Must Odile do fouettees?
Posted 15 July 2001 - 08:06 AM
(I of course meant "box office" in place of "audience". )
[ 07-15-2001: Message edited by: Roma ]
Posted 15 July 2001 - 09:15 AM
Posted 15 July 2001 - 10:09 AM
[ 07-15-2001: Message edited by: Roma ]
Posted 15 July 2001 - 02:20 PM
I know this is off the fouette topic, but rather than fake one more remark on fouettes I will leave it up to the moderator to decide what to do .
[ 07-16-2001: Message edited by: Drew ]
Posted 19 July 2001 - 04:42 PM
Posted 29 September 2003 - 11:51 AM
Personally, I don't believe that any "tricks" are sacred
On the other hand, given the popular misconception that dancers can only count to 8, it's nice to have proof that at least one can count as high as 32.
Posted 17 October 2003 - 11:23 PM
I agree with almost all of y'all, and certainly about Plisetskaya being just FINE without them -- but want in particular to agree that it's wonderful when hte fouettes are expressive....
I remember seeing Antoinette Sibley, DECADES ago now, throw in doubles as if on a whim. She was a dangerous woman; there was nothing predictable about it, not every 4th or anything like that, just out of hte blue, like she was slapping us to amuse herself -- it made her seem almost psychopathic -- fascinating, absolutely in control of the psychological situation, the prince was just totally out of his depth in dealing with someone as cool, and profoundly indifferent as this.... I'll never forget the look on Dowell's face.
Posted 22 October 2003 - 09:01 PM
As for me, I'd prefer the pas de deux without the fouettes. In fact, I'd like to take out the music for the fouettes, as well -- it's so circus-y. About the only ballet in which I find 32 fouettes tolerable is Don Q, and only if the performer does something incredible with them, such as Lorena Feijoo's (SFB) flicking open her fan on the multiple turns, or Nina Ananiashvili's amazingly fast fouettes.
Posted 28 October 2003 - 04:23 PM
By the way, I think that Swan Lake is the ultimate role for a ballerina, and that the fouettees are an important expression of Odile's personality - the climax of her seduction of Siegfried. As much as I LOVE the film of Plisetskaya, Odile just isn't the same for me without those fouettes.
Posted 28 October 2003 - 04:34 PM
Posted 28 October 2003 - 08:42 PM
Then there is that amazing film of Alonso's Odile doing her fouettes on a checkerboard floor against a background of columns, and veering only a matter of millimeters.
Posted 30 October 2003 - 11:36 AM
I did notice that Cojocaru didn't travel sideways at all, just straight forward. I think the speed of her fouettees gave her forward motion a lot of velocity and the small City Center stage really intensified the effect. It certainly was exciting!
While not traveling at all would be ideal, I think most Odiles probably start at the back of the stage and end up somewhere between center and downstage. I don't mind this so much because it's pretty much a natural consequence of whipping the leg front and side. Traveling sideways, however, is a problem.
Posted 17 February 2004 - 11:05 AM
Now that someone has mentioned Ichino, can I ask if anyone ever saw this, quoted in Selma Jeanne Cohen's 'Next Week, Swan Lake'?
"...Yoko Ichino's innovation: four fouettes, then a swoop into a low arabesque penchee and two slow revolutions holding that pose"
Sounds, er, interesting...
I hope nobody minds me replying to this topic but I've only recently come across it and I thought it might be relevent to note that yes, Yoko did do exactly that-I personally didn't see her but another teacher that I work with has seen her do it, several times I guess. She said it was pretty amazing. And knowing Yoko like I do, it doesn't surprise me at all!
Edited by Clara 76, 17 February 2004 - 11:06 AM.
Posted 17 February 2004 - 12:52 PM
My greatest fouette memory was Yoko Morishita...the first sixteen were done with every fourth a double. Then sixteen singles, as the orchestra increased the tempo...she whirled right down the center line and climaxed it with a dead-stop on both pointes in fifth. It stopped the ballet for a prolonged ovation. Maybe it was nothing to do with SWAN LAKE, but it was breath-taking just to watch.
Posted 17 February 2004 - 02:38 PM
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