Ballet dancers seem to exhibit a tensile strength and innate grace in every movement. But you don’t have to train for years before you can reap some of the same benefits. Andrea Miller is a licensed physical therapist and a certified Power Pilates instructor at The Pilates Experience in West Hanover Twp. Her Power Barre Class uses weights, exercise balls and the ballet bar to build strength by focusing on one muscle group at a time.
Tuesday, June 5
Posted 05 June 2012 - 11:54 AM
Posted 05 June 2012 - 11:55 AM
“. . . and never the twain shall meet” is the first reaction to this improbable yoking of modern street dance and classical ballet. Dance is nourished only by the innovators, visionaries and iconoclasts who seek to create something truly new – that is how the art form has moved on and developed. Alas, the combination of 11 “girls” from English National Ballet and the nine “boys” of Britain’s Got Talent act Flawless does very little that is new, resembling mostly a variety show with a succession of generally unrelated “numbers”.
Posted 05 June 2012 - 11:57 AM
Barbre said each choreographers' showcase is different, creating unique challenges and opportunities for the performers every year. The show's fifth anniversary features a revival of pieces from previous showcases. Barbre said the challenge lies within adapting these pieces to the large, round stage in the Elvis Theater, which is different from what some of the ballet dancers usually experience
Posted 05 June 2012 - 11:59 AM
This presents the question, why are females in soccer more vulnerable to ACL injury than females in ballet? Preliminary studies have revealed that an athlete's position sense (proprioception) may be more fine tuned in ballet dancers. Position sense refers to the ability to know where one's arms and legs are positioned without looking at the arms and legs. Ballet dancers are trained extensively in being aware of their arm and leg positions. When compared to soccer players, ballet dancers can reproduce bent knee positions more accurately without looking at the knees and legs.
Posted 05 June 2012 - 12:01 PM
You can almost feel the heat and smell the sweat as Mossanen’s well-placed cameras hover above or weaves among the rehearsing dancers, taking us into the heart of the creative process.
As National Ballet artist-in-residence Rex Harrington explains in the film, a lot rides on the success of a costly new production. “It’s a make or break thing. It has to be successful. It has to make money.”
Posted 06 June 2012 - 09:50 PM
If you are a balletomane, caring more about dancers than choreography, then the casting of John Cranko’s three-act ballet “Onegin” (1965) brings excitements. When I first watched it, in 1978, the Stuttgart Ballet fielded four casts in three days, including two of Cranko’s original cast (Marcia Haydée as Tatiana, Egon Madsen as Lensky); I applauded them all eagerly. In the 1980s, when Natalia Makarova danced Tatiana with the English National Ballet, I thought her more riveting and varied than any previous interpreter. When Lynn Seymour later stepped into the same role, her intensity and naturalism proved yet more astonishing.
Posted 06 June 2012 - 10:06 PM
This version of "Hamlet" made its premiere in Stuttgart in 2008. The Toronto performance marked its North American premiere. The anticipating in the audience was palpable. One did not know what to expect. So when the lights dimmed and yet no music played and the curtain remained down, there were some puzzled expressions around the theatre. And then a faint light shone down, to an extension of the stage over part of the orchestra pit. There, in a worn black sweater, sat Hamlet (danced by Guillaume Côté), thrashing and kicking in silence. This abrupt beginning certainly grabs you and draws immediate attention to Hamlet's plight. It is frustrating then that this impetus does not continue for the rest of the ballet. The narrative stops and starts, not really gaining momentum until the second act.
Posted 07 June 2012 - 09:05 PM
This will be the Paris Opera Ballet's third tour to Australia since 2007. The company has not performed in the United States for 16 years, but ballerina Eve Grinsztajn says one of the oldest ballet companies in the world has a special relationship with Australia.
The 2013 performances come six years after the Paris Opera Ballet made its Australian debut with Swan Lake and Jewels, also in Sydney. Two years later, the company returned with Minkus's exotic La Bayadère exclusively for Brisbane audiences.
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