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A Body of Work: Dancing to the Edge and Back, by David Hallberg
Gratis Ebook herunterladen A Body of Work: Dancing to the Edge and Back, by David Hallberg
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Pressestimmen
"Candid and engrossing...It's about love--crazy, confusing love, an artist's obsessive love for his art." (The Washington Post)"Elegant...fascinating...inspiring...Anyone interested in the creative process will appreciate this thoughtful account of the life of an accomplished artist." (Booklist)“It comes as no surprise that David Hallberg’s moving and intelligent memoir should display the extraordinary qualities—of intelligence, elegance, liveliness and, yes, wit—that have marked his extraordinary dancing over the past decade. This tale of an artist’s crisis and astonishing recovery eschews any self-pity, instead taking power from the strengths characteristic of the best dancers: resilience, unsentimental self-awareness, and an inextinguishable joy. A wonderful book for balletomanes and everyone else.” (Daniel Mendelsohn)“David demonstrates well the emotional as well as physical demands of dance.” (Twyla Tharp)"Unsparing...an inside look at...the endless hours of rehearsal, the preparation that informs the tiniest of details, the constant traveling, the brief thrill of performance." (The New York Times)“An inspiring story of Hallberg's rise to the pinnacle of his profession and his battle to reclaim his career. A moving…account of every dancer's worst nightmare and the sacrifices required to overcome it." (Kirkus Reviews)“Performing as effortlessly on the page as he does on the stage, Hallberg, who returned to ABT in top form this year, writes about the technicalities of his craft with clarity and precision. Readers of every taste will find much to relish in his inspiring book (balletomanes will consume it in a couple of sittings). Should Hallberg choose to take it on when he retires, a new role may await him: writer.” (BookPage)"What makes A Body of Work a must-read is the raw honesty with which Hallberg describes the intense lonliness of a jet-setting career, his oscillation between extreme perfectionism and uninspired listlessness, and his harrowing mindset as he faced, and ultimately overcame, what was nearly a career-ending injury." (Dance Magazine)"Compelling...for anyone who would like to get to an intimate view of the creative process and the challenges, dedication, and euphoria of being an artist....It's a book for everyone with a heart." (DC Metro Theater Arts)"Well, if you don’t tear up when he describes performing again for the first time, then you, my friend, have no heart." (San Francisco Classical Voice)
Über den Autor und weitere Mitwirkende
David Hallberg is a Principal Dancer with American Ballet Theatre in New York. He was the first American to join the Bolshoi Ballet in Moscow as a Principal Dancer. He continues to dance around the world and is a Resident Guest Artist with The Australian Ballet. He has also started the David Hallberg Scholarship, mentoring young aspiring boys in a career in ballet, and the Innovation Initiative, a platform for emerging choreographers, both at American Ballet Theatre. A Body of Work is his first book.
Alle Produktbeschreibungen
Produktinformation
Gebundene Ausgabe: 432 Seiten
Verlag: Atria Books (7. November 2017)
Sprache: Englisch
ISBN-10: 1476771154
ISBN-13: 978-1476771151
Größe und/oder Gewicht:
15,2 x 3 x 22,9 cm
Durchschnittliche Kundenbewertung:
Schreiben Sie die erste Bewertung
Amazon Bestseller-Rang:
Nr. 128.347 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)
A few years ago an autobiography of David Hallberg would have seemed premature -- after all he is still dancing in companies around the world. But three years ago Hallberg suffered a devastating injury. Two surgeries didn't fix the problem. Hallberg finally flew to Australia for intense physical therapy and remained there for over a year. The book ends with Hallberg's triumphant return to the stage in the summer of 2017.Otherwise the book follows the usual outlines of a ballet autobiography. Hallberg grew up in Arizona with a normal childhood. He was bullied in school for being gay and found refuge in dance. His first ballet teacher was very strict and he also studied at the Paris Opera Ballet school for a year. He describes that being a miserable experience for him as students and teachers iced him out. And then of course he made a meteoric rise to the top. He became principal of ABT in 2006 and a principal dancer of the Bolshoi Ballet in 2011. His schedule was so busy that his "off days" were spent on planes. By 2014 was flying back and forth between Moscow, New York, and wherever else he was invited to dance. He ignored a nagging injury and finally danced himself to the ground. The rehab section of the book is actually the least interesting part as it's just a lot of detail about the kinds of physical therapy he received. But still, his comeback is a moving story.The most interesting thing about Hallberg's autobiography is what he reveals about his character. He is frighteningly ambitious, a relentless perfectionist, and an essentially lonely, solitary figure. His injury seemed to have been a combination of over-dancing and his own desire to dance as much as possible anyplace, anytime. He pushes himself harder than anyone to the point of self-destruction. Although he speaks glowingly of his colleagues at the end of the day they seemed to have been only that -- colleagues. They say dancing is a lonely life and David Hallberg's book confirms that suspicion.Hallberg is still very active in the ballet world so obviously he is discreet. Every colleague and artistic director is wonderful. Sergei Filin is wonderful. Kevin McKenzie is wonderful. Yuri Fateyev (Mariinsky) is so wonderful that Hallberg seriously considered going to St. Petersburg instead of Moscow. An exception: Michele Wiles, the former principal dancer of ABT. The two of them were frequently paired together because of height but they didn't get on and Hallberg describes a blowout during rehearsal after she deliberately humiliated him. His other partners (Svetlana Zakharova, Natalia Osipova, Gillian Murphy) get nothing but the highest praise. If you're looking for gossip this is the wrong book.So overall, an above-average dancer autobiography. But I feel like 20 years from now the memoir Hallberg will write will be very different.
I love autobiographies but sometimes they do not feel honest - they can make you feel as if you are reading about a caricature, not a real person (that is how I felt when reading other ballet dancers I rather not name here). David's writing is clear and honest. His self doubt, his dedication, his need for constant exploration, his fears are all out there - and is so touching that he is giving us - the readers - so much from so deep. Every phase of his life is out in the open for us. His childhood at school and experience with bullying is heartbreaking (and touching to see how appreciative he is of his parents) and so is his 1 year at the Paris Opera school. Also fascinating to understand the challenges a male dancer faces when partnering. The more fun aspect - many of the performances he describes are on YouTube - so it is fun to check it out.
I don't usually read memoirs. This book captured my attention because I trained as a classical ballerina for 10 years (never professionally), and knew the playing field that is David Hallberg's whole life. I had never heard of him until this book came to my attention. I saw him dance at the Kennedy Center in the spring of 2018, and decided I had to read his book. I wondered if a professional dancer could write well, and the answer is "yes". I wondered if he would bring the reader into his world of ballet, and the answer is "yes". And I wondered if he could describe his desolation when a disastrous foot injury nearly ended his career. The answer is "yes". What surprised me was how much of himself he put into the book - his loneliness, his perfection, his terrifying drive to dance, his troubled childhood, his frayed relationships with trainers and ballerinas - it's all out there, without apology or arrogance. He doesn't hide his vulnerabilities, he describes them. Even the picture on the front of the book shows his incredible body (his "instrument of art"), as well as the look of uncertainty on his face and in the placement of his hands. I think he is honest when he writes about himself, his characteristics, and his struggle to regain the use of his foot. When he writes about other people in his sphere, he might err on the side of civility and caution. Most of them are still alive and remain part of the ballet world, and he does not seem interested in criticizing them, which is completely understandable. As another reviewer mentioned, the memoir Hallberg writes 20 years from now (and one can only hope he does), will be quite different from this one. In the meantime, I recommend this book to anyone who loves ballet, and anyone whose creative life depends upon the body they walk in.
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