I think I've become more aware, since I joined this board, that sometimes things are just incredible. I can be wowed by what they're doing, but some small part of me can turn that off and just enjoy it, instead of thinking about the hows and whys of what's going on.
I tend to do this a lot, ascballerina.
ksk04, I think that beautiful, soft arms are alive and well at the Mariinsky. The video of Gabriella Komleva, to which ascballerina just referred, shows this beauty from not that long ago. The Ulyana Lopatkina video shows it at its most beautiful today. The Oxana Skorik video, "La Bayadere", from the thread from 'whence this one came', gives an idea of where one of the possible and remarkable 'flag ships' (Ms. Skorik) of the next generation is headed.
(top of the page)http://balletalert.i...s/page__st__135
ksk04, regarding your mention of épaulement, Clement Crisp gives this lovely definition.
"In ballet, épaulement denotes the dancer's ability to turn, bend and shape the placing of the trunk, shoulders, arms, neck and head to produce the subtlest contrasts and oppositions. In Italian art it is contrapposto, and this is what gives life, veracity and power to a drawn or sculpted position. In classical ballet it turns the academic pose into the beautiful, the fascinating."http://www.ft.com/in...l#axzz2K8RzOIHP
This is from an article highly praising Olga Smirnova, part of the new generation. Diana Vishneva has called her the resolution of the historic or generational debate between the Mariinsky and the Bolshoi. What I see Olga Smirnova accomplishing is to combine the expansive beauty, expression and soul of the Bolshoi with the aesthetic delicacy, refinement and ethereality of the Mariinsky. Oxana Skorik (Mariinsky) who I think of in the same breath, for me, shows more of the pure Mariinsky, in her Essence.