A THOUSAND WORDS - Alex Waterhouse-Hayward's blog on pictures, plants, politics and whatever else is on his mind.




 

Beatrice, Béatrice, Degas & Marie van Goethem
Wednesday, May 25, 2016



Béatrice Larrivée & Justin Calvadores






When Sappho was a living girl,  

And Beatrice wore 

The gown that Dante deified.
Emily Dickinson (complete poem below) 

"For I am Beatrice who send you on;

I come from where I most long to return;

Love prompted me, that Love which makes me speak." (Dante Alighieri - Inf. II, 70-72)





I came to dance late in my life. It was in 1995 that I was assigned to follow and photograph Evelyn Hart for two days. In those two days I fell in love with dance and with Hart.

Ever since then, dance has been dear to my heart and I try to see as much of it as I can. My friend and former editor Malcolm Parry always told me of what he called the privileged position. It was on the top of a building looking down and not below looking up. The dance version of the privileged position is to be back stage in the wings. It was in the wings of the Paris Opera Ballet that Edgar Degas haunted to sketch and paint dancers. Of particular note was Geneviève van Goethem who ended up immortalized as his La Petite Danseuse de Quatorze Ans. The original is in the National Gallery in Washington DC. I have made my pilgrimage to the statue three times and I have photographed the old Paris Opera once.

It was a few years ago that I watched a rehearsal at Ballet BC and noticed a dancer that walked like no other dancer I have ever seen. I enquired her name. She told me that she was Sandrine Cassini and that she had started dancing at the Paris Opera Ballet when she was 14. As you can imagine I was transfixed with delight and wonder. Cassini came to my studio months later and posed for me just like Marie van Goethem had for Degas.



Malcolm Parry’s privileged position is what I have, thanks to the Arts Umbrella Dance Company and its Artistic Director Artemis Gordon. I am given the distinct honour and pleasure to photograph rehearsals like the one I did tonight at the Vancouver Playhouse in preparation for the Arts Umbrella Dance Company’s Season Finale from May 26 to May 28.

Every year I notice a particular dancer who I consider my personal Marie van Goethem. I noticed Béatrice last year and I wrote about her here.

This year during the rehearsal for James Kudelka’s piece (oddly called!) choreography I spotted Beatrice in the wings crying in pain. It seemed she might have had a very sore left toe. She removed her slipper and just cried. It was a performance (not meant to be one, but it still was) full of pathos. I felt helpless in not being able to help so I just snapped my shutter.

Later today I had the opportunity to watch Beatrice in a duo from a piece by Crystal Pite. As I began to take photographs (and I must insist that it was the best I saw all evening) I was told to cease. Unbeknownst to me but not to my accompanying granddaughter Lauren, my Fuji X-E1 was sending a very bright focusing light. This put off Pite who understandably is a perfectionist. After I had missed the best of the evening dance as that duet was, photographer Chris Randle handed me a piece of black tape to cover the offending light.

Pite came up to me to tell me how sorry she was to have prevented me from taking my pictures but with a big smile on her face she said, “But you saw it all!” She was right and the memory of a fleeting dance will remain and I wish Béatrice no more pain and success in her career as dancer and a muse to future Dantes.  




A PRECIOUS, mouldering pleasure ’t is   
To meet an antique book,   
In just the dress his century wore;    
A privilege, I think, 
 
His venerable hand to take,         
And warming in our own,    
A passage back, or two, to make
To times when he was young.    
 
His quaint opinions to inspect,  
His knowledge to unfold        
On what concerns our mutual mind,
The literature of old;     
 
What interested scholars most,  
What competitions ran  
When Plato was a certainty,         
And Sophocles a man;   
 
When Sappho was a living girl,   
And Beatrice wore   

The gown that Dante deified.     
Facts, centuries before,         
 
He traverses familiar,    
As one should come to town     
And tell you all your dreams were true:  
He lived where dreams were born.   
 
His presence is enchantment,            
You beg him not to go; 
Old volumes shake their vellum heads    
And tantalize, just so.
Emily Dickinson

I dwell in possibility

In a library
 A light exists in spring
The lady dare not lift her veil
 I took my power in my hand
 I find my feet have further goals
 I cannot dance upon my toes
The Music of the Violin does not emerge alone
Red Blaze 
He touched me, so I live to know
Rear Window- The Entering Takes Away
Said Death to Passion
 We Wear the Mask That Grins And Lies
It was not death for I stood alone
The Music in the Violin Does Not Emerge Alone
I tend my flowers for thee
Lavinia Norcross Dickinson
Pray gather me anemone! 
Ample make her bed
His caravan of red 
Me-come! My dazzled face  
Develops pearl and weed

But peers beyond her mesh
Surgeons must be very careful
Water is taught by thirst
I could not prove that years had feet
April played her fiddle
A violin in Baize replaced
I think the longest hour
The spirit lasts
http://blog.alexwaterhousehayward.com/2014/03/i-left-them-in-ground-emily-dickinson.html
http://blog.alexwaterhousehayward.com/2014/01/i-felt-my-life-with-both-my-hands.html
http://blog.alexwaterhousehayward.com/2011/03/currer-bell-emily-dickinson-charlotte.html

http://blog.alexwaterhousehayward.com/2011/03/and-zero-at-bone-with-dirks-of-melody.html
http://blog.alexwaterhousehayward.com/2011/05/charm-invests-her-face.html


http://blog.alexwaterhousehayward.com/2011/06/i-could-not-see-to-see.html 
http://blog.alexwaterhousehayward.com/2011/06/blonde-assasin-passes-on.html
http://blog.alexwaterhousehayward.com/2012/12/you-almost-bathed-your-tongue.html



     

Previous Posts
Two Eleven-Year Olds of Note II

Rememorando - The Ritual of the French Press

Crystal Pite, Six Young Choreographers & One Princ...

The File Edge Into Oblivion

Ria Girard - Moving Day With Crystal Pite @ Q7

A. Wissler - El Comodoro en el Tren

Weltschmerz, Ennui, Enervation & Fiaca.

Arts Umbrella Dance Company - From Physical to Emo...

My Taste For Androgyny

In Praise of the Trombone



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5/3/15 - 5/10/15

5/10/15 - 5/17/15

5/17/15 - 5/24/15

5/24/15 - 5/31/15

5/31/15 - 6/7/15

6/7/15 - 6/14/15

6/14/15 - 6/21/15

6/21/15 - 6/28/15

6/28/15 - 7/5/15

7/5/15 - 7/12/15

7/12/15 - 7/19/15

7/19/15 - 7/26/15

7/26/15 - 8/2/15

8/2/15 - 8/9/15

8/9/15 - 8/16/15

8/16/15 - 8/23/15

8/23/15 - 8/30/15

8/30/15 - 9/6/15

9/6/15 - 9/13/15

9/13/15 - 9/20/15

9/20/15 - 9/27/15

9/27/15 - 10/4/15

10/4/15 - 10/11/15

10/18/15 - 10/25/15

10/25/15 - 11/1/15

11/1/15 - 11/8/15

11/8/15 - 11/15/15

11/15/15 - 11/22/15

11/22/15 - 11/29/15

11/29/15 - 12/6/15

12/6/15 - 12/13/15

12/13/15 - 12/20/15

12/20/15 - 12/27/15

12/27/15 - 1/3/16

1/3/16 - 1/10/16

1/10/16 - 1/17/16

1/31/16 - 2/7/16

2/7/16 - 2/14/16

2/14/16 - 2/21/16

2/21/16 - 2/28/16

2/28/16 - 3/6/16

3/6/16 - 3/13/16

3/13/16 - 3/20/16

3/20/16 - 3/27/16

3/27/16 - 4/3/16

4/3/16 - 4/10/16

4/10/16 - 4/17/16

4/17/16 - 4/24/16

4/24/16 - 5/1/16

5/1/16 - 5/8/16

5/8/16 - 5/15/16

5/15/16 - 5/22/16

5/22/16 - 5/29/16

5/29/16 - 6/5/16

6/5/16 - 6/12/16

6/12/16 - 6/19/16

6/19/16 - 6/26/16

6/26/16 - 7/3/16

7/3/16 - 7/10/16

7/10/16 - 7/17/16

7/17/16 - 7/24/16

7/24/16 - 7/31/16

7/31/16 - 8/7/16

8/7/16 - 8/14/16

8/14/16 - 8/21/16

8/21/16 - 8/28/16

8/28/16 - 9/4/16

9/4/16 - 9/11/16

9/11/16 - 9/18/16

9/18/16 - 9/25/16

9/25/16 - 10/2/16

10/2/16 - 10/9/16

10/9/16 - 10/16/16

10/16/16 - 10/23/16

10/23/16 - 10/30/16

10/30/16 - 11/6/16

11/6/16 - 11/13/16

11/13/16 - 11/20/16

11/20/16 - 11/27/16

11/27/16 - 12/4/16

12/4/16 - 12/11/16