gold comb

After the closing of the Ballet Russe Ballet Co. under the direction of Mr. Denham, many of it's dancers being out of work, were obliged to scatter their talents elsewhere. Mr. Franklin took over the direction of the National Ballet Co. in Washington DC. I danced 2 yrs with the company 1964/1965 and Mr. Frankilin's repertoire consisted of many of the ballets performed by the Ballet Russe's repertoire. He created/choreographed for the company "Ballet Imperial". Andrea Vodenhal in the principal role was gorgeous. He also brought many international stars to the company, as guest artists. We toured the US following the footsteps of the itinerary used by Ballet Russe when they used to tour. Mr. Franklin, Kokitch, Vilzak, Swoboda, Danilian are all part of American Ballet history !

Thank you cabro and violin concerto. You keep me motivated. So here's some more. To vipa and duffster, and the others that are reading/sharing along with us, here are some other of madame's famous expressions. She told us we needed "cardination" which of course meant coordination. An arabesque with a sickled foot was called an "ironing board". Dancers that stayed in one place, trying to hold their balance in a piqué or relevé, she called "classroom dancers". To be called a classroom dancer was very humiliating.

Some spelling corrections...the Russian pianist could have been Mme Mikeshina (instead of Makisna) and Mr Katon or Caton (instead of Keaton) as I had written previously. I would like to tell, whoever is still out there, more about Mme Swoboda's physical appearance.Although I didn't know her as a young woman and, as many have written before me, you could not give her an age. But I did know her for many, many years; 15 to be exact. She wore no make-up, her hair always tied in a bun with sometimes a pale blue scarf worn as a kerchief, even during class. Of course, she never wore street clothes to teac, but changed into some kind of dark, grey or black, dress. She also wore heavy black shoes that we would always admire when she pointed her feet because she had incredible, natural, insteps. Amongst ourselves, in ballet language, we would say someone had, or did not have, "feet". She also, always wore her grey/blue collar of perles and her beautiful amethyst ring; her nails with red nail polish. She was extremely graceful but hated when she saw dancers flying their arms around that she called "chi chi". Unfortunately, dancers from the NYC ballet ,at that time, just loved "chi chi" arms. But not Mme Swoboda ! She insisted upon discipline and control. Should I continue ?...

Just in case there's someone still interested ...Madame Swoboda didn't want (or allow) any of her "babies" to take class with another teacher without her permission. However, she encouraged us to take character class and the few classes given by Mr. Keaton and some very few others. She believed that you should have 1 main teacher ! She called the other students "gyspies" who went around taking classes with different teachers. During class of course we weren't allowed to talk but only if the little ones didn't pick up the steps, she would tell one of the bigger ones to help them out. She always finished the class with the "révérence." We would follow her from one side of the room to the other while she taught us to walk, salute and bow. She walked like a queen, saluted with extaordinary grace and bowed, but never should the knee touch to the floor ! And we tried to imitate her. We applauded after every class. About the fish pond which was more of a frog pond, she had some beautiful water lilies. I hope someone out there is still reading me. There's still so much to know about her.

Glad you are still out there for Madame Swoboda. I would like to take some time and speak of the importance of the pianist for her classes. Madame would say outload, "2" or "4" or "valse" ... and the pianist would play her a piece of music. If Madame liked it , the pianist would continue. If not, another piece had to be played, until Madame found her inspirtation. Then, the pianist had to follow Madame's mouvements. Sounds simple, but I assure you that there were times (especially with the Russian pianist Madame Makishna), there was loud discussion over a piece of music ! Besides the exercises moving from "back to front", there were also the exercises moving across the floor, sideways. The last execise was either "big jumps", sideways, or in a BIG circle with pirouettes and/or des grands jetés. Your guideline was the person in front of you. You had to keep up with the timing and distance. She taught us everything. I can give you many more details. Just please keep telling me you're out there. It keeps me motivated. About Raymonda... Raymonda was 1 of many of her dogs at her home in Lakewood, New Jersey. Boy did she love Raymonda. Whiskey was another small black dog that bite her at the achilles tendon once, and that kept her foot bandaged for weeks. But of course, Madame said it wasn't Whiskey's fault. She loved her animals. I'll have to tell you about her fish pond the next time...

Am not sure anyone is still interested but I will continue just in case there's someone out there still curious. Madame Swoboda chose her students one by one to place them in the order she wanted them to proceed, once we started working in the center. In rows, we worked moving forward. It was clearly understood that the front row, center, girl "led " the exercise. Row by row everyone was kept movng. When row 1 reached the end of the studio, we split down the middle to return to the back row and each row moved on the same way. The second time around, for the same exercise, usually row 1 became row 2 and who was placed on the side, changed places with those who had occupied the center. Actually, is was not complicated to understand and taught us discipline, greatly needed when you turn professional. The boys were always the last rows and maybe less worried about respecting the change of rows and places. Please let me know if there's still someone out there who wants more. She loved her BIG german shepard named Raymonda. She scared everyone to death!

After the "barre" was the "adagio". There was always a complicity between Madame Swoboda's movements and the pianist. The pianist had to follow and adapt the musical mathematics to Madame's inspiration. We worked from "back to front". Always moving forwards never stagnant. She said "dancers move" ; they don't stand in one place. Working in front of the mirror was mostly during point class and of course for "fouettés". After the adagio, the girls would put on their toe shoes (the only time we were allowed to sit on the floor). Depending on the studio, some girls would run to the bathroom to wet their heels. This way, the toe shoes would not slide off. Of course, it was forbidden to drink water while working. She told us , "after a horse race, the horse must cool down before drinking". If you want more...please let me know. She never allowed stretching before the class.

Madame Swoboda always taught following the same sequence at the "barre". Les pliés, battements tendus, ronds des jambes à terre, etc. The sequence was easy to remember, even for new students. The person who led the class was always placed in the front of the row and we could concentrate on our work without having to worry about complicated choreography. (Not always the case with other teachers). No visitors were allowed, no one could watch her class without her permission. Anyone approaching the doorway was quickly evicted with a " who you are?" If anyone is still interested, then I will continue. Her favorite color was blue !

Found this web site by accident and am happy to read that there are some people out there interested in knowing more about Madame Swoboda. If you still would like to know more about her teaching principles let me know.