They're dancers (human), not machines. Dancers have injuries. Dancers get sick. Let's hope it's not too serious and she'll be back soon.
2
ABT Bayadere: Vishneva-Osipova Performance
Started by
MakarovaFan
, Apr 11 2012 10:33 AM
61 replies to this topic
#62
- Senior Member
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- 1,860 posts
Platinum Circle
Posted 25 May 2012 - 10:22 PM
Dancers when they're tired are in greeat danger of injuring themselves further --
Back to italian fouettes -- fouette means to whip, and it's the leg that whips
the BIG difference is that "Italian fouettes" are HALF-turns derived from flic-flac, whereas fouette pirouettes are WHOLE turns derived from rond de jambe en l'air, Flic-flac is a slicing motion, and rond de jambe is a circular motion -- but in each case, the movement of hte leg provides impetus that can be used for flipping around.
Italian fouettes usually begin with a releve in ecarte devant (second position on hte diagonal), then brush through first on that same diagonal into a releve facing the back corner which molds into an attitude croise as the torso comes around to face the audience.I love hte way Maria Alexandrova does these - -she's the dancer who made me see Gamzatti as an interesting character, mostly through the gusto with which she poured int oher grands jetes and these italian fouettes; I found myself thinking, 'she deserves to be happy' and followed her forever after with some sympathy throughout
Back to italian fouettes -- fouette means to whip, and it's the leg that whips
the BIG difference is that "Italian fouettes" are HALF-turns derived from flic-flac, whereas fouette pirouettes are WHOLE turns derived from rond de jambe en l'air, Flic-flac is a slicing motion, and rond de jambe is a circular motion -- but in each case, the movement of hte leg provides impetus that can be used for flipping around.
Italian fouettes usually begin with a releve in ecarte devant (second position on hte diagonal), then brush through first on that same diagonal into a releve facing the back corner which molds into an attitude croise as the torso comes around to face the audience.I love hte way Maria Alexandrova does these - -she's the dancer who made me see Gamzatti as an interesting character, mostly through the gusto with which she poured int oher grands jetes and these italian fouettes; I found myself thinking, 'she deserves to be happy' and followed her forever after with some sympathy throughout
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