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POB dancers in Linc Ctr Festival's Jewels

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On 27/7/2017 at 7:33 PM, Rosalie said:

Your comments on those POB dancers are INSANELY interesting to read! I appreciate your insights deeply, and agree with around 70% of your points. Thank you so much!

 

If you are still following the thread, I'd be very grateful if you care to comment on any of the "big names" below. 

 

Sylvie Guillem

Isabelle Guérin

Laurent Hilaire

Manuel Legris

Élisabeth Platel

Charles Jude

Agnès Letestu

José Martinez

Monique Loudières

Aurélie Dupont

Nicolas Le Riche

Isabelle Ciaravola

Marie-Agnès Gillot

 

Hi Rosalie, nice to see someone like my comments, I know most people get either scared or annoyed to death by my overly passionate comments lol, if I'm brutal and negative it's because I love academic classical ballet too much and it causes me pain to see it performed wrongly.

 

Some of those names aren't big and some are in fact big names but not big dancers, I see the great Madame Maurin was not included...but anyway my reply to your question would be off topic in this thread so check your inbox to read the longest p.m in the history of BA

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9 hours ago, Gnossie said:

 

Hi Rosalie, nice to see someone like my comments, I know most people get either scared or annoyed to death by my overly passionate comments lol, if I'm brutal and negative it's because I love academic classical ballet too much and it causes me pain to see it performed wrongly.

 

Some of those names aren't big and some are in fact big names but not big dancers, I see the great Madame Maurin was not included...but anyway my reply to your question would be off topic in this thread so check your inbox to read the longest p.m in the history of BA

 

Oh, this is the place for passion -- I'm always interested in reading about other communities and other companies, but I don't necessarily have much to contribute to a discussion of dancers that I don't see perform.

 

(and I didn't realize there was a contest for the longest p.m. -- I'm woefully underperforming here!)

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I'm not sure whether my limited experience in France is indicative of broader trends but given the discussion of training in France I thought I might share.

 

Most generally, training may be more rigorous at the lower levels in the United States, at least for students with no hope to dance professionally.  Perhaps this feeds up through the highest levels.  I danced casually in the United States since I was a child and continued to take class through college.  I was never going to be a professional but girls I grew up with and went to college with had potential, even if they ultimately chose another career.  When I studied in France for a year, I continued to take class.  However, my peers in France were weaker technically than my peers in the US, even though they trained at Conservatoires across France.  Obviously, this is hugely generalized with a rather small sample size but I always thought it was interesting.

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Interesting, yes.  Where did you study when you were in France, if I may ask, and what were some of the differences that you might have noticed in the classes (style, emphasis -- that kind of thing)?

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I studied in Paris at one of the universities/grand écoles with students who came from across France.  I actually loved the class itself -- it focused on more delicate footwork than I normally do in the US so that was really fun for me.  However the dancing of the French students was much more rigid (it was more about hitting each position than moving through positions) and the dancing much smaller (not nearly as much traveling even in grand allegro).  As I write this perhaps my preference for Balanchine style is coming through!  And then more technical things as well -- not as high extensions, as many pirouettes, as pointed feet as my similarly situated peers in the US.  I now wonder if perhaps the more serious dancers at my school in France took class at a Parisian equivalent of Steps instead...

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3 hours ago, Emma said:

I studied in Paris at one of the universities/grand écoles with students who came from across France.  I actually loved the class itself -- it focused on more delicate footwork than I normally do in the US so that was really fun for me.  However the dancing of the French students was much more rigid (it was more about hitting each position than moving through positions) and the dancing much smaller (not nearly as much traveling even in grand allegro).  As I write this perhaps my preference for Balanchine style is coming through!  And then more technical things as well -- not as high extensions, as many pirouettes, as pointed feet as my similarly situated peers in the US.  I now wonder if perhaps the more serious dancers at my school in France took class at a Parisian equivalent of Steps instead...

 

This is fascinating stuff.  We've had a couple of French-trained dancers here at Pacific Northwest Ballet, and I've been very curious about their early experiences.  When you see just a few people it's hard to know if what you see is individual or if it's a function of training. 

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