The costume feather & your favorite small thing

[ronny]

What is your favorite "small thing" in Ballet?

For me, its is the tiny little feather that seems to get liberated with each Russian performance. "OH!... they use REAL feathers!!". And, it reminds me of the long hours it must take to make these hand made costumes. Its a little thing, the feather, but it has quite an impact on me when I see one float to the floor!

So what about the little things that have a big impact on you? Do you have any you want to share? Or maybe it is something that you notice that others don't. So here is some space for the "little things". I would like to hear about the small things that get your attention.

[Juliet]

Hear, hear! It is not only the Russians who use real feathers!!!! We just attach ours differently!

As one of those who spend hours sewing/designing those small, but essential-to-my-peace-of-mind things, I'd like to hear what is important/charming/delightful upon notice too-----

I like the red heels on character shoes....

[Tancos]

Originally posted by ronny

For me, its is the tiny little feather that seems to get liberated with each Russian performance.  "OH!... they use REAL feathers!!".

Ever see the Trocks do "The Dying Swan"?

[ronny]

Funny how a feather could be a delight to me and may have you (Juliet) on the edge of your seat wondering if a second one might fall! But with your care, I'll bet every one of them is secure.

And no, I haven't seen the trocks, but I just read about it and it sounds like a real riot. I can just see the fluff flying all over the place!

[rg]

to confirm: the trocks 'dying swan' is now included on both of the recently released videos, billed as "LES BALLETS TROCKADERO DE MONTE CARLO" Program I and Program II. i've seen the dvds but maybe there are cassettes too. i think they've been shown on cable, and i believe they've been discussed here. but if you'd like to see the 'swan' mentioned here you have 2 diff. chances. both programs are quite well filmed.

[Farrell Fan]

One of my favorite small things is in Jerome Robbins' The Concert, when two young women enter and bang open their folding chairs. They have to make just the right amount of noise -- with not enough snap, it's not funny. In fact, it occurs to me that this ballet is full of small things, each of which must be perfectly timed and executed. The moment the young women cross their legs is another. So are the pianist's walk downstage to his instrument; the cigar-smoker's leaning a chair against his wife's leg; the cast's opening and closing of umbrellas; the trying on of hats; the moment the ballerina realizes she's sitting on thin air; and on and on. The Mistake Waltz always brings down the house, but these other moments can be either hilarious or ho-hum. In the case of the umbrellas, they can be funny and poignant at the same time.

[ronny]

Yes Farrell Fan, these little subtle things make such a difference, they can make or break the whole scene. The one I noticed was in the Rose Adagio. I saw two different versions of it and in both versions the queen comes up and takes a handfull of flowers from Aurora. In the first, the queen looks at her daughter with loving eyes and in the other performance the queen just takes the flowers and walks away. Its a small thing, but what a difference it makes in the entire scene!

Farrell Fan, Thanks for your interesting example of small things that make a big difference.

[felursus]

In "Giselle", Svetlana Beriosova would dust the chair Bathilde is about to sit on with the edge of her skirt - just to make sure that the beautiful dress she is admiring doesn't get soiled. I found it an extremely touching gesture. I haven't noticed anyone else picking up on it, but to me, that small piece of "business" made Giselle more of a "real" person.

[ronny]

Yes felursus, this is exactly what I was thinkng of... little things that make the people and performance "more real". Intersting how something like this can make such a big difference. You are giving very nice example of it. Thanks.

[ScottieGDE13]

At the end of the balcony scene in Romeo and Juliet there is a moment right before they kiss that, if done right, is just magical. First, I love how the two lovers just look into each others eyes for a long time before they kiss. They don't do anything else, they just stand there and they gaze at each other and then comes my most favorite part! In most versions that I've seen Romeo then gently picks Juliet up onto pointe and then kisses her. I just love that moment for some reason... I think it's because I'm a little overly romantic and also because it just adds so much innocence to the scene that is really necessary considering the original story and the age of the two characters.

Scottie

[ronny]

Yes, that lift in Romeo and Juliet got my attention as well. In this recording of Alessandra Ferri and Wayne Eagling the lift has an authoritative look to it like a male "take charge" moment. So it got my attention also, but maybe in a little different way. That small lift does stand out in the scene, very much so.

[Nadezhda]

Also in Romeo and Juliet I like the moment in the very beginning of the lover's pas de dux, when they are standing at a distance, looking at each other. In most performances I've seen both of the lovers make these lovely deep breaths as to create the atmosphere. I cannot really describe it, but it makes the moment, prepares you for the pas de deux, the story.

[atm711]

During curtain calls I love seeing a ballerina pluck a long-stemmed rose from her bouquet and present it to her partner. Sigh!!!

[ronny]

That's interesting to me ATM since I really haven't thought much about how the partners really feel about one another.

And to Nadezhda, thanks for your observation also, very beautiful.

[piccolo]

I totally agree with Nazezhda -- the very start of the balcony scene is the best. No dancing, just standing.

I also love it when a dancer (esp. male) just absolutely nails a difficult step. Example - Angel Corella's solo during the Don Quixote pas de duex with Paloma Herrara (on the ABT tape), he is so "on" and he knows it and he gets more and more confident during his solo and pulls out an amazing number of turns and jumps. And at the very end, instead of simply landing on the last note, he adds a quick back-and-forth of his head that looks very much like a ta-da! to me...

[ronny]

That is very interesting... standing still gets two votes! Choreographers take notice. It is a very nice moment, I have to agree also.

[Dolphingirl]

Along with felursus' chair-dusting moment are my two little moments. In the Joffrey Nutcracker, during the party scene there is a cute part where Fritz and all the party boys go up to Clara with a little mouse. It's very obvious, but I think it's a nice addition. My other favorite moment is, once again, about something naughty that Fritz does. I can't remember where exactly in the party scene it is, but after one of Fritz's tricks, the grandmother stands up in a moment of silence and shakes her finger at him. It just makes the moment so real, that they are acknowledging the bad behavior, instead of just putting it in because that's the character.

[Old Fashioned]

Oh yes, the standing still part of R&J. I also saw it in Mercurial Manoeuvres with Jennifer Ringer and Jock Soto on tv. It was very touching to see Soto just resting there for awhile- he looked so- so sweaty. Wheeldon said it was his favorite part of the ballet; I agree. Maybe it'll start a trend.

[ronny]

Nice addition Dolphingirl, thanks.

Another vote for standing still. I have never seen the scene you are speaking of Old Fashioned, but I have noticed the sweat before. It was the recorded version of the Australian Coppelia. A wonderful performance and the primary dancers were soaking wet at the end. Probably just an air conditioner problem, but it caused me to realize how much work the dancers were doing there.

[Watermill]

I love it when a ballerina finishes a solo or pas and is holding the finish up on pointe, then comes off pointe a little sooner than she wanted, but flourishes on flat with a dramatic position of some sort. It's an "I meant to do that" sort of moment. Not a mistake, really, but a human kind of triumph in the face of impossible perfection.

This kind of "human" moment endears me to the dancer. I can then relax and love them as people, letting go of the Gods & Goddesses. (Although every once in a while I need an Olympian performance...)

[ronny]

Thanks Watermill, I really enjoyed your post. Thanks for sharing it... a wonderful heart felt observation and well written. Very nice.

[BW]

One of my favorite parts is the look that passes between partners at the end of a pas de deux or during it - in a particularly difficult move. I love to see the expressions of mutual triumph in a job well done! :)

[ronny]

Yes, the triumph... I feel it right along with them and I didn't do a darn thing but watch! Its a nice moment. Thanks BW

[Allegro]

Oh my gosh....

My absolute favorite moment of all times is from the Diamonds pas, danced by Suzanne Farrell and Peter Martins.

It is this big oboe/trumpet/I don't know what instrument, but she goes to a turned-in passe, with her body bent over her knee, then throws it back and up into an arabesque, with her arms and head raised to the sky. And of course, it is on one of the most beautiful parts of that beautiful score. It gives me the chills, no matter how many times I must rewind that tape and watch it.

I also like the end of that pas, when Ms. Farrell lowers down to B plus, with arms demi-bras, and Mr. Martins kneels and carresses her hand. But her head is turned away, sort of in a half-acknowledgement. She is above all men/mortals/earthly beings, and I love it.

Anybody know what the heck I am talkign about?

[Farrell Fan]

Oh boy, Allegro, I know EXACTLY the moment you're talking about in Diamonds. As a matter of fact, I used to insist on showing the tape to captive audiences of friends and relatives and preface the moment with "This is where I always get chills." I don't think my comment was very helpful, but now I feel vindicated! And your description of the end of the pas, "She is above all men/mortals/earthly beings"could apply to everything she's ever done, and to the lady herself. I would just change your last phrase, "and I love it," to "and I love her." Pardon me if I seem to gush.