Posted 18 April 2002 - 10:30 AM
Posted 18 April 2002 - 05:33 AM
Originally posted by BalletNut
So, what do people think of dancers who can scratch their head with their toes? Do they make your spine tingle, your stomach turn, or somewhere in between? ;)
It depends entirely on what is appropriate for the ballet being performed.
For BUGAKU, I like high extensions. For LES SYLPHIDES, I like tasteful extensions.
Posted 07 May 2002 - 03:51 AM
In 'Giselle', as you have said Paul, it's the way the penche is done. I don't think a six o' clock penche is necessary. I love Makarova's develope a la second in her solo leading into the pas de deux in Act II. But there is something poetic about the high leg. It's not high for the sake of being high, or "scratching her head with her toes" as is asked in the first post of this thread. It's just in the right place, taste wise.
I do think they way the develope, or the penche is executed makes the difference. I've recently seen photos of a gorgeous NYCB ballerina (one of my favorites), in a past six o' clock penche in the 2nd movement of 'Symphony in C'. It just didn't look good.
Get out your video of Gelsey in 'Theme' and see her a la second, and her penche. That is what I like.
I don't think the leg to the ear (as it is more often done today), in a short or long tutu is appropriate.
Posted 17 April 2002 - 09:18 PM
Posted 20 April 2002 - 06:31 PM
Posted 18 April 2002 - 09:42 AM
I think maybe a good guideline could be: If it horribly distorts the costume, the leg probably shouldn't be that high.
Posted 01 May 2002 - 08:28 AM
Posted 21 April 2002 - 08:20 AM
Posted 19 April 2002 - 03:40 PM
I admit I do like high extensions -- I find them very impressive, but I have to agree that sometimes they just don't "fit".
Posted 06 May 2002 - 09:19 PM
though 180 a la seconde is I guess what you're thinking about...
Posted 06 May 2002 - 10:59 PM
I don't think I want to see 6 o'clock -- but in any case, hte important thing is not hte height but hte phrasing, the whole hting has got t o be a kind of reverence, a gesture on hte grandest scale, and it's MORE hte movement, than the position that matters.....
just last Friday, Muriel Maffre's opening solo at SFB was near perfection -- the action was on hte grandest scale, but she performed it utterly in character -- she stepped into arabesquewith SUCH decision, swept into the promenade with no visible preparation, and descended into magnificent, deep penchees, all with no sense of haste nor second-guessing, and in hte temps lie after each arabesque swept back into breathtaking cambre before starting he other side......
Posted 07 May 2002 - 08:23 AM
you're SO right about Gelsey -- in fact, hte way she does those develloppees, supported by the soloists bourreeing around her, is a passage I'd quote to anybody as a great example of poetry in phrasing -- look how she brings the leg DOWN; each devellooppe is a pas de cheval, enlarged to show detail, but with a perfect arc in its phrasing.....
Posted 21 April 2002 - 04:46 PM
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