by Lidia Paulinska | May 30, 2016
Just two more weeks until the Electronic Entertainment Expo (E3), the world’s premiere trade show for computer and video games, that is being held at the LA Convention Center. More than 20,000 attendees are expected, many new products and announcements but also for the first time the fans and enthusiasts of the electronic entertainment can be a part of that exciting event. E3 Live will be situated at Downtown Los Angeles’ sports and entertainment district of the city and will be open to the ticketed public.
E3 and E3 Live will be taking place from Tuesday, June 14 till Thursday, June 16. Before the doors open for the show let get a glimpse at the state of the industry.
Games industry is the fastest growing sector of the modern entertainment industry and is part of modern culture. Today game enthusiasts expect a richer, fuller and more involving game experience. Under such demanding clientele, more dynamic and multidirectional developments of games have been created, and the pallets of emotions both in the game and experienced by the player, have been greatly increased. Production studios strive for authenticity and put meticulous attention to detail, bringing players into a new level of realism, which may include 3D technology that changes flat images to three-dimensional images and cinematic quality photo-realistic events. Today’s game has a story line, utilizes state of the art visual graphics and utilizes new, advanced form of interaction with the player. In addition there is also increased proliferation of artists in the games industry, who get to express themselves creatively and individually. The impact of the games on mass culture is unquestionable and its value is growing at a dynamic pace.
The big attraction this year is the realization of the hype created by the Virtual Reality (VR) products. Not only is VR in a number of new platforms from companies like Oculus, Sony, Samsung, Razer, HTC and others, but the show will feature a full VR ecosystem. Accessories for controlling the game, walking around and being fully physically immersed in the game, new sensors, games from major publishers and companies as well new experiences from independent developers.
The other major attraction at the show is the availability of accessories and peripherals for the new consoles and high performance PCs released in the past couple of years. The accessories – charging devices, extension cables, headphones, and controllers, performance accessories such as CPU & memory coolers, and skins /decorative items take a little bit to develop after the platforms are released, as they require the software titles to make their market entry before the user community makes the commitment to adopt the large variety of branded items.
The industry topped $131B USD in sales covering the hardware, software and accessories marketplace.
More info at http://www.e3expo.com/url_takeover
by Lidia Paulinska | May 30, 2016
NAB, April 2016 – OWC is the abbreviation for Other World Computing, one of the longest running 3rd party computer component and storage solutions providers in the personal computer industry. The company started with individual users and small companies and now supports enterprise customers and cloud providers with their products. In a casual and comfortable one on one discussion, we sat down with their CEO and founder to talk about his journey and the company.
It seems like yesterday, said Larry O’Connor, when I asked about his early age of establishing his company. He was 14 years old. Young entrepreneur from Wichita, Illinois. It was in the middle of nowhere – he recalled – “My dad used the computers in his business, he had a TRS 80, so I was exposed to this “staff” in the early age.” He upgraded it.
I do think that was a disruptive business in that time, and I did think I could do it better – he stated.
He recalled, he saw the man coming to their place to do an upgrade on a computer. The technical spent most of his time sitting with the feet on the desk and reading a newspaper. It was then he realized that the paperwork took more time than the effort and process of upgrading the computer. He explained that he then realize, all the folks that need a memory upgrade they don’t need to go to a local computer store. I don’t need to go to the computer store. I can support them and educate them, upgrade it, and even show them how to do it faster and for better price.
In those days, back in the early 1980’s , he found that prices were not changing that quickly and the major computer sale magazines had prices and multiple suppliers for memory, storage and all the accessories. He then found that AOL had an on-line store and chat rooms and an 800 phone number, so his age did not matter, just his knowledge and enthusiasm, to be able sell products. Also, this time was the start of the rise of overnight shipping industry. This was convenient as he could not drive to buy parts or pickup systems for service.
The company started with providing services with known parts going into known computers. He started identifying new components that would improve the performance of the computers his customers had without having them buy a whole new system. He also started to build devices & software that would allow existing parts and peripherals to work with new operating systems and computers.
The driving factor is he cares about the customer, their problems and how to make the computers a productivity tool for them rather than a block in their path they have to put a big effort into learning. He has kept this mentality as the core of the company, and found people with like thinking along the way.
When asked, how did he transition from one person at his parent’s house to running a company that just relocated as they exhausted the local hiring talent pool, he said that he does not feel he runs the company. While people work for him and may report to him, he has to report to everyone at the company and the customers – he is responsible to everyone for what they are doing.
A focus for the company is still on solving customer problems, he sees the future in software to solve problems and expense for customers as well as preserving the value of legacy hardware. He feels that computers and accessories get obsoleted by software applications faster than they stop working and need to be replaced. Software and support can help extend the useful life of a lot of legacy technology for customers at a fair price.
by Lidia Paulinska | May 28, 2016
SID Display Week, May 2016 – Digital signage is used to entice and influence shoppers on their way to the retail stores and shopping malls. Tablets that replacing paper menus, allow restaurant patrons to preview and customize their orders. Engaging visual displays are revolutionizing leisure experiences, promoting increased consumer engagement as e.g. instant replay. Digital signage is a modern communication tool.
At the business session at SID Display Week the presenters: Sanju Khatri, Director of Digital Signage from IHS, Jennifer Davis from Leyard, Karen Robinson from NanoLumens and Paul Apen, Chief Strategy Officer of Eink gave broad overview of digital signage applications that is ambiguous communication tool of our time.
Sanju Khari mentioned needs of outdoor and high-brightness indoor digital signage applications. To address direct sunlight and heat load outdoor displays need to be >2000 nits of brightness, for indoor 1000 nits or higher. Brightness of LCDs can be further enhanced by adding LED backlights and increasing power consumption. However as LED backlights age, they provide fever inputs per watts of power. Cooling mechanisms are essential to maintain lifetime of displays. IP 64 and IP 65 rated. To address harsh and changing weather conditions outdoor displays need to withstand heat, humidity, snow, rain, wind, dust, fumes and dirt. Scratch and impact resistance properties of cover glass is important for both high-brightness indoor and outdoor displays set in high traffic areas. To address heavy usage cycle and vandalism digital signs placed at public settings need additional protection of cover material such as glass or polycarbonate. Important need is also serviceability. Down time of publicly placed outdoor or indoor advertising displays result in negative advertising revenue. Quick turnaround in service and display modules being accessible for on-site repair and maintenance is extremely important.
The Digital Signage market in numbers is growing as well as its revenue:
The direct-views LED video displays by pixel pitch in categories of area (square meters) and revenue are portrayed in stats below.
Jennifer Davis from Leyard described the market requirements for digital signage as simple words: Impact and Value – cost effectiveness to the outcome. Those include the features as: seamless (or close to it as they can afford), highly reliable for long-duty cycle applications (all day to 24×7), bright enough and wide enough color to have brand impact, good value.
What are possibilities at LED market?
No doubts that the LED market is expanding, less than 1.9mm pixel pitch grew 279% year in 2015, as well as this area visibility at the related shows such as: ISE, InfoComm China, where more fine-pitch LED offering and vendors were showcasing. The falling costs with the price elasticity makes market growth for LED. Led now is 13% more than rear-projection cubes and 7x the cost of tiled LCD. Down from 200% and 21x two years ago. Davis stated that future grown will be determine by innovations and market maturation.
Karen Robinson from NanoLumens shared her view on current generation that is driven by passion for social media that allows sharing and viewing video. As digital signage is an ambiguous communication tool: displays TV are rising in quality, not just quantity; mobile phone displays continue to improve and Dooh has shifted from vinyl wrapped boards to vibrant LEDs. Display driven generation demands that smartphone and tablet adoption have added new screens. Just as a reminder – in 2000 it was not possible to stream video over a phone. By 2018, over 2.5 billion consumers will enjoy ability to stream video on their smartphones as well as 1.5 billion tablet users worldwide by 2019. Today the average household has 5 or more video-enabled devices. Traditional signage, billboard and display advertising is rapidly shifting to digital and has changing the way we eat, shop, work, play and the way we live. By auto profiling customers and their expected behaviors ahead of their actual presence vendor can quickly customize and personalized the content. Displays become more interactive. Robinson presented few digital displays from worldwide that perfected to create engaging and immersive experiences: American Airlines Arena in Miami, Florida; Holt Renfrew in Ontario, Canada; Mac Cosmetics store in Waikiki, Honolulu, Hawai; Pacific Fair in Broadbeach, Australia; Sport Chek in Toronto, Canada; Telstra in Sydney, Australia and T-Mobile store in New York City, NY. Those examples combine four areas: Architecture, Information, Advertising and Art – she stated.
Paul Apen, Chief Strategy Officer of Eink talked about alternative signage that is ePaper. That display allows outdoor readability, unique form factors and off-grid installations. He stated that it can be used in many areas such as: transportation, conference room, public spaces or retail. The effective signage design should also complement its environment as ePaper does.
Dynamic content management is next thing coming. There will be more relevant content directly to shore, location, and customer. Also economics of the business is allowing the prices to go down. That is the trend now.
by Lidia Paulinska | May 22, 2016
April 2016, NAB – At the start of NAB, SMPTE held the Digital Cinema Summit. The highlight speaker was Ang Lee who spoke following a discussion that HDR was not a tradeoff for future films, but was a technology that must be adopted due to its benefits in the story telling and immersive aspects of films. He spoke on pushing the limits of cinema.
One of the examples was with his film “Life of Pi”. In this film, the story is the enticing element. One aspect of the story was how to visually represent an irrational number and bring it to the screen as an experience. The film used 3D as an extra dimension in this story telling. HDR and HFR are also new technologies that can help with the story telling. HFR (High Frame Rate) has been under a recent resurgence as an alternative the traditional 24fps, and have been championed at NAB and other events by Doug Trumbull. Doug has been advocating 120fps content for both 2D and 3D films. Doug’s latest workflows include cameras, servers and editing flow for support of 3D, HDR, and 4K all at 120fps.
The workflow has over 40x the data of standard film, but produces an entirely different cinema experience. At NAB they had previews of an 11min clip of Ang Lee’s new film ‘Billy Lynn’s Long Halftime Walk,’ that was shot in 4K, HDR, 3D at 120fps. The preview was shown using dual Christie laser projectors and standard surround sound.
The clip provided an exposure to a new level of a “clarity of image” that has not been seen before by cinema audiences. This clarity of image defines a new challenge for the storyteller to be able to utilize this technology and enhance the story being told. The HFR feature also brings new cinematic capabilities to both 2D and 3D films. The HFR aspect also brings a new level of brightness and smoothness to the playback which can be used to enhance cinematic emotions and action without causing viewer fatigue. The overall common experience of the audience after viewing the clip – mostly related to technology and secondarily the cinematic use of the technology was “WOW!”.
by Lidia Paulinska | May 22, 2016
April, NAB – At the end of the day, the market is more and more competitive and we need our customers not only survive but also thrive – stated Charlie Vogt, CEO of Imagine Communications (IC), moderator of the power session “Transformation 2016: Media Technology Using IP, Cloud and Virtualization”. The session that took place at the Imagine Communications booth during NAB show, was featuring the panelists: Antonio Neri, EVP/GM, Enterprise Group, HPE and Steve Guggenheimer, CVP and Chief Evangelist of Microsoft Corporation.
Cloud-based technologies become more and more popular and there is a less speculation and more interest. But as the technology grows in popularity there is complexity involved. The options to choose from, the providers to select in order to put the pieces together. In the broadcast world everyone knows how complex the market is – stated the panelists – we want to make the complexity understandable. The cooperation between IC, Microsoft and HP Enterprise allow the companies to get full solution and reduce their own risk. So the customer does not need to talk to separate partners. It also to avoid confusion what works together etc. and what is not the best fit.
IC, Microsoft and HP Enterprise provide the leaders innovators solution. Microsoft is platform provider. HP is more cloud broker. Prior to NAB Imagine Communication launched 3 important applications, that required months and months of testing if the new solutions work. As Charlie Vogt mentioned IC and it’s partners goal is their customers to thrive versus not just survive. The reason is the move to the cloud, while necessary is scary, the broadcast community has been on premise for over 50 years, and the change is new.
The discussion included that cloud is a partnership – the tools, workflow, software and support all need to work together to provide the reliability and features of the current solution. As it moves to the cloud the partnership with HPE addresses the security aspects of the Azure cloud which are new to the broadcast community.
by Lidia Paulinska | May 21, 2016
April, Fathom events – On Saturday, April 30, 2016, I had the privilege and pleasure of viewing a screening of a live performance of Richard Strauss’s inexorable one-act opera Elektra,* the concluding operatic work in a year-long 10th anniversary celebration of “MET: LIVE in HD,” which had featured ten of the world’s greatest operas on giant cinema screens throughout the US.
The production premiered at the Aix-en-Provance Festival in France in 2013 and is considered to be a landmark contemporary staging of Strauss’s masterpiece. It was produced by the renowned Patrice Chereau who tragically died shortly after the opening at the age of 68. (A DVD is available of that production.)
The superb cast is headed by the smoldering intensity of soprano Nina Stemme in the title role whose Elektra is unremittingly consumed with a passion for vengeance upon her mother Klytamnestra, widow of Agamennon, performed masterfully by mezzo-soprano Waltraud Meier, and her lover, the cowardly Aegisth, convincingly portrayed by Burchard Ulrich, who have brutally murdered Elektra’s father Agamemnon. Bass-baritone Eric Owens gives a strong rendering of her sympathetic brother Orest and Adrianne Pieczonka rounds out this incomparable cast as her weakling sister Chrysothemis who plays a perfect counterpoint with her banal domestic aspirations to her possessed sister Elektra who has dedicated her life to revenging her father’s murder, She realizes her goal in the end, but at the expense of her sanity.
Staged in an ominously sparse gray space with costumes to match, Chereau’s smoldering rendering of Strauss’s masterpiece is a production for the ages and opera at it’s best!
* * * Significantly, Sigmund Freud used Sophocles’ Elektra in his analysis of a daughter’s attachment to her father, and Oedipus Rex as the basis for his theory of a son’s attraction to his mother. The so-called “Oedipus” and “Elektra” complexes continue to be very much a part of Freudian psychoanalysis.
by Lidia Paulinska and Hugh McMahon
by Lidia Paulinska | May 21, 2016
April, NAB – Two years ago when we started to talk about IP and a question was – Can we do it? A year ago we were asking – Should we do it? This year a question is – How we do it? Steve Reynolds from Imagine Communications was describing the inception of AIMS, Alliance for IP Media Solutions, during our 1:1 interview. Reynolds added that in 2015 a lot of customers came to Imagine Communication with the concerns that they want to do IP but they were worried that is going to be a fragmentation in that segment of the industry. That was clearly need for AIMS.
NAB 2016 was a first year for AIMS, an industry consortium led by broadcast engineers, technologists, visionaries, vendors and business executives dedicated to an open-standards approach that moves broadcast and media companies to a virtualized, IP-based environment.
Reynolds explained that AIMS does not develop specs and standards. AIMS is trade of mind, it is marketing organization – he stated. The goal was to group the companies that primarily are working on broadcast technologies to get together and agree on the common set on the standards we want to use. The standards that are already developed. AIMS focus is on educating, evangelizing and spreading the adoption the technologies, but not to develop specs and standards. We here to help the adoption – he added. When the company joins AIMS it signs the adopter agreement, which says that they will promote this use of technologies, the AIMS roadmap, as you prefer to IP production.
More information about AIMS can be found here: http://aimsalliance.org/
by Lidia Paulinska | May 11, 2016
April 2016, NAB – Voice and language which is the most natural modalities we acquired since birth. No wonder that we are searching for communication with devices using our voice and language. Nuance Communications, has developed products that provide speech and imaging applications, is a leader in this area. If a customer uses voice commands to talk to automobile there is 99% chances that it is Nuance technology.
Kenneth Harper, VP, Devices & Ecosystem of Nuance talked to us about last advancements in transforming the TV experience with voice. Nuance has been working for some time on specific solution called Dragon TV that is going to have huge impact on the TV experience.
The TV room is usually a complex multi-person environment where the commands are mixed with conversations making voice control is a big challenge. While you are watching TV, your kids are playing or your other devices are talking to you. There are some advancements to solve that problem – said Harper. One of them is called signal enhancement. Nuance is looking at audio that is being recorded, usually from two different microphones that, depending on set up, use an integrated technology and solution that we use that can sit in the remote control or set top box. The technology trys to determine who is actually speaking in the living room. When we determine who that speaker is, we put what we called “a beamer” on that speaker. Then as a post processing task from all audio that was recorded, we enhanced that audio and suppress everything else. It called signal enhancement.
Accuracy matter in TV experience and Nuance making it work well.
TV is not one piece but multiple pieces. Nuance covers the entire spectrum for TV by providing the enabling technology to manufacturers and then integrate it this with specific hardware devices or specific solution. Now when the second screens are considered as TV as well, a companion app is in use in that case. Sometimes it is at the set up box, sometimes inside the remote control. The customers have their preferences and Nuance follows their needs for both solutions– said Harper.
There is a difference between using TV and training Dragon for PC use to helping write an document or general input to a computer– mentioned Harper referring to our journalism work. TV uses mostly short comments that are fairly predictable. For TV there are certain things people going to do.
There are usually short commands, 5-6 unique words, we know the vernacular. Those are things that can be optimized – stated Harper. If a customer search for ‘movies with Bill Murray”. That’s how it all comes together.
The future of the living room is set. TV becomes the central hub of the home and voice is becoming the primary interface.
by Lidia Paulinska | May 1, 2016
April, Fathom events – “Renoir” was presented in select HD digital cinemas nationwide by Fathom Events in cooperation with Seventh Art Productions, enjoying its third successful season in presenting Exhibition on Screen, a one-night film event held on Thursday, April 21, 2016. It is a story told in representative paintings of one of the most influential artists of all time and a principal contributor to the creation of the Impressionist movement (which he later rejected), Pierre-Auguste Renoir (1841-1919).
This compelling overview of Renoir’s masterful works focuses primarily on the Barnes Collection in Philadelphia which is home to more Renoir’s than any other gallery in the world. August Renoir was father of the celebrated French film director Jean Renoir, creator of such works as La Grande Illusion (1937) and The Rules of the Game (1939), often cited by critics as one of the greatest films ever made.
In April, 1874, August Renoir, accompanied by Monet, Sisley, Pissarro and several others displayed their works at the first Impressionist exhibition in Paris and from there, a prolific Renoir was to go on to create several thousand paintings during his lifetime, 181 of which are on display at the Barnes, representing the single largest collection of his works. One of the best known Impressionist works is Renoir’s 1876 Dance at the Moulin de la Galette, a painting depicting an open-air garden scene crowded with people dancing, a place close to where Renoir lived. Fellow artists who admired him included Picasso, Matisse and Claude Monet.
by Lidia Paulinska | Apr 29, 2016
April, Fathom events – On Saturday, April 16, 2016, Fathom Events presented Gaetano Donizetti’s del canto* masterpiece Roberto Devereux for a one-night only cinematic presentation in hundreds of theaters throughout the United States. The screening was part of the year-long celebration of the tenth anniversary of the Metropolitan Opera’s Peabody and Emmy award-winning series, “The Met: Live in HD.”
This magnificent program, which has included some of the greatest operas of all time, also features during intermissions, fascinating behind-the-scenes interviews with the Met’s illustrious stars, the supporting cast, crew, and production teams, giving us an “up close and personal” insider’s glimpse at what’s involved in staging these operas.
Roberto Devereux is the climatic opera of a Trilogy which also includes Anna Bolena and Maria Stuarda, all three having been staged by Sir David McVicar, and astonishingly, Soprano Sonar Radvanousky who magnificently portrays Elizabeth I in the third piece of the trilogy, completes a marathon at the Met, having sung all three of Donizetti’s daunting queens in a single season: Anne Boleyn, Mary Stuart, and Elizabeth I (Queen Elizabeth II coincidentally celebrated her 90th birthday April 21, the same week Roberto Devereux was presented.)
The Met has assembled an ideal cast for this outstanding production, featuring the superb tenor Matthew Polenzani who excels with lyrical elegance in the title role and Ms Radvanousky who sings with sharp-edged searing power perfectly portraying an aging, broken Queen tragically in love with Devereux, a manipulating nobleman 34 years her junior. The great Mezzo-soprano Elina Garanca brings her sumptuous voice to the role of Sara who is in love with Deverux, Earl of Essex, and baritone Mariusz Kwiecien in the role of her husband the Duke, singing with both virile power and soaring lyricism.
For an interesting balance, this reviewer highly recommends a 1998 film starring Cate Blanchette titled Elizabeth , and although obviously not an opera, it vividly portrays Elizabeth as she first ascends the throne of England and was nominated for several Academy Awards, winning one for make-up.
* Del Canto (“beautiful song”). According to The Harvard Dictionary of Music, del canto “denotes the Italian vocal technique of the 18th century with its emphasis on beauty of sound and brilliance of performance, rather than dramatic expression or Romantic emotion … it must be considered as a highly artistic technique and as the only proper one for Italian opera and for Mozart.” We might safely add Rossini and Handel to that statement.
Today, the term del canto seems to have fallen out of favor and tends to be viewed as vague and ambiguous and lacking any semblance of relevance in the 21st century.
by Lidia Paulinska and Hugh McMahon
by Lidia Paulinska | Apr 24, 2016
April, Fathom events – Arthur C. Clark, the renowned English physicist and science fiction novelist, once wrote: “Any sufficiently advanced technology is indistinguishable from magic” (Profiles of the Future, 1961), and this prescient observation is nowhere more apparent than today, 55 years later, with the phenomenal bursting forth of the Digital Age that has swept the globe over the past couple of decades and has impacted almost every aspect of our daily existence. Within this relatively brief period of time, digital technology has profoundly and irreversibly changed our lives … forever! We only have to ask ourselves, has our day-to-day routine been altered significantly by our smart phones, the internet, GPS, Hi-Definition TV & cinema , the inevitability of self-driving cars, or any of the other thousands of data tech innovations that pervade the very essence of our culture? I suspect most of us would unhesitatingly respond with a resounding “Yes, absolutely! “
You may justifiably ask, “What does all this have to do with Don Quixote?”, the venerable Russian ballet which was first performed in 1869 by the Ballet of the Imperial Bolshoi Theatre in Moscow? Well, the current production of the enduring “Don”, viewed live for one night only on April 10, 2016, has been seen by thousands of people in hundreds of theatres throughout the world on giant Hi Definition digital cinema screens (Pathe´ shot for the big screen with 5.1 sound and 10 HD cameras creating up-close and vivid pictures 3-times the definition of 1080p TV!) and is essentially based (with considerable variation) on the same work choreographed 147 years ago in Moscow by the great Marius Petipa (1818-1910).*
What does the Data Revolution have to do with a 147 year old Russian ballet? That question was answered for me the evening of April 10th in my local movie theatre.
Pass the popcorn!
Thanks to transformational digital technology which has forever changed our lives with smart phones, the internet, emails, Facebook, etc., more people viewed the Bolshoi’s Don Quixote the one evening of April 10th than had ever seen it in the past 147 years of it’s existence! And if that’s not revolutionary, I don’t know what is! In 1776 when the Bolshoi was founded, for example, it could take six weeks to send a letter by square rigger across the Atlantic from London to New York. Now we communicate with people on the other side of the planet or even circling the earth in space stations in milliseconds, one thousandth of a second, which is almost “indistinguishable from magic.”
Today’s Don Quixote by the Bolshoi resembles Cervantes’ novel in name only, with the character of the Don only occasionally making rather awkward non-dancing appearances on stage, with the “heavy lifting” of the evening left almost exclusively to the very able chorus which is indicative of Alexander Gorsky’s** reworking of the Petipa original. Both Petipa and Gorsky continue to be credited with the choreography in the program notes, and Leon Minkus’ original score continues to thrill, but the ballet has once again been “updated” to suite the changing expectations and tastes of a modern audience by Alexei Fadeyechev, (Bolshoi artistic director,1998 – 2000), yet still retains all the grandeur, perfection of style and precision execution the Bolshoi has been known for in its celebrated 240 year history.
In 1917, Sergei Diaghilev, founder of the famed Ballets Russes, who transformed the world of ballet, ushering it into the modern age, issued a challenge to Jean Cocteau who had asked him what were his ideas regarding a ballet they were producing. Diaghilev famously replied, Etonne-moi!! … “Astonish me!!” and the result was the immortal Parade, produced by impresario Diaghilev, designed by Pablo Picasso, composed by Erik Satie, and set to a story by Cocteau.
It has been said that our digital world can only become more incredible over time, joining art and technology, in ways now unimaginable. “Magic?” Perhaps … “Astonishing?” Unquestionably!
Etonne-moi!!
* Marius Petipa’s Don Quixote was subsequently modified over the years by rival Bolshoi choreographer Alexander Gorsky who completely transformed the ballet in 1900, creating a version radically different from Petipa’s original which infuriated him, and Gorsky’s version continues to be a permanent part of the Bolshoi repertoire to this day. Petipa, who was born in Marseilles, France, is universally considered to be the single most influential ballet master and choreographer in ballet history.
** Alexander Gorsky (1871-1924) was a renowned Russian choreographer and a contemporary of Petipas’, both serving at the same time at the Bolshoi. However it was never an easy relationship. A quick check with Wikipedia reveals, “The largest change that Gorsky made to Petipa’s (Don Quixote) choreography was the action of the corps de ballet. Instead of being a moving background as the corps often was, they became an important part of the drama.” (Wikipedia … 2016 Apr 8, 02:33 UTC….)
Rather than being nothing more than a moving part of the scenery, with Gorsky’s restaging, they bustle around the stage, “…breaking the symmetry and lines typical of Patina.” Gorsky added an element of playful lightheartedness to the new-found dynamism and significance of the chorus, characteristic the Bolshoi’s productions of “the Don” to this day. Alexander Gorsky is known today for his restating of Petipa’s ballets which include Swan Lake, The Nutcracker, and of course, Don Quixote.
by Lidia Paulinska and Hugh McMahon
