Word: tetley
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...last year before the horrified eyes of his Stuttgart Ballet Company, he left the troupe orphaned of its guiding spirit. Now the state and city fathers, whose liberal subsidies underwrite an international company that is one of Germany's most alluring cultural ornaments, have chosen American Choreographer Glen Tetley to plot new directions toward modern dance. Tetley does not take over as full-time director until autumn, but last weekend he premiered his ballet Gemini with his new company. Judging by the opening night ovations, Stuttgart is delighted with its choice...
...positions are not. They are an exploration of every inch of space on the stage and around the dancers themselves. Haydée oozes elegantly across the floor on her bottom like a geometric snake, slithering effortlessly upward, feet first and legs spread, over Cragun's waiting shoulders. Tetley amazingly seems to have taught his dancers how to bow their hips into trompe l'oeil convex forms. The two couples slide through a visual glissando of sexual exercises so explicit yet so subtle in execution that the intimacies never shock -except perhaps with the revelation of the extreme...
...Tetley is determined to link modern techniques with classical form -hence the title Gemini. The ballet's main fault lies in the intensity with which Tetley states his position. Neither dancers nor audience have time to catch their breath for reflection on the extremities of motion and emotion to which they are constantly pushed. And Tetley is too new to the company to take fullest advantage of the dancers' contrasting personalities-for example, Haydée's Latin passion with Cuoco's sinuous California cool...
...statement of intentions from a self-described "Gemini person," the ballet flows directly from Tetley's twin-track career. Born 48 years ago in Cleveland, he took classical training, then studied modern dance with Martha Graham and Hanya Holm. In Europe since 1962, he has worked mainly with the Netherlands Dance Theater. There his most publicized work was Mutations, an hour-long essay on aggression that ended with the dancers literally stripped bare...
...film consists of segments from four of the Royal Ballet's repertoire, each a pas de deux featuring Nureyev and ballerina. La Sylphide, with Carla Fracci and The Sleeping Beauty, with Lynn Seymour, are both classical works. Field Figures, with Deanne Bergsma, choreographed by Glen Tetley, is a modern ballet. And Marguerite and Armand, with Dame Margot Fonteyn, choreographed by Sir Frederick Ashton especially for the pair, is based on Dumas's story of Mme. Recamier, the courtesan immortalized by Garbo in Camille. Ashton calls his ballet an "evocation poetique," but it is more like sentimental prose. The other pieces...