Posted 17 July 2006 - 07:43 AM
It is also very interesting to me to observe the choices dancers make in execution and phrasing as well as in the transitions. Dancers "feel" it differently, and execute their steps differently. Also important, dancers may be more or less consistent and responsive to corrections as Hans notes so pertinently. Ironically, some of the "naturals" are the hardest to correct. #1 their unadorned ability is often considerable and when attention more often goes to the squeaky wheel, the naturals are left with no or less attention. #2 their "natural" approach may disincline them to leave their comfort zone and make changes/corrections
Posted 18 July 2006 - 09:17 AM
I have coached Prodigal, and it doesn't make any difference to my own feelings or interpretation of the role. But giving class and teaching other dancers teaches you an incredible amount. Dancing actually becomes easier. Because you translate it into words for somebody else, those words go back into your own brain. They've been there subconsciously all the time, but not obviously. By telling other people, "For God's sake, use your head, use the rhythm," you do it yourself automatically. I've never been a great turner, but when I was recently showing what the steps were going to be in class, one boy said to me, "God, you turn well." I nearly passed out. It was only because I was doing what I wanted them to do. It was easy, obvious. Why didn't I think of that before?
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):