A veritable army of dancers in the later evening class. An impressively spartan class.

Advice for grand plié adagio at center:

(1) don't look around unless the aim is to gain your neighbor's balance and equilibrium
(2) relax the back
(3) and be happy! and here we go!
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-the head reaches forward in the ending pose of grand assemblé; it leads the jump
-the head reaches out toward the outstretched arm in ecarté front pose
-the head reaches, as if pulled by a yearning in the direction of the arm
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"Out, damned spot! out, I say!"

-Macbeth. The spot has been outed.

Pas de bourrée dessus-dessous

-aka fancy grapevine
-contains 2 directions: ecarté front & ecarté back
-going from ecarté front to ecarté back: tendu'd foot steps over (dessus) then under (dessous); sur le cou-de-pied is always behind the stepping leg; adjustments made for epaulement
-going from ecarté back to ecarté front: tendu'd foot steps under (dessous) then over (dessus); sur el cou-de-pied is always in front of the stepping leg; adjustments made for epaulement

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-steering wheel analogy for pirouette en dedans from 4th; hands at shoulders during turns a useful tool
-en pointe: ankles out, knees in to create longest line possible from inner thighs to heels
-let us engage even our ears; strong, defined lobes are a desirable quality in a ballerina

Why does it hurt?

Does it help to know the anatomical reason for pain?

(a) Yes
(b) No
(c) Morphine, please.
(d) Vodka, pazhalusta.

"...a position I called 'nothing', a soft bent leg, I now give it a name: attitude..."

2nd day of the AB intensive: tendu+plié; turn in towards the barre; speed up rond de jambe from 1/4s to 1/2s; fondu+arms (review arm, feet positions; importance of 1st position arms-- b/c turns go through 1st, must "memorize", balance at high arm-- 3rd position in Russ. Method); adagio (relevé long "straight lifting of the leg"); ankle/calf stretch after grand battement; at center, grand plié+side cambré adagio ending with cambré+relevé; alternating battement tendu entournant side to side (torso informed by right twist; foot goes in direction it wants to land in; finish with 1st port de bras; explain holding core in 2nd position arms); pirouette prep (balance + 1/4 turns; toe placed lightly at side of knee; arm in 1st; must spring up to demi-toe; 1st connecting move (tombé pas de bourrée; essential to fall onto bent leg to (a) preserve knee, & (b) develop power across the floor; connects); jumps from 1st & 2nd (4-4-2-2-7); echappés+arms; across the floor (tombé step step; another "tombé"); verbalize/cue everything

-a germ-free barre
-what do you think needs to happen? for glissades at a quick pace, the foot must come out for the next move as soon as the feet touch the ground; requires a double espresso
-manage space so that important moves do not disappear into the wings
-en pointe: woooah! pulling at the barre: a cautionary tail

 

...Stop!

...Stop!

...Stop!

...Стоп!

A stoppy class.

A ballet warm-up focusing on ballonE. Weight is kept on the ball of the foot even as you pliE back down. Kicking leg pulls/scoots you forward in fast ballonEs. Let the foot lead the frappE and pull the knee along forward and backward.