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OPERA PLANET Anna Karenina Aram Khachaturian Masquerade 4K ULTRA HD
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OPERA PLANET Creator : David Candela
Remastered 4K ULTRA HD Hi-Resolution Audio
Aram Il'yich Khachaturian Masquerade Waltz
Anna Karenina Keira Knightley AliciaVikander
"One of the many climaxes in Anna Karenina is this scene in which Vronsky abandons Princess Kitty at the Ball, choosing instead to waltz with the older, married Anna Karenina. It is a crucial moment, but it is often portrayed awkwardly onscreen because the waltz is a notoriously stiff and proper dance form".
"This latest film adaptation of Tolstoy's classic novel, Anna Karenina, the prudish waltz is tweaked and the waltz scene becomes utterly revitalized, to the point where Vronsky and Anna Karenina appear to be making love on the dance floor entirely with their arms".
“Traditionally, you are not even supposed to touch the palms of your hands during a waltz because that is too intimate, so instead you place your hands on top of your dance partner's hands during the dance”. "The most controversial aspect of waltzing is how the man’s leg keeps slipping between the woman’s legs, but chances are that she is wearing a full skirt, which blocks any truly scandalous maneuvers".
“I felt, for filming purposes, it would be much more beautiful if Anna and Vronsky’s arms had just as much of a complicated a choreography as their legs, which you do not see much of the dancers' legs anyway. "
"Cherkaoui’s modification, despite its historical inaccuracy, fits perfectly with the overarching feel of the movie, which stars Keira Knightly and newcomer Aaron Taylor-Johnson as the doomed couple. Although it is not a musical, per se, Wright has admitted in interviews that he is obsessed with blocking and has always envisaged Anna Karenina as a ballet with words”. "The final end result is a glorious film that does not necessarily involve a lot of dancing, but is heavily choreographed, whether it is the synchronized movements of wait staff and the servants or a pronounced arch in Anna’s posture".
“Keira Knightly is very flexible, emotionally and physically, and incredibly smart”, Cherkaoui says. “She has read Tolstoy's novel, Anna Karenina, and she was constantly applying elements of the novel directly toward her role, whereas I was basically trying to throw her off balance, especially in any of the scenes she shared with Vronsky. These two are sharing each other’s weight, they are in each other’s hands. It is like a waltz, you are literally putting your hand in the hand of another person and being carried along by them, and this weight can become heavy”. He adds that Aaron Taylor Johnson had a much more animalistic way of moving, which meshed nicely with the predatory nature of Vronsky. “Sometimes we had to pull him back to elegance." Cherkaoui says, reminding him of his character’s Russian and French upbringing”.
"To help the actors to prepare, he hosted a three-week dance workshop in London. It is important to note that Cherkaoui’s own résumé is eclectic, having studied ballet, hip hop, flamenco and a variety of other dance styles". Wright describes his choreography as “intensely mathematical but also expressive". "Still, it is not as if Cherkaoui has spent his entire career specializing in 19th-century waltzes and mazurkas, which meant he was learning as much from the actors as the actors learned from him throughout this entire time".
"Cherkaoui says part of what he admires in Wright is his attention to detail. However, one of the details the British director insisted on was that the entire production unfold on, or around, a dilapidated stage. This posed numerous challenges for scenes that called for ice rinks, field labour and horse races, but the crew always found a way to accomplish this and make it possible. The result is a story that, at times, feels claustrophobic and artificial, but this is precisely the effect that Wright was seeking to acheive. And it was exactly what Cherkaoui needed. Sometimes, a major constraint can heighten creativity, and the limits of a stage did precisely this". “Once this decision was made, "it reassured me, the choreographer says, because suddenly I was back in a very familiar environment.
===========
Copyright Disclaimer Under Section 107 of the Copyright Act of 1976 Allowance is made for "Fair Use" for purposes such as Comments, Criticism, Scholarship and Research. "Fair Use" is permitted by Copyright Statute that might otherwise be infringing, non-profit and educational tips the balance in favor of "Fair Use." I acknowledge that I do not own the copyright and no copyright infringement is intended and all credit goes to respective owners; Moreover this is the ethically moral and conscientious purpose of the group. For more information please visit:
Remastered 4K ULTRA HD Hi-Resolution Audio
Aram Il'yich Khachaturian Masquerade Waltz
Anna Karenina Keira Knightley AliciaVikander
"One of the many climaxes in Anna Karenina is this scene in which Vronsky abandons Princess Kitty at the Ball, choosing instead to waltz with the older, married Anna Karenina. It is a crucial moment, but it is often portrayed awkwardly onscreen because the waltz is a notoriously stiff and proper dance form".
"This latest film adaptation of Tolstoy's classic novel, Anna Karenina, the prudish waltz is tweaked and the waltz scene becomes utterly revitalized, to the point where Vronsky and Anna Karenina appear to be making love on the dance floor entirely with their arms".
“Traditionally, you are not even supposed to touch the palms of your hands during a waltz because that is too intimate, so instead you place your hands on top of your dance partner's hands during the dance”. "The most controversial aspect of waltzing is how the man’s leg keeps slipping between the woman’s legs, but chances are that she is wearing a full skirt, which blocks any truly scandalous maneuvers".
“I felt, for filming purposes, it would be much more beautiful if Anna and Vronsky’s arms had just as much of a complicated a choreography as their legs, which you do not see much of the dancers' legs anyway. "
"Cherkaoui’s modification, despite its historical inaccuracy, fits perfectly with the overarching feel of the movie, which stars Keira Knightly and newcomer Aaron Taylor-Johnson as the doomed couple. Although it is not a musical, per se, Wright has admitted in interviews that he is obsessed with blocking and has always envisaged Anna Karenina as a ballet with words”. "The final end result is a glorious film that does not necessarily involve a lot of dancing, but is heavily choreographed, whether it is the synchronized movements of wait staff and the servants or a pronounced arch in Anna’s posture".
“Keira Knightly is very flexible, emotionally and physically, and incredibly smart”, Cherkaoui says. “She has read Tolstoy's novel, Anna Karenina, and she was constantly applying elements of the novel directly toward her role, whereas I was basically trying to throw her off balance, especially in any of the scenes she shared with Vronsky. These two are sharing each other’s weight, they are in each other’s hands. It is like a waltz, you are literally putting your hand in the hand of another person and being carried along by them, and this weight can become heavy”. He adds that Aaron Taylor Johnson had a much more animalistic way of moving, which meshed nicely with the predatory nature of Vronsky. “Sometimes we had to pull him back to elegance." Cherkaoui says, reminding him of his character’s Russian and French upbringing”.
"To help the actors to prepare, he hosted a three-week dance workshop in London. It is important to note that Cherkaoui’s own résumé is eclectic, having studied ballet, hip hop, flamenco and a variety of other dance styles". Wright describes his choreography as “intensely mathematical but also expressive". "Still, it is not as if Cherkaoui has spent his entire career specializing in 19th-century waltzes and mazurkas, which meant he was learning as much from the actors as the actors learned from him throughout this entire time".
"Cherkaoui says part of what he admires in Wright is his attention to detail. However, one of the details the British director insisted on was that the entire production unfold on, or around, a dilapidated stage. This posed numerous challenges for scenes that called for ice rinks, field labour and horse races, but the crew always found a way to accomplish this and make it possible. The result is a story that, at times, feels claustrophobic and artificial, but this is precisely the effect that Wright was seeking to acheive. And it was exactly what Cherkaoui needed. Sometimes, a major constraint can heighten creativity, and the limits of a stage did precisely this". “Once this decision was made, "it reassured me, the choreographer says, because suddenly I was back in a very familiar environment.
===========
Copyright Disclaimer Under Section 107 of the Copyright Act of 1976 Allowance is made for "Fair Use" for purposes such as Comments, Criticism, Scholarship and Research. "Fair Use" is permitted by Copyright Statute that might otherwise be infringing, non-profit and educational tips the balance in favor of "Fair Use." I acknowledge that I do not own the copyright and no copyright infringement is intended and all credit goes to respective owners; Moreover this is the ethically moral and conscientious purpose of the group. For more information please visit:
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