Nanarina

I have been considering a similar issue for some time. Bel canto singers, for example, can gradually retire from Amina, Elvira, and Lucia and start singing Lucrezia and Elisabetta, who are mature, powerful women. Where does a ballerina in her 30's or 40's go? She has to keep dancing the same 'young' roles.

As in life, some people show their age more than others, they also retain their stamina. And of course their acting skills and makeup help them to play certain roles. But I find it rather off putting when you get an older dancer acting as a younger person, especially if they look old for their age. You know the rather unkind saying they look like "Mutton dressed up as Lamb".

Considering historical facts as already mentioned, at some times, 18 or 19 year old young women were considered marriageble. but what about the tender age of 16, as Aurura was in Nureyevs POB production. But then in Tudor times here in England, brides could be anything from 10 years old when they were promised in marriage.

Here the age of consent is 16 years old, whilst young people were unable to marry without their parents consent under 21 years old, until the age was changed to 18, in recent years.

Returning to the question of Clara, I think she is a child, say of 10-12 years, as portrayed in some versions of The Nutcracker, it always seems strange to me, to see her as any older, and played by an adult. Very often the dancer would be chosen from the school, together with her brother and their friends.

It would be very interesting to hear from you what ages you see the well known characters are. Odette younger than Odile? Giselle, Aurura, Coppelia, Nikiya, Gamzatti, Raymonda, Manon to suggest a few roles. Plus any others you may think of.

I'm sorry but nothing is official now concerning AD and Onegin.

The only thing made public is what has been announced on Manuel Legris' official website. He will dance Onegin with Laetitia Pujol but he will dance the Parc with AD

http://www.manuel-legris.com/actualite.html

Here's the phone number for foreign spectactors (no e-mail available on POB website!) but I don't know if they speak English

33 (1) 72 29 35 35

Thank you Cygneblank for the advice of no news as yet re AD in Onegin. I'll hang on as long as possible before booking. I gave up on the mixed bill Lifar/ Pet/etc, and have decided to introduce my 2 grand daughters to Ballet in the UK, I am taking them to see The Sleeping Beauty, by the Moscow City Ballet, which I hope they will enjoy, the oldest already likes to watch my DVD's. This means I can save to visit Paris more often.

Help please if you can???

I see the booking is now open for Onegin, but what I find difficult is that you do not know who is dancing at first, and by the time the distribution is announced all the seats have gone. I have tried to get to see three different programmes recently, but was not successful in getting seats. I do not want to come all the way from the UK if I cannot see the dancers of my choice. It is not so difficult if they are not cast at all, then you can just concentrate on the dates available.My eye sight is now so poor I can only see from the 1st row in the Orchestra stalls, and I want to see Aurelie Dupont (who is my joint favourite dancer with Alina Cojocaru) before my sight gets any worse. Plus of course I have to arrange, accommodation, travel and kennels for my two Tibetan Terriers so the trip can be very expensive.

This time I will have to use Eurostar as Flybe do not do the Norwich to Paris flights now, more is the pity. I think a trip for one performance will cost me over £220.00 DO ANY OF OUR FRENCH MEMBERS KNOW IF AURELIE DUPONT WILL BE DANCING IN ONEGIN PLEASE? THANK YOU VERY MUCH. NANARINA.

date='Dec 7 2008, 12:11 AM']Oh no, no, no! Gillot is all wrong for Raymonda. Why don't they tape Aurélie Dupont?

I suppose we should just be glad that it's finally being taped.

I agree with you totally, why not film Aurelie Dupont, she is such a lyrical expressive dancer, with an amazing technique and looks exquisit in the few small video's of this production on YouTube. I am not being critical against Marie Agnes Gill., but there is no contest if Aurelie is on her normal form.

I noticed she had been moved back in the Distribution list until later in December. Maybe she has not got back her stamina quite enough for this mammoth work. Unless I am mistaken she has not danced a great deal since returning from the birth of her little son Jacques. I actually tried to get a ticket to go and see Raymonda in December but it was sold out.

It remains to be seen, what the DVD will be like, I am not that keen on all of Ruddi's choreography, nor are some of the Paris Opera Dancers, as it is so hard, and exhausting. (I love the new Cinderella though and Don "Q").

I saw a Bolshoi productionof Raymonda in London, a few years ago, with Nina Ashnavilli (spellingh?)and Gedimas Taranda) which was really fantastic, so true to its traditions, with authentic character dances and roles. . I really loved this production, which was the same as the one that was available on Video cassette in the past but with Nat. Bess who sadly by then was way past her prime.

Now the Royal Opera House, Covent Garden has taken over, Opus Arte productions, they have a list of new DVD's that they would like to release(Info from the ROH) but it is all subject to copyright and their obtaining the necessary rights to do so. So possibly we may get some of the older or even more recent ABT and NYCB, even S.F.B works on DVD in the future, that is if Kultar have not got the rights for them.

Once a dancer is employed in a Professional company, in general they are provided with a set number of pairs of pointe shoes. It is then their responsibility to ensure their shoes are not too noisy. This is something that has been handed down over the generations, to people as they enter their professional career. So the fact that their schools may have not suffiecently covered the subject should not effect the end result when we experience too much shoe noise in performances.

Either the Shoe Mistress or the Wardrobe Mistress, can help overcome this problem. After all whether we are talking Head to Toe, everything comes under the description of "Costume". Generally speaking in my days( we had to oversee, the whole of the costume, we were not just laundty hands or Ironing ladies, but had to know each and every costume off by heart. There were not costume or accessory lists, it was something we learnt by a hands on approach and a good memory.

The items provided by the company were, Hair attachments, headressses, jewellery, gloves, tights(other than traditional pink ballet tights) and shoes such as character and boots. The pointe shoes were given straight to the dancers, while the other items were kept in the costume stores, or in the theatre during times of performance.

I can remember actually darning point shoes, but I most certainly had been trained how to do it, as well as the way to brake in shoes.

The girls used to almost wreck their shoes, cut off the satin on the end of the block pull out the tongue inside the shoe, and bend up the metal rod, sometimes even removing it. They would sew the ribbons on, and only sometimes darn the end of the block.

If extra support was needed to hold the shoe in place, a wide pink elastic strap would be sewn across the arch and fixed each side to the shoes just below the ankle. Before using the shoes, the dancer would then take them into the corridor, where there was a concrete floor and steps, and holding the shoes around their ends, they would knock the block ends, very hard on the concrete surfices until the shoe was broken down, and soft in texture. Before they went onto the stage, they would fill a basin or other vessel with warm water, and

standing on one foot,with their shoes on, dip the heel of each foot, into the water to shrink the shoe making it fit closerly into their feet.

The other types of footwear were maintained by the Wardrobe staff. As were the hair pieces, wigs jewellery and some costume related props. The requirements were quite extensive, you had to be not only a wardrobe mistress, but also a costumier, hair dresser, millaner, shoe maker, jeweller to say the least.

It would be most interesting to contact a couple of the current shoe suppliers to see how much the manufacture of point shoes has changed or differs nowadays. If I can gleam any information,I will let you know. I may even try to get in contact with some Dancers and make it a research project. Perhaps we as an audience are deserving of an answer.

It is a very interesting point made in this thread, "is the credit crunch affecting the arts? " I do not really know. But the Opera House, and other theatre's could do more to encourage people, who would go to see their productions, but find the costs too prohibitive. In East Anglia, the area of England, where I live, the rail service into London, has recently been advertising a special offer, train fare, 2 seats and meals for the price of one, including the top west end theatre's (I do not think the Opera house is included). When you look at the cost of visiting Covent Garden it is quite expensive, and with fares and over night accommodation added, for those of us, living 2 hours journey away from the capital, a visit, makes an entirely different ball game. You are looking at £200.00 almost for one evening at the Ballet. It is sometimes cheaper to go to Paris, which I do, as I like certain dancers there.

This raises the question of people wanting to see the top stars, whether in France or England. I think this is such a pity, as very often there is no difference in the overall quality of what you see. This is how you find out about new and less well known dancers, they work as hard as their top ranked performers.

I feel sure part of the problem is that children do not learn about the arts these days, unless parents or a family member have an interest. I f they were taught at school about such things, they would perhaps have the inclination, to want to learn more, and see what they have been educated about.

I know for a fact this is true, having run several dance clubs in local schools. In the end I had interest even from a number of boys, one of whom ended up at the Royal Ballet School, thanks to learning about dance within his normal school curriculum. They were not private or special schools, but ordinary infant and junior state or church schools, but with progressive open minded head teachers, who supported the scheme very well.

I used to take coach trips of children and parents to regional theatre's to see Ballet and Dance, which they throughly enjoyed. As I was able to get block bookings it was cheaper, but even in those days it probably cost the parents £25.00 per child, which was quite a lot of money. Most of the parents had never seen a ballet, but were very grateful to be introduced to the Art form.

So I say, educate the young people, make ticket prices within their means, and hopefully the on going effect would support the Arts., thus giving a wider knowledge and enjoyment to more people. It is about time the Opera House, reduced it's seat prices, to allow more people to visit such a wonderful instuition.

And how do we cope with the costs, to enable us to follow one of our chosen interests, we cut down on other everyday things, I do not smoke or drink, but I will save up and go a bit mad, splashing out on a ticket to see the Ballet, or if this is just not possible financially I collect Ballet DVD's to watch on my wide screen surround sound television. I enjoy a private performance in my lounge, but it is still not quite the same as the atmosphere in the Palais Garnier or Royal Opera House.

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Another suggestion Anyuta (Choreography Vasiliev) danced by himself and Ekaterina Maximove, can be seen on the DVD Essential Ballet, staged at Covent Garden and in Red Square, Moscow. Plus the Leaves are fading(Tudor) on the same DvD Altynai Asl. and her husband Konstatin Zaklinsky.

I have just seen a excerpt on YouTube of this recent new wonder boy (no relation to Vladimir Vasiliev)who has joined the famous Bolshoi theatre from Minsk, Belirus. He is quite spectacular, exciting brilliant with a flourish and technique to be envied by many other male dancers, just on the small clip that shows him in Don "Q" you can envisage what the future holds for him. There is also an article about him on the Internet, do look him up. Certainly one to watch out for. The article is on Ballet Co., and has a Daily Telegraph Interview with Ismene Brown on 9/8/08 when the Bolshoi were in London.

Nanarina: Sorry I misread the original article, but you will note I have amended my posting. Sorry for the mis-info.

I have just seen a excerpt on YouTube of this recent new wonder boy (no relation to Vladimir Vasiliev)who has joined the famous Bolshoi theatre from Minsk, Belirus. He is quite spectacular, exciting brilliant with a flourish and technique to be envied by many other male dancers, just on the small clip that shows him in Don "Q" you can envisage what the future holds for him. There is also an article about him on the Internet, do look him up. Certainly one to watch out for. The article is on Ballet Co., and has a Daily Telegraph Interview with Ismene Brown on 9/8/08 when the Bolshoi were in London.

[Here in the UK we have the same problem, that Ballet is rarely shown on TV, the Arts in general are very badly supported, and if they do creep in, it is usually late at night. BBC gives us a ballet at Christmas, and sometimes Easter. But that is it. Although if you have SKY and get ARTE channel, then it is more available. Considering the cost of a BBC TV licence it is poor service for lovers of The Arts.

I have just ordered a DVD of this Opus Arte product, (From Amazon. co.uk., will let you know what it is like, after I have received it. Should be excellent from the write-up.

Hello Everyone I have been rather busy lately, but still found time to watch my new DVD of Giselle, yes the Royal Ballet with Alina Cojocaru and Johann Kobborg. It is really great, Alina is magnificent in it, and Johann excels with his Royal Danish Ballet technique. I agree very strongly with the people who think this version is the best. No doubt something to do with Monica Masons and Sir Peter Wright's imput, as she herself made a wonderful Martha. The music and orchestra seem to be on top form, I loved the rustic coloured costumes and scenery in Act 1, moving on to the second act, I have always favoured this best myself, the music seems even better, and the choreography is out of this world. Some one I cannot fail to mention is Sandra Conley, who played Bertha, Giselle's Mother. Over the years she has gradually taken over from Gerd Larsen as the Senior Female Character Actress, and I feel her performances quite over shadow the former person by far. I knew Sandy as she was affectionately known, from when she was in the Corp de ballet of the touring company. Her husband Adrian Grater was also a very talented artist, and if by chance he ever reads this, I would like to mention, the well known mints with the hole, which he was rather addicted to !! Let me just say POLO. (Sorry slightly off topic!"!

Back to the new issue DVD This is in fact recorded in HD and with surround sound. You do not need a HD DVD player, as it will play on an ordinary player. However if you have a large screen (or ordinary) TV, if your set has surround sound free standing speekers, and is classed as HD ready, you will benefit from excellent reproduction of this ballet DVD.

Finaly going back to the cast, there was one dancer that stood out to me in the Peasant pas de cinq, she was the main soloist called Laura Morera someone to watch I think, very musical and lyrical, and a talent for the future no doubt.

Many years ago Natalia Markarova choreographed a production of Swan Lake, I think fo Evelyn Hart, and the Canadian Ballet, she used extra music, and included a electornic vision of Von Rothbart, which was a blue figure, that swept out over the orchestra into the audience.

I never saw it live, only on a video, but it was not very clear as to who it was. An early attempt at added visual effects.

I have recently been comparing the overall vision on Scene en blanc (Lifer to Lalo's music ) my first view of this superb work was from an Australian Ballet DVD, which was very clear, and you could see the complex original brilliant choreography, as the stage was in full light. However, in excerts on YouTube of Paris Opera Ballet, the background seems to be in darkness, with the dancers just spot lighted. Which means a lot of the essemble's in the background cannot be seen well, and you lose a lot of the style and movement that makes this ballet so impressive. Have any of you seen the POB production live please? I hope to go and see the mixed bill next February.

I was disapointed in the facilities for people with disabilities at the Garnier, there were no hand rails on the steps at the front of the building, and it was hard to access the entrances with people leaning on any walls that one could have held on to. Inside the lighting was terrible, with only side lights on the corridors, the steps beside the lifts, that went up to the different levels, if the main staircase was not assessible to you, were so dark, even in the middle of the afternoon, I found it dangerous to attempt them. I realise the idea might be for effect, but not at all practical. It is such a beautiful building, and has a wonderful atmosphere, but a little more lighting both in the theatre, and on stage would be a great help to some of us. Next time I am taking a small hand torch so I can feel safe walking up and down the stairs etc.

I feel the Lighting Guy for the productions needs to increase the volume of stage illumination, which could be done, without losing ambence.

I am very eagerly looking forward to ABT's upcoming performances of The Flames of Paris pdd. I find it very charming and not yet done to death.

Carbro I have heard the music to Flames of Paris Pas de deux, on a Bolshoi CD I have in my music collection. It is very impressive. However, is this the same as the Esmeralda P.D.D. ? I used to have this on an old Video, taken at a Gala performance in the Business Exhibition Centre, when the Bolshoi came to London a very long time ago. This was very lovely , sensitive leading from Esmeralda's sadness into happiness when she dances with a tambourine. Are we talking about the same Ballet, or am I on a totally different wave length?

I was very surprised to hear about the apparent lack of Ballet designers in the USA, I think in comparison with Europe there must be quite a serous shortage. I cannot see why it would be too expensive to employ people from overseas, after all once they have details of the production, they could work at home, until it was time to oversee the manufacture of costumes, and be available for fittings and the photo parade.

A complex knowledge of how a dancers body works, where they breath from, and also very importantly the aspect of safety and decency is a very strict requirement.

However to design for Ballet is a totally different skill than for other type of productions. I can recall having to completely alter a certain designers costumes, who had the wonderful idea of stitching lots of lacy appicques to filmsy chiffon costumes. This was totally un practical, as they did not last for even one performance, by the time the dress rehearsal was half way through, the costumes were in threads.

Trying to explain to the designer was a nightmare, as she just could not understand the problems. Boys fingers were caught up in the fabric, girls nearly exposed their feminine attributes and were unhappy about wearing the said costumes, in fact we nearly had a riot. (Though certain members of the Guy's thought the girls outfits were cool!!) In the end the Designer gave up, and meekly asked me if I could sort out the mess. This was no joke, as we were on tour at the time, with the premier fast approaching. We were without a proper workshop, just a room with a sewing machine we took on tour with us, but needs must, it was my job, and I obliged.

Hello Everyone, how are you? I hope you are well and still enjoying your Ballet.

Here are some more Pas de deux I love How about all of you? Most can be found on YouTube Entertainment, under the Dancers names and/or Ballet in question. Why dont you have a look and see what you think.

Scene en blanc Lifer/Lalo) The Adagio, danced by Aurelie Dupont and Manuel Legris. I love this ballet, with it's technical brilliance, and precision. The music is also very expressive in it's own way (Nourmoura ballet music Suite 1 & 2). Aurelie Dupont is so lovely, very musical every step port de bras, or moivement performed with feeling and grace. Look out for the way she squeeces his shoulders at the end, as he is sitting on the stage. Manuel Legris is such a supportive partner, Aurelie has mentioned in the past, how careful he is, when they perform together, to look after the knee she injured very seriosly, and nearly ruined her career, some years ago.

Scherezade, Pas de deux Adagio, Zobiede and The Golden Slave, Marinsky prodution, with Principle Dancer Igor Kolg and Coryphee Jiyeon Ryu (Ti Yon Ryu). This talented Dancer, is the only foreigner in the Company, I think she could be Korean, as the excert is filmed at a Gala in Seoul South Korea. Her style of dancing is equisite, both performers putting their emotion and a very exotic portrayel

into their roles. I should think this lovely young woman has a great future ahead of her.

This brings me on to George Balachine, firstly his Pas de deux for Sylvia, in particular the male variation, The Tchaikovsky Pas de deux, where he uses some un-used music from Swan Lake. In addition the 2nd Act, Pas de deux from A Midsummers Night Dream. Also Stars and Stripes, P.D.D full of fun and to Sousa's music. Finally last but not least, the Diamonds P.D.D from Jewels. A recent DVD with the Paris Opera, where Jean Guill. Bart performs it still comes through pure and true. Jean G.B. reminds me very much of former Balanchine NYCB Principals, he has achieved the style perfectly.Agnes Letescu is his partner, although she is a very good technician, she does not quite fit into the Balanchine style, I am very sorry to say. I do sometimes find personally she under presents herself.

I cannot finish this posting without mentioning Antony Tudors The leaves are Fading(Music Dvorak) Adagio. I can remember a Gala where Altynai Aslymuratova and her husband Konstatin Zaklinsky, danced this pas de deux. There was also a production at the ABT where I think it was John Gardner danced it with his wife Amanda Mc Kerrow. However, the musical arrangement of Dvorak's music for the second version did not compare with the first one played by The Kirov Orchestra. as it failed in the romanric and sumptous string sections.

Hi Bart, I am so glad yoiu remembered "In the Night" thank you for the link. I really like Aurelie Dupont, only wish I could see her dance live. But every time I have booked POB performances, thinking I was going to see her, it has not worked out, I will try again in February 2009, with the Lifar/Petit/ e and hopefully Onegin later. I wish the POB would record some of the mixed bills properly on DVD.

Here is some more for you to think about, just recently reminded on YouTube.

Jerome Robbins " In the Night ", Pas de deux, full of lovely lifts and expression, danced by Aurelie Dupont and Laurent Hilaire in this clip. from about 2003 at the POB. Very interesting as this was one of the works Aurelie was cast to dance recently after returning from the birth of Jacques her baby son(in late May). I am not sure who her partner was to be for these performances. An after thought, her costume for this was really equisite The shades of the under layers of the skirt were beautiful shades of red and orange, highlighted by the split on the top layer. However, being very critical it would have been more appropriate with the theme of night, if it had been dark blue, and shades of pink and orange, to reflect dusk, dawn and the night sky, had I been the designer!!

A new discovery over the last two days, I have just received my copy of Roland Petit's ballet Proust, with the Paris Opera Ballet, there are two quite remarkable pas de deux, that I liked very much, the first is called "watching her sleep" danced by Eleanora Abb. and Herve Moreau, it is really beautiful, and the other "The Angels" danced by Stephane Buillon and Matieu Ganio, a male pas de deux, the costumes leave no space for hiding, it is truly fantastic to see the two beautiful young men, their physique, complete unison of movement and expressiveness as they dance the clever choreography. It may be a little risque for some people but otherwise

truly impressive.

Hey Nanarina!

Check this out...a similar thread-(way long by now, BTW)

http://ballettalk.invisionzone.com/index.p...=26795&st=0

cheers!

Hi CMboy, Thankyou for your post, I see there are a lot of replies, I am busy at the moment, working on a new ballet, you know what is like once you are in the swing of things. As soon as I get time I will read through them.

The Australian Ballet also includes Suite en blanc in their repertoire, could it be anything to do with politics, as part of the Ballet Russe, was stranded in Australia in the second world war. And Lifar had strong connections with both the original and break off companies.

However none of this should detract from the piece itself, it is a genius of brilliant choreography, and when danced with precision which can only be obtained by in depth rehearsal and great musicality, to give the outstanding Lalo score( music from Namouna) it's true effect, it is a wonder to behold. Both stylish, but also lyrical and romantic in the first Pas de deux. To see part of the ballet it is on 40 years of the Australian Ballet DVD.. I do not know if there is a POB DVD, there was, but I believe it was only a excerp and sold out. It would be well worth going to see when it is on in Paris.

Well Mel I hope you are happy now you have got that off your chest..... The Nutcracker, has never been one of my favourite ballets, it may be something to do with the fact, it was the second ballet I ever saw, not just once, but every year at Christmas, it was my two Aunts, it was a good production, but after about 7 years got a bit boring. Since then I have worked in the genre, and learnt a lot about the subject, and my knowledge has somewhat widenend.

Having seen different "Nutcrackers" I am not so biased now, and can appreciate three different versions, Nureyevs for The Royal Ballet, Sir Peter Wrights for Birmingham RB, and surprise, surprise, a very different one by Grahame Murphy for The Australian Ballet, that tells the story of Clara, a Russian Ballerina. It touches on the Ballet Russe history of their arrival in Australia, and features some older dancers, as well as current stars. The music and well known content is used as a performance in the production, which is choreographed in the style of the era. I wont go any further with a description now, but will post a more detailed report as soon as I can.

if i read the CORSAIRE post correctly, it's not the one Baryshnikov dances in THE TURNING POINT, i.e. the number famous from innumerable galas and ballet competitions, the the one for Medora costumed in what Karsavina would call her 'chemise' (vs. the taraltans), is little seen outside the full production and is likely touched up a good bit by Soviet hands, including those of K. Sergeyev.

additionally, it has recently been discovered with much careful study that the 'gala' pas de deux (a trois), was first shown in a production of LE CORSAIRE in 1913, after Petipa's death. It was apparently arranged by Samuil Andreanov (the Conrad of this production) with Karsavina as his Medora and Anatole Oukhov as the nameless (nowadays often called Ali) slave. there is discussion of this, including the music, which is not by Adam. (to the best of my knowledge, the duet for Medora in her chemise and Conrad before the drugged flower sequence was never part of Baryshnikov's repertory.)

Cheers RQ , I think you have got it right, it is where Medora wears her chemise, in the Kirov version that is recorded with Aslmuratova, K. Zak. etc, the Pas de deux I mean is not included, the bed etc is, but the music is differently arranged. The version I refer to is ABT with Ethan Stieful, Julie Kent, Angel Corr Julie Kent. and Malk. Paloma Herr. The music is by Drigo, possibly taken from The Awakening of Flora. See it on YouTube under American Ballet. Le Corsaire has been added to so much over the years, it is a shame that this magnificent Pas de deux, has sadly been neglected, maybe it is because it is quite short. The famous Pas de Trois has over shadowed it. I do not see why it cannot stand up in a Gala, in it's own right. After all Spring Waters has and does.

Back to La Sylphide, I am trying to remember the production I worked on with Ballet Rambert, in the years before I went to The Royal Ballet. My memory is rather vague , but it can only be the Danish version I would think. I can remember that Madge was played by a Woman, and she was pretty scary, as were her associates. I think one could say they were evil. Certainly very different to Pierre Lacottes Madge. I must admit I do like the Paris version, the corp de ballet essemble's are beautiful, the music and steps converge as two rows of Dancers enter and move across , forming lines of different sizes, that finally meet in a wheel. the stage in gron jete

the well spaces groups, and clean lines of the choreography, is equisite.

I must admit I like very much the work of Pierre Lacotte. There is also another 20th century Choreographer I admire, that is Sir Peter Wright, formally Artistic Director of the Birmingham Royal Ballet His Nutcracker is lovely, as well as Coppelia, and a production of Swan I I Lake., who has revived a number of the old classics, with great respect and authenticity to the original productions.

I must admit that I am not over keen on Nureyev's choreography, I find it a muddle of steps, too fussy, and lacking space and definition.

There seems to be no consideration foir the Dancers, to have breathing space, as he often put a step to every note, which must be almost inpossible to dance. I have read that many Dancers feel the same. Sorry if this has gone slightly off topic.