Dropping like Fliesa training problem?
Posted 13 March 2004 - 06:38 AM
Earlier in the season, Etudes was replaced several times by Vers ...Passage due to the same problem.
All this is a big leadup to my question--which is this: In this age of modern medicine, science and all the physiotherapy that exists to help dancer/athletes why is it that these sorts of plagues seem to develop? It is understandable that injuries are the name of the game, and that they occur more frequently when a company is performing to maximum capacity, but it seems as if pockets of people are out at a time very frequently--and not just here, there seems to be a 'get better' wish for a NYCB dancer on this board every twenty minutes!
Posted 13 March 2004 - 10:24 AM
There's been an injury problem as long as I've been watching ballet, and I remember in the 1970s there were cries of alarm, as though this were a change. (There were always injuries, of course, but people noticed that there were more.)
I hope Victoria, Mel, mbjerk and other dancers will have some answers for this one.
Culprits I've heard:
1. Dancing too much (not as much of a problem in Copenhagen as in New York)
2. Mixing contemporary ballet and classical ballet in repertory because different muscles are used, or are used differently -- pros, please weigh in here!
3. It's difficult to dance a classical ballet after a diet of contemporary and people are ill-prepared.
4. The way the ballets are cast and the repertory arranged may not be helpful: You don't prepare for Sleeping Beauty by doing a month of Merry Widow, say.
Posted 13 March 2004 - 12:31 PM
Posted 13 March 2004 - 02:08 PM
Posted 14 March 2004 - 07:10 AM
Another thing I have seen is principal dancers being overused, dancing too many works in one night, or too many works in one rep, while others are underused. The overworked get injured from overwork, and the underworked get injured from suddenly working a lot after not working enough. And, then there is the problem of too much too soon. A young talent pushed into big stardom in roles that are too demanding before they are ready for that much work, not to mention pressure.
I loved reading, in Alymer's review of the Fred and Mr. B gala, about the wonderful dancer who was brought along to principal through the ranks and given the time to mature and develop, even though he was a gold medal winner while still in the corps.
Posted 14 March 2004 - 10:33 AM
Posted 16 March 2004 - 07:24 AM
Regarding the size of the company, a bulk of dancers disappeared when the pension age was changed from 48 to 40 a few years back and the school has not been able to produce as many dancers and especially leading dancers as is really needed. As today Gudrun Bojesen is the youngest principal at 27, Gitte Lindström a few years older and the remaining leading ballerinas are in the mid-thirties and several of them are on maternity leave. That would not be a poblem if we had younger ballrinas coming up, but a quick look at the talent base says that several of the possible candidates like Sascha Haugland and Isabella S have been suffering longterm injuries.
Posted 17 March 2004 - 10:19 AM
Apologies to all if I went off-topic. When I first posted this response I didn't realize it was referring only to RDB.
Although some of the points may be helpful???
Excellent points made so far...
I'd like to add that dancers are notorious for 'dancing through the pain'.
Whether it is fear that they will lose their position in the company or get a reputation for being "injury-prone" I don't know but unless the AD fosters an environment of openess and trust with regards to injuries, dancers will keep silent until they become unable to avoid it.
Training is also a factor.
Improper posture can be the defining element as to probability of injury.
Cultural posture comparison studies have been done that demonstrate effectively people in their 80's and 90's with straight upright postures, can still lift very heavy objects, have no lower back problems, and tend to live longer.
This is a marked difference with Americans and Western Europeans who tend to slump forward with the hips, stand with the weight unevenly distributed into one hip, and thrust the chin forward.
Looking back to American fashion magazines from the early part of the 20th century in comparison to today's vision of what constitutes 'beauty', you will see the distorted figures to which I am referring.
If one's ballet training does not emphasize the proper alignment of the skeleton, dancers will compensate in ways that will cause chronic problems for them in the future.
For example, forcing turnout causes permanent damage to the knees.
Posted 20 March 2004 - 11:13 AM
Posted 20 March 2004 - 09:05 PM
0 user(s) are reading this topic
0 members, 0 guests, 0 anonymous users
Help support Ballet Alert! and Ballet Talk for Dancers year round by using this search box for your amazon.com purchases (adblockers may block display):