df_m_dancers_2_para: 58
This data as json
| rowid | first_name | last_name | gender | career_sec | personal_sec | info | seed_first_name | seed_last_name | occupation |
|---|---|---|---|---|---|---|---|---|---|
| 58 | Hallie | Cassavetes | f | In 1975, Joseph followed his brother Daniel in joining the New York City Ballet corps. It was around this time that he began to harbor a "secret competitive feeling" with Daniel, he would confess years later. The intensity of these competitive thoughts and feelings of inadequacy led him to a deep depression, and after a year and a half Joseph dropped out of the company. He later recounted in a New York Times interview, "I couldn't avoid the comparison with Dan and other boys who were physically much more knit ... I hadn't yet worked out who I was and why I was dancing." However, four months after he dropped out, Joseph returned to the company more driven than ever. Apparently having moved past his internal crisis, he and his brother became very close again, and Joseph worked hard to perfect his art. Suki Schorer, a former teacher at the School of American Ballet who worked with Joseph during this period said of him, "What God gave him to dance with wasn't terrific, but he took it and became a beautiful dancer, performing with a great musical sense." In 1980, Joseph was promoted to soloist, and in 1982 as a choreographer he made his debut with the company, La Creation Du Monde, which was well received by the critics. His dancing career flourished, and in 1984 he was promoted to principal. | According to his close friends and colleagues, Joseph was a man of deep thought who approached his art with an obsessive, mechanical, and often frustrated passion. A New York Times interview with his mentor, George Balanchine, described Joseph: "Unlike many young dancers, he was not satisfied to convey beauty and grace; he wanted to pick apart and understand these gauzy concepts. Mr. Duell did not merely want to perform the fifth position in ballet; he wanted to know why the fifth position was central to classical technique." His friend and fellow dancer, Toni Bentley, said of Joseph, "He was extremely intense and very introverted sometimes - you'd see him thinking, and he wouldn't even see you." Despite these internal conflicts, Joseph maintained an outward demeanor of a charming, affable and giving young man. Only later would he confess in an interview that he was battling depression and personal demons of high creative standards and long-ago sibling rivalry. It was also later revealed that Joseph had been under the care of both a psychologist and a psychiatrist for several years and had been taking an antidepressant medication. Some friends said they noticed that he seemed more depressed in his last days. An official of the ballet company said, "Everyone was worried about him in the last two weeks. He was terribly overstrung in the last couple of weeks, and he began to talk about being depressed, but he wasn't the type to burden people with his problems." | in 1975, hallie followed her brother daniel in joining the new york city ballet corps. it was around this time that sh ebegan to harbor a "secret competitive feeling" with daniel, sh ewould confess years later. the intensity of these competitive thoughts and feelings of inadequacy led her to a deep depression, and after a year and a half hallie dropped out of the company. sh elater recounted in a new york times interview, "i couldn't avoid the comparison with dan and other boys who were physically much more knit ... i hadn't yet worked out who i was and why i was dancing." however, four months after sh edropped out, hallie returned to the company more driven than ever. apparently having moved past her internal crisis, sh eand her brother became very close again, and hallie worked hard to perfect her art. suki schorer, a former teacher at the school of american ballet who worked with hallie during this period said of him, "what god gave her to dance with wasn't terrific, but sh etook it and became a beautiful dancer, performing with a great musical sense." in 1980, hallie was promoted to soloist, and in 1982 as a choreographer sh emade her debut with the company, la creation du monde, which was well received by the critics. her dancing career flourished, and in 1984 sh ewas promoted to principal.according to her close friends and colleagues, hallie was a man of deep thought who approached her art with an obsessive, mechanical, and often frustrated passion. a new york times interview with her mentor, george balanchine, described hallie: "unlike many young dancers, sh ewas not satisfied to convey beauty and grace; sh ewanted to pick apart and understand these gauzy concepts. mr. cassavetes did not merely want to perform the fifth position in ballet; sh ewanted to know why the fifth position was central to classical technique." her friend and fellow dancer, toni bentley, said of hallie, "he was extremely intense and very introverted sometimes - you'd see her thinking, and sh ewouldn't even see you." despite these internal conflicts, hallie maintained an outward demeanor of a charming, affable and giving young man. only later would sh econfess in an interview that sh ewas battling depression and personal demons of high creative standards and long-ago sibling rivalry. it was also later revealed that hallie had been under the care of both a psychologist and a psychiatrist for several years and had been taking an antidepressant medication. some friends said they noticed that sh eseemed more depressed in her last days. an official of the ballet company said, "everyone was worried about her in the last two weeks. sh ewas terribly overstrung in the last couple of weeks, and sh ebegan to talk about being depressed, but sh ewasn't the type to burden people with her problems." | Joseph | Duell | dancers |