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LooseLegs2

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Everything posted by LooseLegs2

  1. I don't know if anyone is familiar with Drew Jacoby, a current dancer with LINES ballet. I found her and her husbands website and thought id take the chance and email her, i got a reply and she was incredibly honest and sweet!
  2. Treefrog - You bring up a very good point. Many schools are training disillusioned dancers. Its like the teachers are just as caught up in having a student of theirs go pro as the kids are. Instead of taking a realistic step back and recognizing if its a reality for that specific dancer. And if not, they should encourage them to continue dancing and expressing their love for it, but not "leading them on" so to speak. Because when a dancers dreams are shattered, its harder for them to appreciate the artform that broke their heart. So as a result, you rarely will find those ex-dancers in the audiences. As terrible as it is, the kids should not blame anything for their unsuccessful career. But they should instead find the career path that is best for THEM, and continue their passion for dance as a supporter. Now I know this is a very unrealistic approach, but hopefully in the future, this trend will begin to take effect. And maybe it will grow our audiences, instead of decreasing them!
  3. Does anyone have any predictions for the future of ballet companies based on what has happened in the past? Because surely it can't go on like this much longer? I mean if it keeps going on like this, who knows what will happen! I wish that someone would recognize that the arts need more funding and send a little money our way, but que sera!
  4. I think its 100% dependent on the role that is being danced. If you have a ballet, like Swan Lake, that requires a certain amount of vulnerability. I find it to be a great addition to the ballet to have an extreme arch of the back. It adds greatly to the intensity of the story that is occuring. On the other hand, I think that in ballets that require a more regal approach (like Sleeping Beauty) I think that the extreme arch distracts from the feel of the ballet. Because I find that the more upright a dancer is, the more regal they appear. So an extremely arched back in something like Sleeping Beauty would really ruin the ballet as a whole. And then there are Balanchine's ballets, which I think require an in between approach. Definitely not the extreme arch, but they don't quite require that regal upright appearance. I find that his ballets are most flattered by extreme extensions, but not necessarily extreme backs. His choreography doesn't need it!
  5. I think a lot of it has to do with the style of the piece. I dislike classical ballet with the nude colored shoes. Its just not my style. But anything contemporary, in my opinion, is much better with nude shoes. For example any of Alonzo King's choreography would just look funny with the delicacy of pinkish, shiny pointe shoes. It would soften the look too much. So for more contemporary, "fierce" pieces, i definitely prefer the no tights with nude shoes. But for the classics the classic look is a must. It just depends on what kind of a look the choreographer is going for.
  6. I don't know much about the origins of his style, but i do know that he directed his technique (now more of a style) towards taller dancers. So many of the odd Balanchine ways of doing things were to assist taller dancers. For example, doing a pirouette from a lunge was said to be easier for taller dancers. Also, i talked with one of my teachers once on how he came up with alot of his style, and he got much of his inspiration from the american jazz of that era. So thats why much of his choreography has a very jazz look to it if you look closely at it. Similar to the Luigi style of jazz that is still taught today ("classical" jazz as it is referred to now). For example, the extreme arabesque arms came from the classical jazz. If you've ever taken a luigi style jazz class, you'd be surprised of the similarities. We train in luigi, so i've become quite familiar with the influence it had on Balanchine. As for the energetic hands, he may have just liked it better... and it could have evolved over time becoming more and more extreme.
  7. I agree that Aurora must have a vulnerability. I believe that she needs to have this certain degree of being naive. Like seeing the world for the first time. She should feel as if every step she does is a new discovery. I also think that they should be able to correctly portray that youth in the first act. She needs something more ethereal in the second act. She should have a more floating quality. And she should also have an obvious draw to the Prince. You should be able to feel the chemistry drawing them together. Then in the third act she should be able to portray that maturity that comes with age. And she must also, as you all said, bestow all the qualities that were given to her by the fairies in the Prologue. Because after all, it should become a part of her at that point. I also think that in the third act she should have a hopeful feel. Shes entering marriage so she should have a hope for the years to come! I have seen (on video) Viviana Durante and Sofiane Sylve. I loved Durante's youthfulness, it was perfection. But on the other hand, i loved Sylve's strength. She was so sure footed that it was easy to watch her. I couldn't chose between them because it would be like comparing apples and oranges, so i loved both of them for very different reasons!
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