Kostenfreier Download , by David Hallberg
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, by David Hallberg
Kostenfreier Download , by David Hallberg
Kommen Sie uns auf einer täglichen Basis zu verstehen, genau das, was Publikationen jeden Tag aktualisiert. Sie erkennen, die Bücher, die wir jeden Tag präsentieren wird sicherlich aufgerüstet werden. Und auch jetzt, werden wir Ihnen das brandneue Buch gibt die Empfehlung sein. Sie können , By David Hallberg als das Buch zur Zeit zu überprüfen. Warum sollte dieses Buch sein? Dies ist eines der neuesten Buchsammlungen auf dieser Website zu aktualisieren. Leitfaden wird auch als Folge der festen Gründen empfohlen, die viele Menschen zu lieben als Lesematerial zu verwenden.
Praxis der Überprüfung wird sicherlich Menschen ständig führt nicht vollständig zufrieden zu lesen , By David Hallberg , ein Buch, zehn E-Buch, Hunderte Bücher, sowie vieles mehr. Eines , das sich wirklich das Gefühl , ganz zufrieden ist die Vollendung der Überprüfung dieses Buchs , By David Hallberg und bekommt die Meldung der Bücher macht, dann das andere nächste Buch Ortung heraus zu überprüfen. Weiter geht es eine wachsende Zahl von. Die Zeit in Anspruch , eine Publikation zu lesen , By David Hallberg wird ständig zahlreich sein , abhängig von Holm Zeit zu verbringen; Ein Beispiel ist die , By David Hallberg
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Produktinformation
Format: Kindle Ausgabe
Dateigröße: 60128 KB
Seitenzahl der Print-Ausgabe: 433 Seiten
Verlag: Atria Books; Auflage: Reprint (7. November 2017)
Verkauf durch: Amazon Media EU S.Ã r.l.
Sprache: Englisch
ASIN: B071DDL9V4
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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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