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dirac

Wednesday, August 6

3 posts in this topic

Video of the Mariinsky Ballet in class.

The vast majority of recruits to the company comes from the famous Vaganova Academy in St Petersburg; even the new recruits that deputy director and company boss Yuri Fateyev has brought in to increase the size of the troupe, are taught by teachers themselves trained in Vaganova methods. This means that the inflections of their movements are remarkably uniform. Fateyev talks the viewer through the class as it unfolds, offering insight into why the exercises are shaped in the way they are, and why the Mariinsky has preserved its style.

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A Voice of Russia interview with Natalia Osipova.

“Dancing contemporary choreography is very tough for ballerinas. When you dance en pointe all the time and play the part of a swan or a lovely young girl, - this is completely different to that. You need to realign your muscles, your body, and become more real, more human, not a princess.”

It was Osipova's idea to take on contemporary dance in Solo for Two, she says. “You get very tired of doing the same thing all the time and I wanted to do something completely different.” And different it is – not least because of the unfamiliar stresses this kind of dance puts on her body.

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A review of the Bolshoi Ballet in "Swan Lake" by Leigh Witchel for danceviewtimes.

As an actor Hallberg is uneven. When he’s with a partner he loves, he’s incredible. When he isn’t, he can look desperate. He and Krysanova looked comfortable with one another, but they didn’t have enough scenes together for us to discover their chemistry. When he was alone, he over-mimed with telegraphed facial expressions – but he wasn’t helped by the staging. It left him alone on stage several times with no concrete blocking and nothing to do but be distraught and race about.

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