Boys @ the Barre: Raw footage, 1998Additional title: Boys at the BarreAdditional title: Jelko Yuresha papers
NamesDe Luz, Joaquin, 1976- (Interviewee)Corella, Ángel, 1975- (Interviewee)Yuresha, Jelko (Interviewee)Carreño, José Manuel Torres (Interviewee)
Jelko Yuresha Video Archive
Dates / OriginDate Created: 1998 (Inferred)
Table of ContentsInterview with Joaquin De Luz (soloist, ABT) (conclusion of interview from *MGZIDVD 5-7556) (1 min.) -- Interview with Angel Corella (principal dancer, ABT) (15 min.) -- Interview with Jelko Yuresha (restager & coach) (37 min.) -- Interview with José Manuel Carreño (principal dancer, ABT) (ends abruptly, continues on *MGZIDVD 5-7557) (5 min.).
Library locationsJerome Robbins Dance DivisionShelf locator: *MGZIDVD 5-7559
TopicsDe Luz, Joaquin, 1976-Corella, Ángel, 1975-Yuresha, JelkoCarreño, José Manuel TorresDolin, Anton, 1904-1983American Ballet TheatreChoreographyMale dancers
GenresFilmed danceInterviewsFilmed performances
NotesVenue: Videotaped during interviews at ABT studio, New York, N.Y., 1998.Acquisition: Gift; donated by Jelko Yuresha and Belinda Wright, 2012.
Physical DescriptionVideocassetteExtent: 1 videocassette (VHS) (58 min.) : sound, color ; 1/2 in.
DescriptionJoaquin De Luz (conclusion of interview from *MGZIDVD 5-7556) discusses the pros of being a male dancer today. Angel Corella talks about becoming a dancer; the difficulty being a child ballet dancer in Spain; how he started dancing with American Ballet Theatre (ABT) and his audition for the company; why he wanted to dance with ABT; dancing different roles; his experience dancing Variations for Four originally choreographed by Anton Dolin; the changes Jelko Yuresha made to the choreography; his love of dancing/rehearsing and how it is not work for him; difference between being a male and female ballet dancer; no difference between male and female coaches; he would like to do a role on stage as himself; his father enjoys ballet now that Angel and his sister are both dancing; how happy he is dancing in America with ABT. Jelko Yuresha talks about Variations for Four and the changes he is making to the choreography; becoming assistant to Anton Dolin for Giselle after learning all the roles, and Dolin leaving the Giselle rights to Yuresha; developing new dimensions of dance/choreography with different dancers and companies; the difference in male dancers today compared to the past, including the increase in the number of dancers and the advanced technique; working with men dancers at ABT and going beyond technique; how Yuresha chose each dancer for their main strengths but also needs them to transform into other beings; ballet has collapsed against modern dance because of the original image of classical dancers; humbleness being the most important quality in a dancer; the importance of music in ballet; Dolin knew what the audience liked when he choreographed; classical ballet has a great reponsibility to dance and the traditional male roles being widened for the general public; view to the future but not forgetting the past; ballet is a young art compared to modern dance; experimenting and being allowed to be ones self; putting ballet on the same level as other art forms including viewing on television. José Manuel Carreño discusses becoming a ballet dancer in Cuba; being teased as a child ballet dancer; how he began dancing with ABT; why he always wanted to dance with ABT; and the opportunities to dance different roles and styles (ends abruptly, continues on *MGZIDVD 5-7557).
Type of ResourceMoving image
IdentifiersRLIN/OCLC: 935392849NYPL catalog ID (B-number): b20878472Universal Unique Identifier (UUID): 52fe1140-a963-0133-fa80-60f81dd2b63c
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