90 degree arabesque
Posted 19 February 2002 - 12:59 PM
What do you think?
Posted 19 February 2002 - 03:15 PM
So as ballet will undoubtedly evolve, I hope the original meaning of the ballet itself and the characters within it will never be forgotten.
Posted 19 February 2002 - 03:32 PM
Having said that, there's no reason for every arabesque to be converted to 180 degrees; and I can't really define where it's right and where it's not, except to say, as Justice Stewart said of obscenity, that I know when I see it. I realize this is not helpful.
Posted 19 February 2002 - 03:56 PM
Posted 23 February 2002 - 09:52 PM
If it's a representation of an idea -- like the spirit of fire, or, say, the phlegmatic temperament, that's quite different from some creature that has a mother and father and maybe a boyfriend....
Aurora's a fairy-tale creature, but she's also a human being -- and her dances are not about extensions but about her aplomb and charm and high spirits -- they're as much about her upper body as they are about the legs, more about upper chakras -- the heart and crown.... and to a very high degree they're about the supporting leg rather than the working leg.... Who else do we notice their supporting leg so much?
Her head positions are crucial.In her role, the eyes are very important, she SEES people... Phlegmatic doesn't see anybody).
Aurora, Kitri, most Petipa heroines, the whole upper body should seem to be rising freely and easily above whatever is happening down below.... generally speaking toe hops and other very bright quick steps should happen very easily, as with quick pas de chats, only a slight bend at the knee -- dagger-like feet, but hte knees bent no more than coupe, so the shape in the air ihas a large diamond at the bottom and the upper body is beautifully undisturbed....
HHMMMMM.... I can see I could get addicted to this site.....
Posted 23 February 2002 - 09:58 PM
I love your point about noticing the supporting leg and the eyes. Cynthia Harvey, who danced with the Royal Ballet and worked with Ashton on Aurora, said in an interview (with a bit of surprise) that the one correction Ashton gave her was "use your eyes more," and then he talked about how Fonteyn used her eyes in this role.
My idea of Aurora is quick and bright as well, which is why it matters to me that the dancer is properly cast. To me, Aurora is not the Swan Queen -- another outmoded notion, I'm sure smile.gif
I also agree with the comments about costume. Watching Zakharova kick, I kept thinking, it's as though she's dancing in a unitard. Ballerinas used to rehearse in rehearsal skirts/tutus. I wonder if that's gone? I also liked Xena's comment very much about dancers not thinking about the role in context -- I don't blame them. I think that's up to the coach to tell them, if the dancer doesn't figure it out on her own.
Posted 23 February 2002 - 10:55 PM
It is purely a question of misguided aesthetics..... Aurora as one of the girls in Fancy Free......
I love high extensions. Aurora doesn't need them. I was happy to see that as the Kirov administration is not reining this sort of thing in, they are at least managing to tack the tutus on this tour....
Posted 23 February 2002 - 10:58 PM
Posted 23 February 2002 - 11:42 PM
Posted 24 February 2002 - 08:16 AM
Posted 25 February 2002 - 12:37 AM
And so reasonable......
Probably no-one will disagree with me that part of the fun in the finale of Theme and Variations those ROckette kick-soutenu-kick steps the ballerina gets -- I've got Gelsey on video, and it's fabulous, the energy in those, it's irrepressible -- and well, I've never seen it at City Ballet in the chiffon skirts they wear, but part of the fun is seeing the tutus get kicked. It puts me in mind of my grandmother, who every now and then liked driving over slowdown bumps at considerable speed.... my kind of girl......
Posted 25 February 2002 - 01:27 AM
I'm sorry, my thoughts are tumbling over themelves -- does this happen to you?
Probably no-one will disagree with me that part of the fun in the finale of Theme and Variations is those ROckette kick-soutenu-kick steps the ballerina does -- I've got Gelsey on video, fabulous, the energy in those, it's irrepressible --
THough I've never seen it at City Ballet in the chiffon skirts they wear, still, part of the fun in ABT's version is seeing the tutus get kicked at this point -- it takes the ballet over the top, makes it a smash -- and THAT depends on the ballerina's personality.
In SanFrancisco Balet's version, which I know well, they wear tutus. I can still see Elizabeth Loscavio hauling off and kicking there -- it was almost stripper energy -- but by that point we were all delirious with joy anyway and WHO CARED?
Which brings me to the point I most wanted to make about Lucia Lacarra: it's not her extensions I object to -- it's the unrelenting one-note seductiveness, the lack of spontaneity and playfulness in her dancing. She's wonderful in many roles, but not everything.
The dancer I'd most contrast her with is Loscavio, who in her great roles had a power much bigger than herself, Athena-energy, so when the spirit moved her she danced as if she'd just sprung forth from he mind of Zeus.... she was was fearless, and this energy carried her, she was completely there in the moment... She wasn't safe, she danced nearer her edge than the most advanced modern dancers...
She DID make choices, she prepared -- actually Eric Hoisington once told me he didn't know HOW she managed to get so prepared.... she certainly wasn't reckless, I saw her wipe out on double step-ups in rehearsal and replace them in performance with double soutenus (thus "updating" Theme and Variations to later Balanchine practice of finishing a line of chaine turns -- I wonder who authorized that? Maybe it's actually done that way at City Ballet now?)
But at other times -- in WHo Cares?, in her solo, I've seen her forget the steps and make some up till she remembered what came next, and they were CLEVER--
It puts me in mind of my grandmother, who every now and then liked driving over slowdown bumps at considerable speed.... my kind of girl......
Posted 25 February 2002 - 01:50 AM
Posted 25 February 2002 - 03:21 AM
Posted 25 February 2002 - 10:29 AM
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