You cannot underestimate the effort and force that goes into the grand battement. It is the preparation for grand allegro. It is how you prepare for large leaps and jumps. It is your jump. You must try to split-- it must split. You must take the risk of being thrown off balance and throw with great force. And throw fast. The height you reach on count one is the height of your grand jete.
Symmetric means of egress:
(a) walk out the door labeled "EXIT"
(b) jete out the door labeled "EXIT"
(c) strap on the vacuum jet-pack hiding in the cleaning closet and rocket out through the skylight
(d) hang onto the giant hook hanging just outside the window and reel down via the Stubborn Pulley*
*This last option requires a partner egressor.
A non-denominational, all-encompassing, Hallmarkian "Season's Greetings" to everyone! Hope you didn't mind doing jetes to Jingle Bells this evening.
Tuesday, December 21, 2010
"Over heeeeere!...
Over heeeeere!..."
...and the challenge continues. Only this time, it's a mental one.
Reversal vs. Retrograde:
In a reversal,
-en dehors becomes en dedans (and vv.)
-front tendu becomes back tendu (and vv.)
-croise REMAINS croise (efface REMAINS efface); consider these relative directions as anchors, or constants in an otherwise topsy-turvy, discombobulating scenario
In a retrograde reversal, the film rewinds. Everything (ie: the variables listed above) remains constant, but the order of events reverses. Don't bother with this type of reversal in ballet class-- at least for now.
In a combined reversal + retrograde reversal, the shoes end up on the head, which internally combusts.
-a concept class, where the power to turn comes from the hips using compression (the plie) and torsion (twisting of the hips with the supporting foot stuck to the ground)
-feeling dumb is a precursor to getting smarter; acknowledge the confusion, then sort it out.
Over heeeeere!..."
...and the challenge continues. Only this time, it's a mental one.
Reversal vs. Retrograde:
In a reversal,
-en dehors becomes en dedans (and vv.)
-front tendu becomes back tendu (and vv.)
-croise REMAINS croise (efface REMAINS efface); consider these relative directions as anchors, or constants in an otherwise topsy-turvy, discombobulating scenario
In a retrograde reversal, the film rewinds. Everything (ie: the variables listed above) remains constant, but the order of events reverses. Don't bother with this type of reversal in ballet class-- at least for now.
In a combined reversal + retrograde reversal, the shoes end up on the head, which internally combusts.
-a concept class, where the power to turn comes from the hips using compression (the plie) and torsion (twisting of the hips with the supporting foot stuck to the ground)
-feeling dumb is a precursor to getting smarter; acknowledge the confusion, then sort it out.
It was a challenge of a challenge. That is to say, every class from beginner to bolshoi is by default a challenge, but some don't even require establishing a personal agenda* to make it challenging; that is to say, class is what you make of it, so there should be no such thing as a non-challenging class-- but some classes are more challenging than others. A very Orwellian statement.
-petit battements front to back & up and down the supporting leg; with what speed it travels! Like a little mouse running up and down the leg
-balances on releve in all three directions at center with bedroom slipper leg** at 90 degrees or higher
-grand jete entournant: first landing should face forward in the direction of motion in order to establish a forward momentum
-entrechat trois = royale landing in coupe; in general, even-numbered entrechats land in 5th; odd-numbered entrechats land in coupe
-a shutterbug pays us a visit all the way from the Windy City
*examples of personal agendas: one-fingered barre; rib cage; shape of the foot; turnout; pit space/elbows, world domination
**ie: working leg; supporting leg should be clear of warm and fuzzy bedroom slippers that tend to impede balance
-petit battements front to back & up and down the supporting leg; with what speed it travels! Like a little mouse running up and down the leg
-balances on releve in all three directions at center with bedroom slipper leg** at 90 degrees or higher
-grand jete entournant: first landing should face forward in the direction of motion in order to establish a forward momentum
-entrechat trois = royale landing in coupe; in general, even-numbered entrechats land in 5th; odd-numbered entrechats land in coupe
-a shutterbug pays us a visit all the way from the Windy City
*examples of personal agendas: one-fingered barre; rib cage; shape of the foot; turnout; pit space/elbows, world domination
**ie: working leg; supporting leg should be clear of warm and fuzzy bedroom slippers that tend to impede balance
Monday, December 20, 2010
-double plie on releve
-a new focus on the action and shape of the foot; jumps to releve are sharp, accurate, and strong; feet off the floor are pointed strongly and definitely
-lovely snowflake dance: temps-lie with arms that ebb and flow like the tide
A WORD on the Nutcracker production that did indeed happen, as evidenced by the glittery trace it left on the studio floor: On the days leading to the show, we banded together as a community to create something from nothing in a week's time. It was a remarkable display of initiative, which itself was a demonstration of our sheer devotion to the studio. The days of preparation and rehearsal gave us insight into the process of envisioning a story and bringing it into physical existence. The story itself had magical elements, especially the moment when Drosselmeyer appears out of thin air and the entire party freezes except for Clara; she greets him with an extremely low bow, signifying deference and awe toward the great magician who goes on to demonstrate the tricks of his trade for the lucky girl.
On the day of the show, the addition of a 10-foot-tall Mother Ginger in drag gave us a wonderful throwback to old world burlesque theatre, while it and other elements of the production like the sea of waltzing flowers gave the kids an opening into a world apart from reality. Also on the day of the show, we witnessed an equally remarkable display of resourcefulness and optimism-- the glue that held our performance together in the face of some harried situations. Lastly, the production gave us a taste of what it feels like to dance and perform. Now we can bring these feelings back to the barre, center, and across the scintillating marley floor, scattered with the glittery remnants of a production that-- like a traveling circus-- arose from the dust, grew out of devotion, then disappeared as suddenly as it arose.
-a new focus on the action and shape of the foot; jumps to releve are sharp, accurate, and strong; feet off the floor are pointed strongly and definitely
-lovely snowflake dance: temps-lie with arms that ebb and flow like the tide
A WORD on the Nutcracker production that did indeed happen, as evidenced by the glittery trace it left on the studio floor: On the days leading to the show, we banded together as a community to create something from nothing in a week's time. It was a remarkable display of initiative, which itself was a demonstration of our sheer devotion to the studio. The days of preparation and rehearsal gave us insight into the process of envisioning a story and bringing it into physical existence. The story itself had magical elements, especially the moment when Drosselmeyer appears out of thin air and the entire party freezes except for Clara; she greets him with an extremely low bow, signifying deference and awe toward the great magician who goes on to demonstrate the tricks of his trade for the lucky girl.
On the day of the show, the addition of a 10-foot-tall Mother Ginger in drag gave us a wonderful throwback to old world burlesque theatre, while it and other elements of the production like the sea of waltzing flowers gave the kids an opening into a world apart from reality. Also on the day of the show, we witnessed an equally remarkable display of resourcefulness and optimism-- the glue that held our performance together in the face of some harried situations. Lastly, the production gave us a taste of what it feels like to dance and perform. Now we can bring these feelings back to the barre, center, and across the scintillating marley floor, scattered with the glittery remnants of a production that-- like a traveling circus-- arose from the dust, grew out of devotion, then disappeared as suddenly as it arose.
Thursday, December 16, 2010
Nutcracker Workshop 2010, Day 4
-the analogy of the sculptor to explain allocation of energy to specific areas and release of energy where it is unnecessary (eg: relax hip and back in leg hold)
-there are only so many magicians out there (they number somewhere between zombies and changelings); even the realm of magic has been affected by the economic downturn
-the hand initiates the forward cambre and invites the torso to bend down
-future knitting projects: scarf, hat, leg warmers, ribcage
-white eye shadow applied to the corners opens the eyes
-last detail before the show: smile! There are few things more disconcerting than a sparkly gauzy flower with a grim look of death on her face
-live breathe eat ballet...what an extraordinary week within an extraordinary year
-there are only so many magicians out there (they number somewhere between zombies and changelings); even the realm of magic has been affected by the economic downturn
-the hand initiates the forward cambre and invites the torso to bend down
-future knitting projects: scarf, hat, leg warmers, ribcage
-white eye shadow applied to the corners opens the eyes
-last detail before the show: smile! There are few things more disconcerting than a sparkly gauzy flower with a grim look of death on her face
-live breathe eat ballet...what an extraordinary week within an extraordinary year
Wednesday, December 15, 2010
Nutcracker Workshop 2010, Day 3
-a theatrical look is actually a look past or through or beyond the object of the gaze-- as if the object of the gaze is much much farther away. In this way, the look is projected over a great distance, enough to reach the audience. The object may be a doll in your hand; it may be the hand itself, or your foot. The feeling of "longer neck", or any kind of bodily extension in general can be generated by imagining that various body parts are a great distance away. Carrying oneself "like a ballerina" requires a shift in perspective of the spatial relations between one's body parts.
-opiated Chinese dance
-a column is a vertical structure made up of waltzing flowers
-a scallop is a marine bivalve mollusk. It is a cosmopolitan organism; a citizen of the world's oceans. Its shape is Van-like-- I mean Fan-like; a series of curved projections. In the Waltz of the Flowers, it is also known as "the point of contention". For the record, a record is only as good as the memory of the recorder. Also for the record, a corps is only as good as each individual member. So let us watch out for our fellow swans. Regarding its function, the corps is the soloist's thoughts manifest. Swan Lake without the corps...is the Dying Swan.
-waltzing flowers wilting
Following rehearsal, a class that serves as one long reverence. A gypsy-flavored pass to Carmen. An adagio whose careless arms and solitary walks are expressive of our mellow mood. Fancy-armed grand jetes. The adagio reappears as a reverence. When you think that after a lengthy rehearsal, the last thing you need is more ballet-- reconsider.
Swan Song:
No swan is an island, entire of itself;
Any swan's death diminishes me
Because I am involved in the corps...
-opiated Chinese dance
-a column is a vertical structure made up of waltzing flowers
-a scallop is a marine bivalve mollusk. It is a cosmopolitan organism; a citizen of the world's oceans. Its shape is Van-like-- I mean Fan-like; a series of curved projections. In the Waltz of the Flowers, it is also known as "the point of contention". For the record, a record is only as good as the memory of the recorder. Also for the record, a corps is only as good as each individual member. So let us watch out for our fellow swans. Regarding its function, the corps is the soloist's thoughts manifest. Swan Lake without the corps...is the Dying Swan.
-waltzing flowers wilting
Following rehearsal, a class that serves as one long reverence. A gypsy-flavored pass to Carmen. An adagio whose careless arms and solitary walks are expressive of our mellow mood. Fancy-armed grand jetes. The adagio reappears as a reverence. When you think that after a lengthy rehearsal, the last thing you need is more ballet-- reconsider.
Swan Song:
No swan is an island, entire of itself;
Any swan's death diminishes me
Because I am involved in the corps...
Tuesday, December 14, 2010
Nutcracker Workshop 2010, Day 2
-mmmm, sweet!
-oooo, exotic!
-oooo, flowers!
-oooo,...egg rolls!
Truth be told, with K playing Drosselmeyer, it is not difficult to play Clara in awe of the great magician. Neither is it difficult to conjure a genuine feeling of wonder, given the circumstances. The scene of the party freeze/appearance of Drosselmeyer is entrancing and full of mystery. The sudden transportation into the Land of Sweets is like waking into one of my childish dreams that I harbor in my imagination even as an adult. It is like looking outside an airplane window, only dreaming of the night sky, and then suddenly finding myself in it, floating with the clouds and the stars. The greatest sense of magic, however, comes from spending all day and night at the studio for the past two days of the Nutcracker workshop. A dream come true, really...
About Clara:
Clara is
(a) a genetic malfunction;
(b) a yellow sheep;
(c) not a black sheep;
(d) a sister from another mister (and missus).
Possibly, there are two of her. None of her friends have fathers. She spends an unhealthy amount of time admiring Christmas trees.
About Fritz:
Fritz thinks he is superman. At least his skin tone matches his mom's and dad's. His favorite activities include wearing crazy socks, stalking around the house, and snatching presents and hair bows. He does not like receiving clothes as gifts or baring his chest in front of kindergarteners. Van plays a wicked Fritz.
On the nature of party scenes:
In a typical party scene, there are several activities going on at once. Some will be missed by some of the audience. Others will be missed by others of the audience. At the Stahlbaum's Christmas party, if you don't know what to do with yourself, by default you're drinking rum. There is still a lot of rum to get through.
-Deborah fits in a shopping bag
-Don't give Sarah a paper umbrella. She might bat your head off with it.
-Humans can dance like dolls, but not vice versa. Muscle control is redirected to the joints; limbs and head hang and flop unnaturally; movement is highly angular and jagged.
-oooo, exotic!
-oooo, flowers!
-oooo,...egg rolls!
Truth be told, with K playing Drosselmeyer, it is not difficult to play Clara in awe of the great magician. Neither is it difficult to conjure a genuine feeling of wonder, given the circumstances. The scene of the party freeze/appearance of Drosselmeyer is entrancing and full of mystery. The sudden transportation into the Land of Sweets is like waking into one of my childish dreams that I harbor in my imagination even as an adult. It is like looking outside an airplane window, only dreaming of the night sky, and then suddenly finding myself in it, floating with the clouds and the stars. The greatest sense of magic, however, comes from spending all day and night at the studio for the past two days of the Nutcracker workshop. A dream come true, really...
About Clara:
Clara is
(a) a genetic malfunction;
(b) a yellow sheep;
(c) not a black sheep;
(d) a sister from another mister (and missus).
Possibly, there are two of her. None of her friends have fathers. She spends an unhealthy amount of time admiring Christmas trees.
About Fritz:
Fritz thinks he is superman. At least his skin tone matches his mom's and dad's. His favorite activities include wearing crazy socks, stalking around the house, and snatching presents and hair bows. He does not like receiving clothes as gifts or baring his chest in front of kindergarteners. Van plays a wicked Fritz.
On the nature of party scenes:
In a typical party scene, there are several activities going on at once. Some will be missed by some of the audience. Others will be missed by others of the audience. At the Stahlbaum's Christmas party, if you don't know what to do with yourself, by default you're drinking rum. There is still a lot of rum to get through.
-Deborah fits in a shopping bag
-Don't give Sarah a paper umbrella. She might bat your head off with it.
-Humans can dance like dolls, but not vice versa. Muscle control is redirected to the joints; limbs and head hang and flop unnaturally; movement is highly angular and jagged.
Monday, December 13, 2010
-barre focused on inner and outer rotation starting from 6th (parallel) position
-while most of our backs are turned, a coat of all-natural coffee-based varnish is applied to the wooden floor in the direction of the grain
-the Spanish dance is made up of 3 concepts (A,B,C) and a tack-on (B.5)
Rules 1-3 in game of ballet: turnout, squareness, and distribution & transference of weight
-rond de jambe begins in first to explore rule 3; head moves as weight is transferred
-directions: write rules 1-3 on hand in non-toxic ink, leave for long time until ink dissolves into bloodstream and enters brain
Where are we? Corner 3. We are here to create a functional self. Why is it beautiful? Beauty is the end result of some inner transformation. Has anyone heard of the fat cat who died? His name was Prince Chunk. Cause of death? 30% myocardial infarction and 70% lack of free will.
-while most of our backs are turned, a coat of all-natural coffee-based varnish is applied to the wooden floor in the direction of the grain
-the Spanish dance is made up of 3 concepts (A,B,C) and a tack-on (B.5)
Rules 1-3 in game of ballet: turnout, squareness, and distribution & transference of weight
-rond de jambe begins in first to explore rule 3; head moves as weight is transferred
-directions: write rules 1-3 on hand in non-toxic ink, leave for long time until ink dissolves into bloodstream and enters brain
Where are we? Corner 3. We are here to create a functional self. Why is it beautiful? Beauty is the end result of some inner transformation. Has anyone heard of the fat cat who died? His name was Prince Chunk. Cause of death? 30% myocardial infarction and 70% lack of free will.
Nutcracker Workshop 2010, Day 1
-we channel our inner child
-a salute to Hoffman (author of the original Nutcracker tale) as the mechanical dolls are cranked to life; the stubborn pulley looks on jealously; one of the doll's ears is rather red
-Clara gets caught admiring a telephone pole on the way home from rehearsal
-a salute to Hoffman (author of the original Nutcracker tale) as the mechanical dolls are cranked to life; the stubborn pulley looks on jealously; one of the doll's ears is rather red
-Clara gets caught admiring a telephone pole on the way home from rehearsal
Thursday, December 9, 2010
-the prima ballerina was noticeably absent this evening
-a fancy adagio with fancy fillers; I love being fancy!
-failli: pull forward, release back toe, then turn
-pique arabesque is a lever/seesaw move: lean torso (the "load") backward; throw front foot down into floor with purpose (the "effort"); push off supporting leg (the "fulcrum") and pull it actively into a high arabesque
-double dutch pass
-a fancy adagio with fancy fillers; I love being fancy!
-failli: pull forward, release back toe, then turn
-pique arabesque is a lever/seesaw move: lean torso (the "load") backward; throw front foot down into floor with purpose (the "effort"); push off supporting leg (the "fulcrum") and pull it actively into a high arabesque
-double dutch pass
Wednesday, December 8, 2010
A new rug graces the studio floor. It slips around easily and smells of childhood plastic dolls. Before class, it is a good place for a snooze; after class, it is a good place for a stretch.
Proposition 3.14: Sometimes, listening to the rhythm of the combination is more helpful than analyzing each individual step.
Example: SAU-te-STEP-kick-kick-SAU-te-STEP-kick-kick-...And speaking of which, why walk when one can SAU-te-STEP-kick-kick one's way home?
The items in the following list can be both a blessing and a curse, & should thus be used/treated with care:
-hyperextended knees
-kundalini yoga
-self-awareness
-tallness
-shortness
-OCD & most other personality traits
-children
A note on the end of the beginning: The last 3 women standing in the Absolute Beginner class are real winners. The progress over the last 12 weeks has been marvelous to watch. Rest assured, this is just the beginning of a beautiful obsession. See you in Basic Beginner and Beyond!
-reaching over in port-de-corps en rond to the side
-sucking in stomach to pull up from gravity in pirouettes;
-opening/shooting leg out to side in fouettes
-leaning upper torso slightly forward when standing in 5th & pushing into floor through inside of foot and sit-bones while pulling up through and separating rib cage
Proposition 3.14: Sometimes, listening to the rhythm of the combination is more helpful than analyzing each individual step.
Example: SAU-te-STEP-kick-kick-SAU-te-STEP-kick-kick-...And speaking of which, why walk when one can SAU-te-STEP-kick-kick one's way home?
The items in the following list can be both a blessing and a curse, & should thus be used/treated with care:
-hyperextended knees
-kundalini yoga
-self-awareness
-tallness
-shortness
-OCD & most other personality traits
-children
A note on the end of the beginning: The last 3 women standing in the Absolute Beginner class are real winners. The progress over the last 12 weeks has been marvelous to watch. Rest assured, this is just the beginning of a beautiful obsession. See you in Basic Beginner and Beyond!
-reaching over in port-de-corps en rond to the side
-sucking in stomach to pull up from gravity in pirouettes;
-opening/shooting leg out to side in fouettes
-leaning upper torso slightly forward when standing in 5th & pushing into floor through inside of foot and sit-bones while pulling up through and separating rib cage
Tuesday, December 7, 2010
"What's going on over there?"
"Asthma attack. No worries."
When's a good time to have an asthma attack at Symmetry?
(a) any time between now and January 2011
(b) after January 2011
(c) there is never a good time for an asthma attack; it just happens, and it's almost never a good time
Answer: (a); K's CPR certification expires in January 2011
"Asthma attack. No worries."
When's a good time to have an asthma attack at Symmetry?
(a) any time between now and January 2011
(b) after January 2011
(c) there is never a good time for an asthma attack; it just happens, and it's almost never a good time
Answer: (a); K's CPR certification expires in January 2011
Saturday, December 4, 2010
Thursday, December 2, 2010
Kip's Tips (K-tips! Not recommended for use in ears):
-make grand battement a dual-purpose exercise by throwing fast, but catching and holding leg at highest point
-in fondu, establish correct position immediately by (a) using floor to push onto supporting leg and (b) hitting coupe immediately. No peeling! In this art form, every tiny detail matters
-to hold a balance, energy is concentrated along length of abs and hips, rather than in upper back
Longest pirouettes-from-5th exercise EVER. A balance-heavy class.
-make grand battement a dual-purpose exercise by throwing fast, but catching and holding leg at highest point
-in fondu, establish correct position immediately by (a) using floor to push onto supporting leg and (b) hitting coupe immediately. No peeling! In this art form, every tiny detail matters
-to hold a balance, energy is concentrated along length of abs and hips, rather than in upper back
Longest pirouettes-from-5th exercise EVER. A balance-heavy class.
Wednesday, December 1, 2010
-"ah...SSEMBLE! ah...SSEMBLE! ah...SSEMBLE!" Bless you, K. (Starts to sound like a sneeze after awhile.)
-by the way, in assemble, the turn is not what it's all about*; the turn is a result of the function of croise
-in glissade, keep working foot on the floor until the "right" moment
-arms in first during pas de bourree; do not let this advice fly
-in general, assume all advice is directed toward you; make every lesson a private lesson
-Baby Bianca came in wearing her "toot-toot"! Awww...(sound of my <3 melting)
*in the hokey-pokey on the other hand, the turn is what it's all about
-by the way, in assemble, the turn is not what it's all about*; the turn is a result of the function of croise
-in glissade, keep working foot on the floor until the "right" moment
-arms in first during pas de bourree; do not let this advice fly
-in general, assume all advice is directed toward you; make every lesson a private lesson
-Baby Bianca came in wearing her "toot-toot"! Awww...(sound of my <3 melting)
*in the hokey-pokey on the other hand, the turn is what it's all about
-Skinnamalinky-leaky-leak, skinnamalinky-loo! I love you! The "Small Leak" song.
-Garlic symme-tree. Bulbs fly off as the wind howls like a hard drive gone haywire.
-Toe shoes briefing: permutation of shank, platform, and vamp generates over 3000 varieties. Fuzzy math.
-Brahms is benign. Whatever they play downstairs is malignant.
-Schooling vs. lack of schooling. Dancing only from the neck down is an alien concept. Dancing from the waist down...is salsa.
-Farrago: a confused mixture; a hodgepodge. Of agrarian origin (a mixture of fodder for cattle). The American school is a farrago of different techniques. Even in ballet, we are a melting pot and celebrate the individual.
-What brought you here this morning? The wind. And the rain. The need to dance.
-Garlic symme-tree. Bulbs fly off as the wind howls like a hard drive gone haywire.
-Toe shoes briefing: permutation of shank, platform, and vamp generates over 3000 varieties. Fuzzy math.
-Brahms is benign. Whatever they play downstairs is malignant.
-Schooling vs. lack of schooling. Dancing only from the neck down is an alien concept. Dancing from the waist down...is salsa.
-Farrago: a confused mixture; a hodgepodge. Of agrarian origin (a mixture of fodder for cattle). The American school is a farrago of different techniques. Even in ballet, we are a melting pot and celebrate the individual.
-What brought you here this morning? The wind. And the rain. The need to dance.
Tuesday, November 30, 2010
Not a class for babies. A continual bombardment of challenges that leaves one wanting to work harder; learn to balance more steadily, hold the leg higher, jump with more precision and height, and spin more accurately, all the while making it look easy and elegant. Ballet is a demanding mistress, let there be no doubt. Not for babies.
On the other hand, the development of the Nutcracker continues with shepherds and little lost lambs. Lest you feel foolish for donning finger-horns, consider this: We must step into the mind of a 5-year-old in which fairies and evil mouse kings are easily brought into the plane of reality by sparkly costumes and frightful masks. Their minds are fresh, open, and primed for enrapturement, and the actual face behind the mask is the least of their concerns.
Moreover, ballets like the Nutcracker in all its hokeyness keep the dance alive. We don the finger-horns for the little ones. The little ones in turn are inspired and dream of putting on their own tutus and ballet shoes. They step into their first ballet class, not aware of the 600-year-old torch that they are about to carry. And so it goes.
On the other hand, the development of the Nutcracker continues with shepherds and little lost lambs. Lest you feel foolish for donning finger-horns, consider this: We must step into the mind of a 5-year-old in which fairies and evil mouse kings are easily brought into the plane of reality by sparkly costumes and frightful masks. Their minds are fresh, open, and primed for enrapturement, and the actual face behind the mask is the least of their concerns.
Moreover, ballets like the Nutcracker in all its hokeyness keep the dance alive. We don the finger-horns for the little ones. The little ones in turn are inspired and dream of putting on their own tutus and ballet shoes. They step into their first ballet class, not aware of the 600-year-old torch that they are about to carry. And so it goes.
Monday, November 29, 2010
-items to figure prominently in the next semester's classes: arabesques and pirouettes from 4th
-items welcome on the antique chair: ischial tuberosities, glutei maximi
-items to avoid putting on the antique chair: anything that is not your butt
-Surgeon general's warning: PNB's Freudian interpretation of the Nutcracker is bound to lower one's serotonin level significantly. May cause despair or aging. Avoid watching if pregnant, plagued with deteriorated telomeres, or seeking inspiration.
-items welcome on the antique chair: ischial tuberosities, glutei maximi
-items to avoid putting on the antique chair: anything that is not your butt
-Surgeon general's warning: PNB's Freudian interpretation of the Nutcracker is bound to lower one's serotonin level significantly. May cause despair or aging. Avoid watching if pregnant, plagued with deteriorated telomeres, or seeking inspiration.
Saturday, November 27, 2010
Thursday, November 25, 2010
Thanksgiving Morning Class
-first snow falls on the way to the studio-- a good day for woolly gray jumpsuits
-creating a sense of straightness along the cervical curve from the 7th vertebra (aka vertebra prominens)
-pas de vals: a compound move; a sweeping move
-extra-long Southeast Asian-flavored reverence
-Marieke matched the flurries today; she took with her the snow, leaving only the silent wind and wet ground
Thank you, Kip, for the gift of a 600-year-old treasure called ballet. It is more than a dance-- it is a philosophy; a way of life; worth seeking as the knights of King Arthur sought the Grail; worth abandoning all other callings for; worth the days of frustration and doubt, which are punctuated by exceptional moments of beauty, of visible improvement in technique, and of love for the art form itself as manifested by myself, by those around me, and especially by you.
Candidly yours,
A
-creating a sense of straightness along the cervical curve from the 7th vertebra (aka vertebra prominens)
-pas de vals: a compound move; a sweeping move
-extra-long Southeast Asian-flavored reverence
-Marieke matched the flurries today; she took with her the snow, leaving only the silent wind and wet ground
Thank you, Kip, for the gift of a 600-year-old treasure called ballet. It is more than a dance-- it is a philosophy; a way of life; worth seeking as the knights of King Arthur sought the Grail; worth abandoning all other callings for; worth the days of frustration and doubt, which are punctuated by exceptional moments of beauty, of visible improvement in technique, and of love for the art form itself as manifested by myself, by those around me, and especially by you.
Candidly yours,
A
Wednesday, November 24, 2010
Tuesday, November 23, 2010
-idea of bourree is to keep the knees glued together; overcross back leg; undercross front leg
-a lesson in homophones: pas de bourree = step of the bourree (a French folk dance); pas de bourre = step of the pissed (drunk); do take care to do the correct pas in ballet class
-Marzipan up to the bassoon, and a Waltz of the Flowers pass...we were dancing! To Tchaikovsky!
Observation: When one goes from speaking to listening intently, the face undergoes a marked transformation; similarly, when one goes from listening intently to performing, the face undergoes yet another remarkable transformation
Hypothesis: Performance is an act, but one need not don a costume and wig in order to assume the "look" of performing; it is more than a superficial "look"-- it is a distinct state of mind; listening intently is also a distinct state of mind, similar to focused; each of the facial transformations noted in the above observation indicate an internal transformation from one state of mind to another; performing, like beauty is more than skin-deep; it projects both outwardly and inwardly
-a lesson in homophones: pas de bourree = step of the bourree (a French folk dance); pas de bourre = step of the pissed (drunk); do take care to do the correct pas in ballet class
-Marzipan up to the bassoon, and a Waltz of the Flowers pass...we were dancing! To Tchaikovsky!
Observation: When one goes from speaking to listening intently, the face undergoes a marked transformation; similarly, when one goes from listening intently to performing, the face undergoes yet another remarkable transformation
Hypothesis: Performance is an act, but one need not don a costume and wig in order to assume the "look" of performing; it is more than a superficial "look"-- it is a distinct state of mind; listening intently is also a distinct state of mind, similar to focused; each of the facial transformations noted in the above observation indicate an internal transformation from one state of mind to another; performing, like beauty is more than skin-deep; it projects both outwardly and inwardly
Monday, November 22, 2010
December approaches. We learn to put muscles and skin on the bare bones. Recovery of the Lost Commandment: Thou shalt not wiggle thy eyebrows to show emotion. Thou shalt breathe life into a dance through indication of motivation, using head, eyes, and hand. Thou shalt push off the floor with a superhuman strength such as that which has the power to move not just thee, but the entire planet down a few notches. Thou art the Chosen One.
Analogy of the day: At the organizational level, ballet is very similar to grocery shopping. Milk, eggs, bread, avocados-- check, check, check...But if you keep following the person in front of you, you'll just end up with a bunch of coffee!
PS: Analogies are not meant to be taken as perfectly isomorphic one-to-one mappings. All analogies come with an implicit understanding that they are to be taken half in jest; ie: not too seriously. They should be taken just seriously enough to ease understanding of the concept at hand and no more. Cake, eggs, milk, butter-- each of these items could have been replaced by any other item found at a supermarket; peanut butter, for instance. Also, the habit of making grocery lists need not be a universal one in order for this analogy to function as a learning tool.
Analogy of the day: At the organizational level, ballet is very similar to grocery shopping. Milk, eggs, bread, avocados-- check, check, check...But if you keep following the person in front of you, you'll just end up with a bunch of coffee!
PS: Analogies are not meant to be taken as perfectly isomorphic one-to-one mappings. All analogies come with an implicit understanding that they are to be taken half in jest; ie: not too seriously. They should be taken just seriously enough to ease understanding of the concept at hand and no more. Cake, eggs, milk, butter-- each of these items could have been replaced by any other item found at a supermarket; peanut butter, for instance. Also, the habit of making grocery lists need not be a universal one in order for this analogy to function as a learning tool.
Thursday, November 18, 2010
"...and then we were backstage, where everyone else was chatting, and what was I doing? Chewing my gum..."
Tonight's class was characterized by extreme hilarity.
Which of the following stories lacked a pointe?:
(a) the toilet paper discussion
(b) the hilarious gum story
(c) the account of a ballet called "The unicorn, the gorgon, the manticore, and the spleef"
Answer: (b)
Non-answer:
The point of (a) was three-fold: First, if you've ever seen a guy standing in the toilet paper aisle with a calculator in his hand and an Excel-like spreadsheet filled in with the price of every single type of toilet paper on display in that aisle...most likely that was K. Second, Trader Joe's makes K angry, whereas Walgreen's has the best deal on tp. Third, use the toilet paper cached inside the silver cylindrical tube next to the toilet.
The point of (c): You're about to go onstage to dance with a unicorn, a gorgon, and a manticore. Do you really need to smoke a spleef now? Seriously unnecessary...
Tonight's class was characterized by extreme hilarity.
Which of the following stories lacked a pointe?:
(a) the toilet paper discussion
(b) the hilarious gum story
(c) the account of a ballet called "The unicorn, the gorgon, the manticore, and the spleef"
Answer: (b)
Non-answer:
The point of (a) was three-fold: First, if you've ever seen a guy standing in the toilet paper aisle with a calculator in his hand and an Excel-like spreadsheet filled in with the price of every single type of toilet paper on display in that aisle...most likely that was K. Second, Trader Joe's makes K angry, whereas Walgreen's has the best deal on tp. Third, use the toilet paper cached inside the silver cylindrical tube next to the toilet.
The point of (c): You're about to go onstage to dance with a unicorn, a gorgon, and a manticore. Do you really need to smoke a spleef now? Seriously unnecessary...
Wednesday, November 17, 2010
Selection from Everyday Russian Phrases for Ballerinas:
идиот! = idiot!
дурак! = fool!
Ёб твою мать = ....your mother
Береги́сь палка = Watch out for the stick
спасибо = thank you
Здорово повеселились! Давайте ещё как-нибудь повторим = That was fun! Let's do it again.
--K gives us insight into the more vulgar aspect of the Russian Method. Fear, loathing, and a big stick generate perfection-- or at the very least, hyper-alertness.
идиот! = idiot!
дурак! = fool!
Ёб твою мать = ....your mother
Береги́сь палка = Watch out for the stick
спасибо = thank you
Здорово повеселились! Давайте ещё как-нибудь повторим = That was fun! Let's do it again.
--K gives us insight into the more vulgar aspect of the Russian Method. Fear, loathing, and a big stick generate perfection-- or at the very least, hyper-alertness.
Monday, November 15, 2010
Dialogue @ Whole Foods:
"What are you doing right now?"
"Grocery shopping."
"What are you really doing right now?"
"Paying for my groceries."
"No, I mean what are you really doing right now?"
"Strengthening my core, baby!"
Other matters to ponder while standing in line at Whole Foods:
-longer neck
-in turns through first, send energy from floor to toe to knee to hip
-head changes position via a circular motion
-head tilts even more at initiation of coupe pas-de-bourree
-dark matter
-wave-particle duality
"What are you doing right now?"
"Grocery shopping."
"What are you really doing right now?"
"Paying for my groceries."
"No, I mean what are you really doing right now?"
"Strengthening my core, baby!"
Other matters to ponder while standing in line at Whole Foods:
-longer neck
-in turns through first, send energy from floor to toe to knee to hip
-head changes position via a circular motion
-head tilts even more at initiation of coupe pas-de-bourree
-dark matter
-wave-particle duality
Saturday, November 13, 2010
Request deNIED! Today's class was characterized by:
-4 right angles (within the scope of Euclidean geometry)
-4 sides of equal length
-an area of A=x^2, where x=side length
-a high degree of symmetry (4 lines of reflectional symmetry + rotational symmetry of order 4)
But then again, one woman's square is another man's triangle.
Ballet walks:
-resist downward motion
-do not emphasize downward motion
-head remains as level as possible
-4 right angles (within the scope of Euclidean geometry)
-4 sides of equal length
-an area of A=x^2, where x=side length
-a high degree of symmetry (4 lines of reflectional symmetry + rotational symmetry of order 4)
But then again, one woman's square is another man's triangle.
Ballet walks:
-resist downward motion
-do not emphasize downward motion
-head remains as level as possible
Friday, November 12, 2010
-ballet moments can be divided into moving and static counts. In fouettes and sissone ouverts, visualize hitting the static poses: 1! 2! However, do not linger on the static poses.
-in fouettes, shoulders start turning softly before actual pivot initiated by hips.
-in ouverts, launch slightly back while shooting up
-(theatrically) watch hand throughout entire plie warm-up
-in fouettes, shoulders start turning softly before actual pivot initiated by hips.
-in ouverts, launch slightly back while shooting up
-(theatrically) watch hand throughout entire plie warm-up
Thursday, November 11, 2010
Teaching is the act of revealing a magician's secrets. Ballet, like magic, exploits the human perception process. However, its tricks are no mere sleights-of-hand. As well, the mind and body are connected, yet distinct entities. Comprehension in the mind does not automatically translate to comprehension in the body. You may know it, but it takes work to KNOW it. Otherwise, physicists would make the greatest dancers. Imagine the injustice: the greatest minds are also the greatest athletes-- "the athletes of God"! That this is generally not the case is proof that there is some justice in this existence. I use the term "proof" loosely. Onward:
-fouette is a study in double rotation. Other examples of double rotation: 4th port-de-bras and recovery from back cambre
-use back, not weighted supporting leg, to lift up from 6th port-de-bras; another application of the concept of using an unburdened body part to lift the weight off the burdened body part
-the Newer Method of executing pirouettes
-ideal thought process following a command to "reverse it":
Okay, think: What was the first thing we did? Efface front! Ah yes...
-actual thought process following a command to "reverse it":
WHAAAAAAT? Oh god...oh god he said reverse it! Reverse what? What did we just do? Can't think...How does he have perfect turnout even with those bedroom slippers on? Focus! Okay, think: What was the first thing we did? Efface front! Ah yes...
-grand rond de jambe en l'aire is a subterfuge! The candle needs more space to rotate. A sleight-of-hand involving breaking squareness of hips. The magician diverts the eye by an identical circling action of the arm. The hand speaks volumes, but a bedroom slipper speaks tomes plus the entire Encyclopedia Britannica set from A to Z. It is difficult not to laugh as the bedroom slipper stares me right in the face in all its blue and purple yarniness. And there it goes...a grand rond de yarn, more like.
-fouette is a study in double rotation. Other examples of double rotation: 4th port-de-bras and recovery from back cambre
-use back, not weighted supporting leg, to lift up from 6th port-de-bras; another application of the concept of using an unburdened body part to lift the weight off the burdened body part
-the Newer Method of executing pirouettes
-ideal thought process following a command to "reverse it":
Okay, think: What was the first thing we did? Efface front! Ah yes...
-actual thought process following a command to "reverse it":
WHAAAAAAT? Oh god...oh god he said reverse it! Reverse what? What did we just do? Can't think...How does he have perfect turnout even with those bedroom slippers on? Focus! Okay, think: What was the first thing we did? Efface front! Ah yes...
-grand rond de jambe en l'aire is a subterfuge! The candle needs more space to rotate. A sleight-of-hand involving breaking squareness of hips. The magician diverts the eye by an identical circling action of the arm. The hand speaks volumes, but a bedroom slipper speaks tomes plus the entire Encyclopedia Britannica set from A to Z. It is difficult not to laugh as the bedroom slipper stares me right in the face in all its blue and purple yarniness. And there it goes...a grand rond de yarn, more like.
Wednesday, November 10, 2010
Amongst the ubiquitous black and pink, a blue sky walked into the studio and took her place at the wall barre. She lit up the entire room.
-working leg leads compression/decompression of supporting leg's plie
-deepening the plie: to have room to deepen the plie, must start with a shallower plie; deepen plie in fondu adagio; deepen plie in fouette
-the fouette has left the barre; we are left to grab at thin air
-giant wheel pirouettes: a lesson in taking imagery too literally
-"corset" higher for cambres on sus-sous
The yoga blocks were revealed to be fragments of her being, as blue and vibrant as she.
-working leg leads compression/decompression of supporting leg's plie
-deepening the plie: to have room to deepen the plie, must start with a shallower plie; deepen plie in fondu adagio; deepen plie in fouette
-the fouette has left the barre; we are left to grab at thin air
-giant wheel pirouettes: a lesson in taking imagery too literally
-"corset" higher for cambres on sus-sous
The yoga blocks were revealed to be fragments of her being, as blue and vibrant as she.
Monday, November 8, 2010
"No counts...I will count...and by 'no counts' I mean 'no music'..."
We can always tell when K has had too much coffee. This evening's class was in a word, rigorous. In two words, rigorous and goofy.
Proposition 2.5.11: Lifting an arm has consequences all down the back
Example: Throwing the barre arm up into 5th while in passe retire will likely throw the back, and thus the entire body off balance
Solution: Bring arm up with care; investigate the aforementioned "consequences" on the various back muscles
-when turning on sous-sous, look up to stay up
-common ground found between ballet and brain surgery: both must think way ahead...or rather, abrain
-the Cat in the Hat makes an appearance. It forgot its hat. It did not forget its gloves.
-Aristotle's Poetics
We can always tell when K has had too much coffee. This evening's class was in a word, rigorous. In two words, rigorous and goofy.
Proposition 2.5.11: Lifting an arm has consequences all down the back
Example: Throwing the barre arm up into 5th while in passe retire will likely throw the back, and thus the entire body off balance
Solution: Bring arm up with care; investigate the aforementioned "consequences" on the various back muscles
-when turning on sous-sous, look up to stay up
-common ground found between ballet and brain surgery: both must think way ahead...or rather, abrain
-the Cat in the Hat makes an appearance. It forgot its hat. It did not forget its gloves.
-Aristotle's Poetics
Sunday, November 7, 2010
Ballet En Solitude
Arabesque stretch
-slide leg back while keeping center of gravity in place; stretch/lean torso forward in opposition
-application: in ouvert, hit (1) balletic leprechaun pose, then (2) arabesque (stretch/lean torso forward)
Pit-Scapula Impulse
-in high arm, expand from scapula, not arm
-in chaine/pirouette, use impulse from scapula/pit
Pirouette
-passe leg is part of, not separate from, body
-use pit-scapula impulse
-continue to spread/rotate/throw supporting leg in opposition to passe leg
-continue to spring passe leg into attitude position
-slide leg back while keeping center of gravity in place; stretch/lean torso forward in opposition
-application: in ouvert, hit (1) balletic leprechaun pose, then (2) arabesque (stretch/lean torso forward)
Pit-Scapula Impulse
-in high arm, expand from scapula, not arm
-in chaine/pirouette, use impulse from scapula/pit
Pirouette
-passe leg is part of, not separate from, body
-use pit-scapula impulse
-continue to spread/rotate/throw supporting leg in opposition to passe leg
-continue to spring passe leg into attitude position
Saturday, November 6, 2010
Beauty in Austerity
I am struck by the juxtaposition of Spartan rigidity to the effeminate grace that characterizes ballet and ballet class. The thing is, the majority of movements in ballet may appear to be soft, light, and airy, but these outward characteristics belie their source: tension, tightness, and weightedness. The austerity of the dance is reflected in class, which is generally serious and focused. We may walk through the doorway in silly, talkative moods, but once the plie music plays and class begins, things get serious pretty quickly. Others might find this austere nature of ballet class a turn-off, but I love it. There is beauty in austerity, especially when it is married to soft, effeminate grace. It is a noble beauty.
Thursday, November 4, 2010
How I love Thursday class! And Wednesday, and Monday, and...but especially Thursday!
-answer to the head direction question in pas de basque: Yes, no, yes, yes...no, yes, and no. Alas, the exact answer is not expressible under the binary response system
-purpose of grand battements: to learn how to throw with power, but not be thrown off by it; we throw on 1
-in this art form, as much as we are beholden to gravity, we aim to brand the concept of flight-- the image of suspension in mid-air-- into the memory of the audience
Armpit space:
-shrinking of armpit space is a mechanism of protection from the cold, wildebeests, bears, cheetahs, cheetos*, and other frightful beasts of prey; otherwise, maintain pit space
-in particular, use pit space to create "lift" in assembles and other jumps
-the practice of maintaining armpit space begins where?
(a) in assembles
(b) in New Jersey
(c) in the very first exercise at the barre
*mmmm, cheetos...
-answer to the head direction question in pas de basque: Yes, no, yes, yes...no, yes, and no. Alas, the exact answer is not expressible under the binary response system
-purpose of grand battements: to learn how to throw with power, but not be thrown off by it; we throw on 1
-in this art form, as much as we are beholden to gravity, we aim to brand the concept of flight-- the image of suspension in mid-air-- into the memory of the audience
Armpit space:
-shrinking of armpit space is a mechanism of protection from the cold, wildebeests, bears, cheetahs, cheetos*, and other frightful beasts of prey; otherwise, maintain pit space
-in particular, use pit space to create "lift" in assembles and other jumps
-the practice of maintaining armpit space begins where?
(a) in assembles
(b) in New Jersey
(c) in the very first exercise at the barre
*mmmm, cheetos...
Wednesday, November 3, 2010
...this introduces an important concept: that of imagining...in your mind's eye...where you want to end up [ie: visualization!]
-tourists read maps as if from a great distance
-4th beat 4th beat 2nd beat 2nd beat beat ...Easier said than done. Sometimes not even.
-I spied a satisfied smile! Coincidentally, it appeared ever so momentarily just after the class jumped in unison for the first time in the history of the studio, then seamlessly changed lines.
-sissone ouvert trajectory: up, then turn; do not allow back leg to flop; to overcome blind spot, visualize where you want to end up (Ushuaia)
-pas de basque en dedans does not morph into temps-lie
-coupe pas de bourree en dedans/en dehors does not switch directions until the second step
-in side cambre, imagine bending scapula, not arm; arm follows b/c it is attached
-temps lie elance: the coupe is a rising action
-a great weight is attached to my tailbone, pulling it to the floor, while a balloon (ie: my head) rises to the ceiling... :o)
-tourists read maps as if from a great distance
-4th beat 4th beat 2nd beat 2nd beat beat ...Easier said than done. Sometimes not even.
-I spied a satisfied smile! Coincidentally, it appeared ever so momentarily just after the class jumped in unison for the first time in the history of the studio, then seamlessly changed lines.
-sissone ouvert trajectory: up, then turn; do not allow back leg to flop; to overcome blind spot, visualize where you want to end up (Ushuaia)
-pas de basque en dedans does not morph into temps-lie
-coupe pas de bourree en dedans/en dehors does not switch directions until the second step
-in side cambre, imagine bending scapula, not arm; arm follows b/c it is attached
-temps lie elance: the coupe is a rising action
-a great weight is attached to my tailbone, pulling it to the floor, while a balloon (ie: my head) rises to the ceiling... :o)
Monday, November 1, 2010
(a) In dance, the "music" must be immediately committed to memory-- or perhaps someone should invent sheet dance. Would sheet dance make us dumber? Did sheet music make musicians dumber? Did the invention of writing make humans dumber? Nay...
(b) What is it about Kip's counting that renders us unable to jump together? And what is it about the music that also renders us unable to jump together? What is it about the floor that makes us land at different times? It must be an undulating floor! Indeed...
(c) Which of the following is an example of a full sentence in English?
-pivot
-arms...round
-rabble rabble
-A sous-sous happens in the second movement of coupe pas-de-bourree.
-Ana wa enta khalas.
-tro-lo-loooo-lo-lo-lo-looooo!
-Kalbi ga nuhmoo nuhmoo mashissuhyo.
-Down with zippers!
-Boycott shampoo! Support real poo!
PS: Symmetry restores sanity better than a rally.
(b) What is it about Kip's counting that renders us unable to jump together? And what is it about the music that also renders us unable to jump together? What is it about the floor that makes us land at different times? It must be an undulating floor! Indeed...
(c) Which of the following is an example of a full sentence in English?
-pivot
-arms...round
-rabble rabble
-A sous-sous happens in the second movement of coupe pas-de-bourree.
-Ana wa enta khalas.
-tro-lo-loooo-lo-lo-lo-looooo!
-Kalbi ga nuhmoo nuhmoo mashissuhyo.
-Down with zippers!
-Boycott shampoo! Support real poo!
PS: Symmetry restores sanity better than a rally.
Friday, October 29, 2010
Wednesday, October 27, 2010
It's true that the province of ballet is in the air, but there's no doubt that it comes from the province of the ground. ~K (in critiquing our manner of jumping like marionettes with no solidity in landings. And in fact, to emphasize the point with a demonstration, he did dance like a marionette for us.)
-must experience low energy to experience high energy; know heaviness to know lightness
-purpose of turns through first: to experience energy transfer from floor to body as a reverberation
-counterbalance, if not inherent in the movement, is provided through correct head/arm placement
-in the ongoing quest for equilibrium: depress shoulders, squeeze inner thighs, close rib cage
-oranges may be held as well as squeezed; they are a multipurpose fruit
-hands have flavors
-must experience low energy to experience high energy; know heaviness to know lightness
-purpose of turns through first: to experience energy transfer from floor to body as a reverberation
-counterbalance, if not inherent in the movement, is provided through correct head/arm placement
-in the ongoing quest for equilibrium: depress shoulders, squeeze inner thighs, close rib cage
-oranges may be held as well as squeezed; they are a multipurpose fruit
-hands have flavors
Monday, October 25, 2010
Things that can be squeezed:
-oranges
-lemons
-toothpaste
-lots of clothes into a really small suitcase
-lots of booty into a really small pair of jeans
-sponges
-the hand you are holding
-people you love
-legs when you gotta go really really bad right this instant
-inner thighs during temps-lie elance
-buttocks during a fondu
-yoga blocks during bale'ates
...and squeeze! and squeeze! and squeeze! and squeeze!...
-oranges
-lemons
-toothpaste
-lots of clothes into a really small suitcase
-lots of booty into a really small pair of jeans
-sponges
-the hand you are holding
-people you love
-legs when you gotta go really really bad right this instant
-inner thighs during temps-lie elance
-buttocks during a fondu
-yoga blocks during bale'ates
...and squeeze! and squeeze! and squeeze! and squeeze!...
Saturday, October 23, 2010
What is the ultimate secret to a good turnout?
(a) inner thigh muscles
(b) the turnout kissy face
(c) Kip's foot digging into your supporting heel and holding it there with all his might and willpower
Where do pushups belong in the grand allegro?
(a) between the forward and back cambre
(b) pushups?...Is that in the Vaganova handbook? I read the whole book and the closest thing I could find was "pushups come from the heart."
(c) is grand allegro French for "bootcamp"?
(d) is "pushups" English for tombe pas-de-bourree?
(e) nowhere; overdeveloped biceps are actually an impediment to achieving good turnout
(f) anywhere, as long as you're at Symmetry
(a) inner thigh muscles
(b) the turnout kissy face
(c) Kip's foot digging into your supporting heel and holding it there with all his might and willpower
Where do pushups belong in the grand allegro?
(a) between the forward and back cambre
(b) pushups?...Is that in the Vaganova handbook? I read the whole book and the closest thing I could find was "pushups come from the heart."
(c) is grand allegro French for "bootcamp"?
(d) is "pushups" English for tombe pas-de-bourree?
(e) nowhere; overdeveloped biceps are actually an impediment to achieving good turnout
(f) anywhere, as long as you're at Symmetry
Thursday, October 21, 2010
"...you're in ballet class...Thursday...October 21st...2010...6:30 pm..." (Uh-oh, Kip just established the date-- a sure sign that his patience is wearing thin)
-A discombobulating class. Intermediate class has reached a critical juncture. From now on, we walk through that door ready to think, count, reverse, and participate...as well as to dance. Now reverse it.
-We do not make X's in ballet. Now reverse it.
-What is the purpose of school? A shared methodology and style. Now reverse it.
-What are Kip's reasons for teaching us? Multitudinous, but above all, to make us able teachers of ballet. Now reverse it.
-Reverse it.
PS: What's a dew drop doing in the Nutcracker? Oh well...back to the clock...
-A discombobulating class. Intermediate class has reached a critical juncture. From now on, we walk through that door ready to think, count, reverse, and participate...as well as to dance. Now reverse it.
-We do not make X's in ballet. Now reverse it.
-What is the purpose of school? A shared methodology and style. Now reverse it.
-What are Kip's reasons for teaching us? Multitudinous, but above all, to make us able teachers of ballet. Now reverse it.
-Reverse it.
PS: What's a dew drop doing in the Nutcracker? Oh well...back to the clock...
Wednesday, October 20, 2010
-engage latissimus dorsi; the difference between buoyed arms and flat, lifeless ones lies in the engagement of these broadest muscles of the back
-Russian ballet dancers ponder the Questions of the Universe only in passing
-similarly, the grand plie is in essence a position assumed over a toilet or hole and is not to be dwelled on; as a concrete example
-in our new set plies, this "pondering" look under the high arm coincides with the bottom of the grand plie because both indicate that the combination has not yet reached its conclusion
-in passe-plie-developpe, the plie is delayed; the rotators are relaxed; pull comes from the knee
-4-5! 2-5! 2-3-5!
-shoulder phone chat transcription: "Hello! Hi there! I'm in ballet class!"
-every time we throw confetti in the air, a small part of Kip dies inside
-to know, or to KNOW; there is a difference
Form fits function
-rounded shoulders and the "look of the lyre" reflect fleeting, stylistic notions of their respective era
-when you strip ballet of style, what is left is pure, unadulterated function
-The Principle of Purposeful Movement: the 'Modern architectural' view of academic, classical ballet is founded on this notion that the beauty of a given pose or movement arises naturally from its function with respect to the human body; for instance:
-the port-de-corp en rond demonstrates a torquing of the body from the scapula, not the shoulders; shoulders should remain depressed and in their sockets
-the coupe in coupe pas-de-bourree is not an arbitrary pose; it has a purposed function, which is to initiate movement; thus, it should be performed as such (ie: with a great sense of movement being initiated)
-the function of the 3rd port-de-bras is to show plasticity of form, esp. the legs & spine; the hand speaks volumes and must therefore be immediately tucked in out of the way
-Russian ballet dancers ponder the Questions of the Universe only in passing
-similarly, the grand plie is in essence a position assumed over a toilet or hole and is not to be dwelled on; as a concrete example
-in our new set plies, this "pondering" look under the high arm coincides with the bottom of the grand plie because both indicate that the combination has not yet reached its conclusion
-in passe-plie-developpe, the plie is delayed; the rotators are relaxed; pull comes from the knee
-4-5! 2-5! 2-3-5!
-shoulder phone chat transcription: "Hello! Hi there! I'm in ballet class!"
-every time we throw confetti in the air, a small part of Kip dies inside
-to know, or to KNOW; there is a difference
Form fits function
-rounded shoulders and the "look of the lyre" reflect fleeting, stylistic notions of their respective era
-when you strip ballet of style, what is left is pure, unadulterated function
-The Principle of Purposeful Movement: the 'Modern architectural' view of academic, classical ballet is founded on this notion that the beauty of a given pose or movement arises naturally from its function with respect to the human body; for instance:
-the port-de-corp en rond demonstrates a torquing of the body from the scapula, not the shoulders; shoulders should remain depressed and in their sockets
-the coupe in coupe pas-de-bourree is not an arbitrary pose; it has a purposed function, which is to initiate movement; thus, it should be performed as such (ie: with a great sense of movement being initiated)
-the function of the 3rd port-de-bras is to show plasticity of form, esp. the legs & spine; the hand speaks volumes and must therefore be immediately tucked in out of the way
Monday, October 18, 2010
Elancer
Definition: "to dart/launch/throw forth"
Nondefinition: "to dart-and-wobble"
Example: To avoid the "dart-and-wobble" in the temps-lie elance, Nureyev advises us to step just beyond the foot, aiming for its shadow
Caveat: ...in the midst of innumerable technical advice for temps-lie elance, pirouettes, and other moves, it's easy to allow energy to dissipate. But energy is what breathes life and emotion into the movement or pose. It must be maintained and manipulated: shaped, stretched, kneaded, pushed, pulled, thrown and caught...or else the resulting movement is flat and unimpressive, and does not qualify as "dancing". Stated mathematically,
Dance = technique + energy
Definition: "to dart/launch/throw forth"
Nondefinition: "to dart-and-wobble"
Example: To avoid the "dart-and-wobble" in the temps-lie elance, Nureyev advises us to step just beyond the foot, aiming for its shadow
Caveat: ...in the midst of innumerable technical advice for temps-lie elance, pirouettes, and other moves, it's easy to allow energy to dissipate. But energy is what breathes life and emotion into the movement or pose. It must be maintained and manipulated: shaped, stretched, kneaded, pushed, pulled, thrown and caught...or else the resulting movement is flat and unimpressive, and does not qualify as "dancing". Stated mathematically,
Dance = technique + energy
Saturday, October 16, 2010
Today's class was marked by:
-syncopated barre combos with an encore appearance of the soft battement; it is time to become musical dancers
-a quest for the lost adagio sequence
-a flying hairnet, powered by an assemble kick
-grand jete marathon
-new bamboo drawing
Also, it was established that M is young
-syncopated barre combos with an encore appearance of the soft battement; it is time to become musical dancers
-a quest for the lost adagio sequence
-a flying hairnet, powered by an assemble kick
-grand jete marathon
-new bamboo drawing
Also, it was established that M is young
Thursday, October 14, 2010
Day 4 of Ballet Week (BW):
-pirouettes en arabesque are motivated through the small of the back
-turns through 1st position integrated into grand battement exercise
-a bun became undone during the barre, putting a symbolic end to what was effectively the last class of BW
-Seinfeld reference (the tragedy that is Elaine's dancing)
-you are exactly the age you should be to start ballet
BW legacy: organization of lines w/o obvious maneuvering of the head
Regarding mirrors: What do they reflect? How I see myself. It is a reflection of an image that already resides in my mind's eye...a pre-conceived notion of myself
Regarding images: discrepancies exist between one's outward projected image and the inner self. This discrepancy is often chasm-atic in the ballet world
-pirouettes en arabesque are motivated through the small of the back
-turns through 1st position integrated into grand battement exercise
-a bun became undone during the barre, putting a symbolic end to what was effectively the last class of BW
-Seinfeld reference (the tragedy that is Elaine's dancing)
-you are exactly the age you should be to start ballet
BW legacy: organization of lines w/o obvious maneuvering of the head
Regarding mirrors: What do they reflect? How I see myself. It is a reflection of an image that already resides in my mind's eye...a pre-conceived notion of myself
Regarding images: discrepancies exist between one's outward projected image and the inner self. This discrepancy is often chasm-atic in the ballet world
Wednesday, October 13, 2010
Ballet En Silhouette
Day 3 of Ballet Week 2010, in images:
Ballet looks lovely in silhouette. In real-time ballet, we use perspective to flatten out figures and emphasize lines, but in these images, silhouetting enhances the effect by blackening out distracting interior details.
 | |
| Photo credit: Kip Martin |
Tuesday, October 12, 2010
"It's not enough just to be here. You have to be HERE to be here. Fondu..."
Renverse tips:
-only flail your arms if you are actually drowning; otherwise, they should circle into 2nd port de bras
-head tips to counter-7 as soon as foot touches ground
Pirouette tips #87, 88, & 89:
-consolidate center/ribcage/abs
-do not forget tips #1-86
-if the previous pirouette was disastrous, forget it and redouble your efforts for the next one; don't forget tips # 1-88
Our Barishnikov number:
Aside from technical tips, this evening's later class proved to be an exceptional time for ballet stories. Nureyev thought he could make bad things go away by covering his eyes. Barishnikov on the other hand was very nice. When Kip met him, he was rather short, wore green shorts, and had just gotten knee surgery. Jurgen Schneider took Kip under his ABT wings despite his skinny legs (some things never change). Kip took class with Barishnikov. I take class with Kip. Thus, I am two degrees of separation from Barishnikov! And one degree of separation from Kip.
Renverse tips:
-only flail your arms if you are actually drowning; otherwise, they should circle into 2nd port de bras
-head tips to counter-7 as soon as foot touches ground
Pirouette tips #87, 88, & 89:
-consolidate center/ribcage/abs
-do not forget tips #1-86
-if the previous pirouette was disastrous, forget it and redouble your efforts for the next one; don't forget tips # 1-88
Our Barishnikov number:
Aside from technical tips, this evening's later class proved to be an exceptional time for ballet stories. Nureyev thought he could make bad things go away by covering his eyes. Barishnikov on the other hand was very nice. When Kip met him, he was rather short, wore green shorts, and had just gotten knee surgery. Jurgen Schneider took Kip under his ABT wings despite his skinny legs (some things never change). Kip took class with Barishnikov. I take class with Kip. Thus, I am two degrees of separation from Barishnikov! And one degree of separation from Kip.
Envisioning
-in temps-lie elance, envision where you want to be, then aim higher than standing level since going from plie to demi-toe
-in pirouettes, envision where you want the knee to go, and envision/feel with feet how much force is needed to get there
-in pirouettes, envision where you want the knee to go, and envision/feel with feet how much force is needed to get there
Ballet As Music Without Sound
After every combination, the hand falls into preparatory stance, the head looks out, and silence and stillness prevail, just as the last note of a musical piece is left to resonate, linger, then fade away into oblivion. More and more, my body is comprehending that dancing is the physical expression of music via the human body. If sound could not make a sound, if the lungs could not sing or scream, then the body would dance...all the time.
Why the Ballet Uniform?
Beyond uniformity, traditional classroom ballet attire serves a deeper purpose. We want nothing getting in the way of pure form and clean lines, and so we do away with distracting colors, jewelry, loose clothing, stray hairs. We wear tights that are footed in order to perpetuate the illusion already created by our pointed toes, of a single unbroken line all the way down to the toes.We wear shoes that match the color of the tights in order to give the illusion of wearing no shoes. In brief, traditional ballet attire serves to both reveal the human form, and simultaneously hide its imperfections.
Monday, October 11, 2010
Day 1 of Ballet Week
-focus on distribution & transference of weight
-pull & counterpull
-count 1 of forward cambre is an upward growing of the spine with a corresponding breath of the hand
-a lugubrious rond de jambe combination
-pull & counterpull
-count 1 of forward cambre is an upward growing of the spine with a corresponding breath of the hand
-a lugubrious rond de jambe combination
Sunday, October 10, 2010
Aristotlian Syllogism
Premise #1: Flexibility improves quality of life.
Premise #2: Dancing = Life.
Conclusion: Flexibility improves quality of dancing.
QED
Premise #2: Dancing = Life.
Conclusion: Flexibility improves quality of dancing.
QED
Saturday, October 9, 2010
A paddle sits on the windowsill. We now submit to ballet.
Pulse-pulse, pulse-pulse. The memory of an old ballet master beats in double-time
What is the worth of a bun? In the meantime, hairs drift like autumn leaves onto the silver marley floor.
Class mood: light-hearted, intimate, jumpy
Elements of a pirouette from 4th: back foot peels off into low attitude, plie deepens, and foot quickly tucks under into passe.
Pulse-pulse, pulse-pulse. The memory of an old ballet master beats in double-time
What is the worth of a bun? In the meantime, hairs drift like autumn leaves onto the silver marley floor.
Class mood: light-hearted, intimate, jumpy
Elements of a pirouette from 4th: back foot peels off into low attitude, plie deepens, and foot quickly tucks under into passe.
Friday, October 8, 2010
The Role of the Working Leg in One-Legged Balances
Refocusing energy into the working leg of a one-legged balance creates the desired feeling of "lift". In other words, the working leg must lift your body just as much or more than your supporting leg holds/lifts it up. This rule applies in coupe, passe retire, arabesques,...it must work.
Wednesday, October 6, 2010
I survived. Morning class is always a special challenge. Two questions (in the order of less to greater importance):
(1) What is the best method of surviving really fast frappes?
(a) attempting the actual combination
(b) frappe'ing the hell out of your leg and trusting in the God of Probability that your leg will strike on most of the right counts
(c) creating your own frappe combination. Get creative. Use the music. Be sure to add some doubles here and there, and repeat on releve.
Today, I used a combination of (b) and (c). And (a).
(2) Where is Kip's Rosin Box?
It looks a lot like the one on 20th & Sansom St. (that's "street" not "saint") except a lot smaller and there are no ballet shoes inside it, nor leotards, nor nice folks named Len and Jen. Only rosin. If anyone is aware of the location of Kip's Rosin Box, please re-locate it to 1923 Chestnut St. ("street"), 3rd floor. Please Ring For Symmetry.
(1) What is the best method of surviving really fast frappes?
(a) attempting the actual combination
(b) frappe'ing the hell out of your leg and trusting in the God of Probability that your leg will strike on most of the right counts
(c) creating your own frappe combination. Get creative. Use the music. Be sure to add some doubles here and there, and repeat on releve.
Today, I used a combination of (b) and (c). And (a).
(2) Where is Kip's Rosin Box?
It looks a lot like the one on 20th & Sansom St. (that's "street" not "saint") except a lot smaller and there are no ballet shoes inside it, nor leotards, nor nice folks named Len and Jen. Only rosin. If anyone is aware of the location of Kip's Rosin Box, please re-locate it to 1923 Chestnut St. ("street"), 3rd floor. Please Ring For Symmetry.
Tuesday, October 5, 2010
"They've gone crazy with the tape!"
-action is directed by the working leg; that is to say, the working leg wears the pants in the relationship. Wappah!
-renverse is a tipping, not a turning movement; the turn arises naturally due to the movement from efface to croise and the ensuing momentum of the attitude leg
-LINE! TAPE! TAPE! LINE!
-Evil was successfully shut down...at least until 7am tomorrow morning
-Kip had too much coffee this evening
-action is directed by the working leg; that is to say, the working leg wears the pants in the relationship. Wappah!
-renverse is a tipping, not a turning movement; the turn arises naturally due to the movement from efface to croise and the ensuing momentum of the attitude leg
-LINE! TAPE! TAPE! LINE!
-Evil was successfully shut down...at least until 7am tomorrow morning
-Kip had too much coffee this evening
Friday, October 1, 2010
a binary kind of day...
failli:
-is a connecting step in which you jump from 5th and ALMOST fall into efface back, but then your back foot PASSES THROUGH first and into croise fourth
-in everyday French, the word is used with other verbs to mean ALMOST
-eg: "J'ai failli tomber" = "I almost fell (but did not)"; note the implication that the fall failed to take place, that I was saved from falling
-in ballet French, has come to mean TO MAKE WAY/PASS THROUGH
We did 3 long combinations at center. My inner compass was tragically malfunctioning. 2 tips for better recall of combinations:
-note how many croises/effaces
-markers (eg: on what count do you developpe?)
failli:
-is a connecting step in which you jump from 5th and ALMOST fall into efface back, but then your back foot PASSES THROUGH first and into croise fourth
-in everyday French, the word is used with other verbs to mean ALMOST
-eg: "J'ai failli tomber" = "I almost fell (but did not)"; note the implication that the fall failed to take place, that I was saved from falling
-in ballet French, has come to mean TO MAKE WAY/PASS THROUGH
We did 3 long combinations at center. My inner compass was tragically malfunctioning. 2 tips for better recall of combinations:
-note how many croises/effaces
-markers (eg: on what count do you developpe?)
Wednesday, September 29, 2010
-rule #1 in learning to dance as a group, or "corps": Look to your right. If you can see anyone past the person right next to you, you are out of line
-choreographic rond-de-jambe preparation
-Kip said "butt" in class today! Heehee! In other news, buttside seating available due to overrotation
-as Ballet Week approaches, the Santa pants emerge
Serious tips:
(a) in temps-lie:
-let working (coupe'd) leg lead you into plie
-legs should draw together immediately
-step at an angle when moving from en face to croise other side
-choreographic rond-de-jambe preparation
-Kip said "butt" in class today! Heehee! In other news, buttside seating available due to overrotation
-as Ballet Week approaches, the Santa pants emerge
Serious tips:
(a) in temps-lie:
-let working (coupe'd) leg lead you into plie
-legs should draw together immediately
-step at an angle when moving from en face to croise other side
Tuesday, September 28, 2010
-a function of the arms is to frame the torso (ie: the body) & the face
-in particular, the ecarte devant with high arm creates a profile cameo of the dancer's face
-profile cameos were a huge hit during your great-grandmother's time; for the rest of us, there is something inherently pleasing about the profiled face gazing slightly upward, the neck elongated, and the resulting curvature enhanced by the oval frame...especially when that face is alive and breathing
-in particular, the ecarte devant with high arm creates a profile cameo of the dancer's face
-profile cameos were a huge hit during your great-grandmother's time; for the rest of us, there is something inherently pleasing about the profiled face gazing slightly upward, the neck elongated, and the resulting curvature enhanced by the oval frame...especially when that face is alive and breathing
-the body as architecture (masterpiece or no)
-movement through space culminates in projected images; hold these static poses ever so slightly longer; As a warning, every small movement and gaze resonates into the audience, so choose with care which images you project to the audience.
Also of note: the instrument featured in this evening's beautiful temps-lie music was an oboe. The double-reed is like a bow to a string.
Monday, September 27, 2010
Monday evening (which is evening, and morning is morning) 9/27:
(a) purpose of degages: accuracy of inside movement (timing, hitting of 5th)
(b) foundation for movement lies in pelvic girdle and rectus abdominis
(c) ballet is an organizational tool for human movement characterized by its ceaseless efforts to pull up, reflective of the philosophy of its times (roughly 6-7 hundred years ago); these days, it's not so cool to strive for heaven. Instead, ballet has gone Gaga.
Saturday, September 25, 2010
-rotation-focused barre work
-a minor tousle with the white curtains
-a rainbow sighting (anyone else catch that? It was shimmering all over Kip's shirt and face as he was cleaning a CD)
-an assemble combination that earned an audible expression of disgust (tips for less disgusting assembles to come!)
-a rainbow sighting (anyone else catch that? It was shimmering all over Kip's shirt and face as he was cleaning a CD)
-an assemble combination that earned an audible expression of disgust (tips for less disgusting assembles to come!)
Thursday, September 23, 2010
A fouette-heavy class. Must scoop energy into hips.
flic-flac:
-is not French, nor was it intro'd by Vaganova
-is a study of movement, not of position
-is a study of how to turn by sending energy from floor to hips
On another note, I love the way Kip says "adagio". It fills me with anticipation. Then I get to watch him do amazing things with his perfectly shaped foot in the air way above his head. Tonight's adagio did not disappoint. It included a panche, and then a deeper panche in which the hand must reach not only more downward but also more outward.
flic-flac:
-is not French, nor was it intro'd by Vaganova
-is a study of movement, not of position
-is a study of how to turn by sending energy from floor to hips
On another note, I love the way Kip says "adagio". It fills me with anticipation. Then I get to watch him do amazing things with his perfectly shaped foot in the air way above his head. Tonight's adagio did not disappoint. It included a panche, and then a deeper panche in which the hand must reach not only more downward but also more outward.
Observation: when gazing into the palm (ie: in an introverted pose), we must imagine that the distance between the hand and the face is great
Wednesday, September 22, 2010
-pas de bourree en dehors/en dedans
-inclination of head away from epaulement arm to effect notion of distance
-flat foot in rond-de-jambe
-temps-lie elance-- think about thighs rather than feet: where are they going? squeeze them together
-source of movement in modern (solar plexus/spine) vs. ballet (head)
-Gelsey Kirkland and a discussion of the source of turn-out. It turns out that turn-out comes from the heart. Forget frog stretch. Must work on valve stretch.
-book club
And with regards to the commencement of the absolute beginner class this evening: They saw Mt. Kilimanjaro, caught rays of sunlight in their palm, and each one was kissed by a very tall man. Moreover, it was quickly established that each one was exactly the age she should be to start studying ballet at Symmetry. If I could spend every evening watching Kip Martin teaching ballet, that would be ideal. In fact, this is what I do.
-flat foot in rond-de-jambe
-temps-lie elance-- think about thighs rather than feet: where are they going? squeeze them together
-source of movement in modern (solar plexus/spine) vs. ballet (head)
-Gelsey Kirkland and a discussion of the source of turn-out. It turns out that turn-out comes from the heart. Forget frog stretch. Must work on valve stretch.
-book club
And with regards to the commencement of the absolute beginner class this evening: They saw Mt. Kilimanjaro, caught rays of sunlight in their palm, and each one was kissed by a very tall man. Moreover, it was quickly established that each one was exactly the age she should be to start studying ballet at Symmetry. If I could spend every evening watching Kip Martin teaching ballet, that would be ideal. In fact, this is what I do.
Quiz #1
Where does turn-out come from?
(a) the rotators
(b) the acetabulum
(c) the heart
(d) the solar plexus chakra
If you said (a), you are a realist.
If you said (b), you don't know your face from your bum.
If you said (c), you really mean the mind. And by mind, you really mean the will.
If you said (d),...go find a yoga class. Or a ballet class in NYC.
(a) the rotators
(b) the acetabulum
(c) the heart
(d) the solar plexus chakra
If you said (a), you are a realist.
If you said (b), you don't know your face from your bum.
If you said (c), you really mean the mind. And by mind, you really mean the will.
If you said (d),...go find a yoga class. Or a ballet class in NYC.
Tuesday, September 21, 2010
-coupe front/coup de pied front (wrapped) vs. conditional coupe (front)
-when starting at efface devant, the first ecarte position you hit will be ecarte derriere
-the limit of f(x), where f(x) = turn-out, does not exist. Do not think for a second that your leg is ever turned out enough.*
*caveat: however, in focusing on turn-out, do not forsake pull-up
-when starting at efface devant, the first ecarte position you hit will be ecarte derriere
-the limit of f(x), where f(x) = turn-out, does not exist. Do not think for a second that your leg is ever turned out enough.*
*caveat: however, in focusing on turn-out, do not forsake pull-up
Monday, September 20, 2010
"Why are we here?...I will tell you the answer:
1st: to establish balance and equilibrium on either one or both legs. For instance*, what does it feel like to stand in 5th? It's a position you never find yourself in until you walk into a ballet class.
2nd: to establish a wide turn-out. For instance*, the rond-de-jambe en dehors must be led by the heel (by the toe for the rond-de-jambe en dedans)."
The answers to life's burning existentialist questions become strangely straightforward when you're standing at a barre. Another reason why I continue to go to Symmetry.
On another note, standing at the window barre today, I noted the following:
-a scar on Kip's left elbow
-a watch on his left wrist
-a ring on his left hand
-a tattered leg warmer on his left leg
The asymmetry was striking. I wondered why his right leg never got cold.
*the following "instance" has been paraphrased
1st: to establish balance and equilibrium on either one or both legs. For instance*, what does it feel like to stand in 5th? It's a position you never find yourself in until you walk into a ballet class.
2nd: to establish a wide turn-out. For instance*, the rond-de-jambe en dehors must be led by the heel (by the toe for the rond-de-jambe en dedans)."
The answers to life's burning existentialist questions become strangely straightforward when you're standing at a barre. Another reason why I continue to go to Symmetry.
On another note, standing at the window barre today, I noted the following:
-a scar on Kip's left elbow
-a watch on his left wrist
-a ring on his left hand
-a tattered leg warmer on his left leg
The asymmetry was striking. I wondered why his right leg never got cold.
*the following "instance" has been paraphrased
Thursday, September 16, 2010
"The older I get, the more cambre I like." (Where I=Kip)
Translation: There is a direct correlation between age and one's predilection for deeper cambres. This relation may be stated mathematically as:
D=4.7pi*a, where a = the dancer's age & D=depth of cambre preferred.
Whether this relation arises out of necessity or free will remains an elusive yet hotly debated question among a tiny circle of Tolstoyan zealots living in a commune on the outskirts of Siberia.
What is certain is that extreme flexibility like deep cambres (a backbend) is enforced and expressly commanded in young dancers, while in older, more mature dancers, it is assumed that the depth will arise naturally as a mode of expressivity.
Tuesday, September 14, 2010
This evening's class was marked by:
(a) detailed, reiterative instruction in using our hands and head to acknowledge movement
(b) use of rubato, and in general, instruction in how to fit the dance to the music be it legato or militaristic
(c) chakra, chakra, chakra, 3rd eye
...
(c) was hilarious beyond words.
Tuesday, May 25, 2010
Dance Theatre Northwest, Tacoma, WA
Today marks the lowest point in our journey through ballet studios down the coast. The open adult advanced beginner class at DTNW was a joke-- a big, fat farce. It depressed me to be inside that tiny studio with adults prancing around making a joke of ballet.
"It's not a joke. It's an art. And you're ruining it for me," I wanted to say. It's not tango. I can show you what tango is, in fact. The entire experience was beyond horrible. The only good thing about it was that it was "only" an hour long class.
PEP TALK:
I have a theory. I have a theory that the farther south we go, the better and better the ballet classes will get. Come tomorrow when we cross state lines into Oregon, we will feel better about the state of ballet education on the West Coast. Things will get better!
In fact, this is what journeys are like: They start out decently enough...hopeful enough. Then things get bad, then really bad, then you hit rock bottom. Only then do things start looking up.
I've got high hopes for San Francisco. San Diego should be extraordinary. A tiny part of me will miss home...Nothing like doing plies with poodles sniffing around at your feet. But the most of me is dying to move on down. Ain't nothing for me here but a pretty skyline!
"It's not a joke. It's an art. And you're ruining it for me," I wanted to say. It's not tango. I can show you what tango is, in fact. The entire experience was beyond horrible. The only good thing about it was that it was "only" an hour long class.
PEP TALK:
I have a theory. I have a theory that the farther south we go, the better and better the ballet classes will get. Come tomorrow when we cross state lines into Oregon, we will feel better about the state of ballet education on the West Coast. Things will get better!
In fact, this is what journeys are like: They start out decently enough...hopeful enough. Then things get bad, then really bad, then you hit rock bottom. Only then do things start looking up.
I've got high hopes for San Francisco. San Diego should be extraordinary. A tiny part of me will miss home...Nothing like doing plies with poodles sniffing around at your feet. But the most of me is dying to move on down. Ain't nothing for me here but a pretty skyline!
Monday, May 24, 2010
MK Ballet, Issaquah, WA
There are many ways to get a job done. You can yell and shriek and use great force and constant mocking until finally, you have produced a beautiful product. Or you can produce the same beautiful product while maintaining a graceful attitude, a firm yet controlled tone, and a light yet effective touch. You can barrel and bulldoze your way through like a football player ready to tackle, or you can dance you way through like a ballerina-- and still get to where you are going.
The class was taught by a tiny Japanese woman who danced like a proud white stallion and taught like a great white shark.
Here is where I miss Symmetry very much.
The class was taught by a tiny Japanese woman who danced like a proud white stallion and taught like a great white shark.
Here is where I miss Symmetry very much.
Sunday, May 23, 2010
The Problem of Flight
The problem with all previous human attempts at pure flight (flight without machinery) is that we have only ever tried to bring our bodies to the sky. You can only stare at clouds in an azure sky and dream for so long before you look away and realize you are still Earthbound. A more viable method of attack would be to bring the sky down to our bodies. That way, you may experience flight while remaining grounded all the while. For instance, in the following image:
I am flying high in the clouds, even as my feet are firmly planted on the marley floor in 5th position, looking out into an imagined audience. This I can never leave, a tangible, human happiness. Here I go!
I am flying high in the clouds, even as my feet are firmly planted on the marley floor in 5th position, looking out into an imagined audience. This I can never leave, a tangible, human happiness. Here I go!
Saturday, May 22, 2010
Spectrum Dance Theater, Seattle, WA
A heady experience, like a very unsettling dream. Ballet class took place in a cabin, sitting mere feet away from the still waters of Lake Washington. Between the parking lot and the school was a small beach with white logs and piles of rock scattered artfully across the sands. Lush, leafy trees arched and curved all zen-like over the embankment, casting watery reflections in the clear blue-green surface. It felt unreal. The instructor was a muffin-topped man who could still spin like the devil (of the Tazmanian variety). As I followed the barre exercises, I kept my eye on one particular dancer, but not because she was a beautiful mover. I was simultaneously fascinated and repulsed by the demeanor of her, so aloof and satisfied with her own grace. Was this her real personality or just the ballet attitude misinterpreted?
After class, Sarah and I did a fun photo shoot on the lakefront property, spent awhile searching for our car key, then left this aberration in the fabric of reality for the highway home, quite subdued at first until we could shake off the lingering feeling of waking from an unsettling dream. We gave it nicknames-- the Twilight Zone, the Mists of Avalon, Hotel California-- and laughed over the sheer absurdity of the entire Spectrum experience until the feeling faded.
After class, Sarah and I did a fun photo shoot on the lakefront property, spent awhile searching for our car key, then left this aberration in the fabric of reality for the highway home, quite subdued at first until we could shake off the lingering feeling of waking from an unsettling dream. We gave it nicknames-- the Twilight Zone, the Mists of Avalon, Hotel California-- and laughed over the sheer absurdity of the entire Spectrum experience until the feeling faded.
Friday, May 21, 2010
International Ballet Theatre, Kirkland, WA
Two studios, one labeled Pavlova, the other Petipa. Our class was held in Petipa. Our bags had gotten lost by the ever-competent airlines, so I had to borrow a mismatch pair of old shoes from the used shoes bin. The instructor, Vera, was Russian-trained. She had the familiar balance of flow and precision. At Symmetry, I'd been taught to prepare rond-de-jambe combination in a very particular way: allonge, plie, tendu, to second. I smiled as I saw the girl in front of me preparing in this same way. The center work was difficult. I kept an eye on the semi-pro dancer who looked like she belonged on top of a fancy, triple-tiered cake, frosted pink and white from head to toe. Each time Vera wanted to make a point, she used this cake fairy to demonstrate. It was this class that made me realize that Kip almost always demonstrates himself and goes around the room correcting the people who need to be corrected, not the ones who are already doing it correctly. It was also in this class that I first heard ballet combinations given out in that dreaded sing-song voice.
Ba-yam-ba-yam-ba-yam-bam-bam-ba-yam!
Shudder.
Ba-yam-ba-yam-ba-yam-bam-bam-ba-yam!
Shudder.
Thursday, May 20, 2010
1300 Miles of Ballet
In May 2010, Sarah and I conceived of a very un-ordinary road trip in which we would drive down the West Coast of the US from Issaquah, WA down to San Diego, CA and back and hit up as many ballet classes as humanly possible along the way. Our reason for making this trip in the first place? Our great friends Jess and Eric were getting married in Fullerton, CA! Speaking in retrospect, the ceremony/reception was really the most beautiful, happiest event of its kind I'd ever experienced. So much good-will concentrated in a tiny spot I had never felt before. But more about that later.
The original idea of "1300 Miles of Ballet" was to document the entire journey in analog diaries and then publish it in digital form. However, the overall ballet experience in terms of ballet education down the West Coast turned out to be so dismal and depressing that I find I have not the heart to share it with others. Why remember a bad thing? In compromise, I will post fragments, rays of happy thoughts, and images that I scribbled along the way.
The original idea of "1300 Miles of Ballet" was to document the entire journey in analog diaries and then publish it in digital form. However, the overall ballet experience in terms of ballet education down the West Coast turned out to be so dismal and depressing that I find I have not the heart to share it with others. Why remember a bad thing? In compromise, I will post fragments, rays of happy thoughts, and images that I scribbled along the way.
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