2:30!

Don’t miss this one opportunity to take a class by the world renowned, Yannick Boquin.

His classes are always just a perfect balance of clean simple work from the center of the body, and ease of movement through space in the centre work.

Come a little early to register.

See you Saturday 1:00-2:30!

Here is a taste of what goes on inside the open rehearsals at DWDT. Since the inception of the company in 2002, Dominic Walsh Dance Theater pioneered this format for “Open Rehearsals” to inhance the creative experience for our patrons - so many people have become more versed confident in this “Dance Theater” genre over the ten years.

This program opening Thursday, May 3rd, 2012 includes “Swan Lake duet” M. Bourne, “The Itch” Walsh, “The Dying Swan” Walsh, “Pas de Dans” M. Ek and world Premiere-“Camille Claudel” Walsh.

Our final studio run was yesterday afternoon.  I just keep thinking about the presence of Camille around us during this tribute to her work, her essence, and her person. How interesting this human experience is, that one leaves a legacy of art or whatever the case,  and another, not knowing this person, feels a duty and exuberance to shed light on that artist.   Exchange is everything…

Our final studio run was yesterday afternoon.  I just keep thinking about the presence of Camille around us during this tribute to her work, her essence, and her person.

How interesting this human experience is, that one leaves a legacy of art or whatever the case,  and another, not knowing this person, feels a duty and exuberance to shed light on that artist.  

Exchange is everything…

Another old school video. Romeo from 1999. I think HB is still using video of Dawn Scannell and I from that year in their promotional materials for their upcoming revival at HB.
Great memories…..

a costume design sketch for “Camille Claudel” Saturday we had our two musicians join us for the first run thru of “Camille Claudel” (opening this coming Thursday, Friday and Saturday).  Our Cellist, Lachezar Kostov, and Soprano, Nancy Curtis fit into the cast and production like the missing pieces of a puzzle.  What an amazing group of artists- seasoned, articulate and compelling!

a costume design sketch for “Camille Claudel”

Saturday we had our two musicians join us for the first run thru of “Camille Claudel” (opening this coming Thursday, Friday and Saturday).  Our Cellist, Lachezar Kostov, and Soprano, Nancy Curtis fit into the cast and production like the missing pieces of a puzzle.  What an amazing group of artists- seasoned, articulate and compelling!

The most essential task of art is to capture movement. On this point I differ from Rodin. For him, the modeling is everything when it comes to sculpture. He attributes only secondary importance to movement. Certainly movement deforms. There is an essential difference between the rapidly turning wheel and the stationary wheel: the stationary wheel is round and its spokes are equidistant from each other; the rapidly turning wheel is no longer round and has no spokes at all. Movement has, in a sense, devoured the anatomy, the very skeleton of the wheel. And a similar thing happens with the human body when it elongates or retracts, changing proportions and destroying its equilibrium. The artist cannot hesitate between what has been and what will be. He must choose. The Chinese and the Japanese have been astonishingly deft at the art of indicating the mobility of beings and things. (Camille)

The most essential task of art is to capture movement. On this point I differ from Rodin. For him, the modeling is everything when it comes to sculpture. He attributes only secondary importance to movement. Certainly movement deforms. There is an essential difference between the rapidly turning wheel and the stationary wheel: the stationary wheel is round and its spokes are equidistant from each other; the rapidly turning wheel is no longer round and has no spokes at all. Movement has, in a sense, devoured the anatomy, the very skeleton of the wheel. And a similar thing happens with the human body when it elongates or retracts, changing proportions and destroying its equilibrium. The artist cannot hesitate between what has been and what will be. He must choose. The Chinese and the Japanese have been astonishingly deft at the art of indicating the mobility of beings and things. (Camille)