angelica

When Oksana Baiul was competing in the Olympic figure skating event I had hopes that figure skating would begin to embrace more balletic movements. The turnout showed beautifully on the ice. Alas, Ms. Baiul went on to live a more private life and figure skating reverted to its more athletic rather than artistic side. But that's only MHO.

The ballet line for me is something I feel I can see and understand but can't clearly articulate in words, so thanks for your comments, Angelica. Line can be described as proper alignment as defined by the particular school or syllabus, perhaps? You can definitely see it at the barre when a well-trained dancer is taking class, Yes, you're exactly right, AlbanyGirl. It is, indeed, a matter of alignment, not a matter of opinion. My point has been that I have never seen a satisfactory definition of ballet line. So even though you and I are getting close to the thing, and we definitely know it when we see it, I would love to find a satisfying definition that is not tautological. By that I mean something that goes beyond "ballet line is the particular alignment of the body that is characterized by ballet." Well, I'm going to be off this board for a week while I try not to break a leg skiing in Colorado. So I won't be hammering this point(e) (haha). But we're getting close, AlbanyGirl, and maybe sometime we can nail it. Thanks so much for responding. Sometimes one thinks one's posts are going into a black hole and it's so reassuring to know that they have clicked with someone out there.

I agree. Thank you, AlbanyGirl!

P.S. Re: the importance of pointe shoes and their relation to ballet line: Pointe shoes are important, but not in and of themselves; rather, because they elongate the leg to its maximum, thus extending and enhancing the line, whereas demi-pointe, in ballet slippers, cuts off the line.

With all due respect to those who are describing line in drawing, painting, and even other forms of dance, there is something unique to what is known as a "ballet line," and I believe it is that particular form of line that distinguishes ballet from other forms of dance. One can dance modern dance or even jazz in pointe shoes but it would not be ballet. The ballet line is composed of proportions and geometry, and a particularly elegant carriage of the upper body. It is about triangles created in various poses--check out those triangles--as well as the maintenance of turnout and pointed feet (yes, sometimes the choreographer can make alterations but these do not carry throughout an entire ballet). If you watch the videos of the Vaganova Academy students, for example, you can see even in the barre exercises where the dancers are not on pointe, the particular line that distinguishes ballet. In order to truly appreciate ballet, you need to "get" the line. I had a friend who had a flair for the draping of fabric in fashion (she was visually attuned), and when we attended her first ballet performance, after I'd explained what ballet line was about, she immediately exclaimed with great excitement, "Yes, I see it, I see what you mean." I had a male ballet teacher some time ago who only had to stand in fifth position (no pointe shoes) and you felt you were at the ballet, so perfect were the proportions, the turnout, the upper body carriage, the shape created by the muscles of the thighs and calves. I may admire the line to the horizon of a set of railroad tracks, but that is different from a ballet line.

I believe earlier reports suggested that much damage was prevented because he was able to immediately flush his face with snow that was piled on the ground, diluting some of the effects. That makes good sense.

I will look at the other discussion board, but I raise the matter of "line" because I think it is the "line" that distinguishes ballet from every other form of dance. I don't think it's a question of pointe shoes, but rather, whether or not the dancers create the ballet "line" with their bodies. It goes back to what is called "placement," another word that could use a good definition. Maybe that's on the other board as well. One interesting thing about ballet training is that the training sculpts the body and develops the muscles in such a way that a ballet "line" is created (in those who have the physical capability, e.g., the potential for turnout). People trained in any other form of dance cannot create with their bodies a ballet "line."

Well, that's a good point about whether or not acid was used in the attack. I would have expected Filin's face to have been severely burned if it was splashed with acid. Weak solution? Some other liquid?

Would anyone like to tackle a definition of "line"? I know it when I see it, but I've never been able to find a definition that isn't tautological.

Absolutely stunning performance last night by Maria Kowroski in the adagio movement of Symphony in C. The entire program was terrific, except for one soloist in Symphony in Three Movements who needs some extensive work on holding her upper body. But Maria is in a class by herself. I can't help wondering why she hasn't made an international career, as she is obviously capable of dancing the classics and, IMHO, would have an international appeal. Perhaps she is loyal to her Balanchine roots--perhaps she feels protected from the international intrigues that go on when ballet dancers are playing "musical ballet companies," with someone always getting short shrift when the music stops. Anyway, if you can catch Maria in Symphony in C at the Saturday matinee, you're in for a treat.

Can you exchange NYCB tickets over the phone? My understanding is that you can't do that at ABT.

balanchinette, I loooove the way you describe Maria.

Thank you, abatt. That was, indeed, the part of the stage that I couldn't see.

I, too, attended last night's performance, which included a tour de force by Peck and DeLuz in Tchai Pas that kept me at the edge of my seat. But even more memorable for me was the luminous performance of Maria Kowroski in Diamonds. With what are, arguably, the most beautiful legs and feet in all of ballet history, coupled with a plasticity and expressiveness of her upper body, Kowroski danced with a fluidity such that every extension, every position, was drawn to the utmost. I also enjoyed watching Janie Taylor in Bal de Couture, although I think the tutus and the red shoes make everyone's legs look muscular and thick. Btw, did anyone notice a mishap in Diamonds last night? At one point I thought I heard a gasp in the audience but I was sitting at the side of the first ring so that the dancers were hidden from sight at just that moment.

Totally! Besides, I'm counting on him to advocate for Stella's promotion at ABT.

Oh my, a continual diet of Pavlovas would totally change the "look" of today's dancers. I can see how they would motivate you to spin as fast as you can!

Yes, Abatt. In fact, I can think of two! I fear that you may be right about the promotion ship for Stella, but I keep hoping against hope that Ratmansky, who seems to like her, will be able to have some influence in that regard. She is the most deserving of all the senior soloists.

Now that is interesting, Natalia. Have you any idea whether these "link" are via the dancers in the company who are Ardani artists, or are they more direct? I would love to get to the bottom of this.

This must be a contagious disease. I've heard the same thing said about the artistic director of another major company, this one in the U.S.

Drew, you have just given him a lovely "farewell."

I think she did a fine job as Myrtha. She was stern, and she also danced very well. Her upper body was nice too. Thank you, Birdsall. I wonder daily what can be done to get this beautiful dancer more recognition.

Birdsall, thank you so much for that information and window into the event. Did you have any thoughts about Stella Abrera? Now that Veronika Part is finally getting the acclaim she deserves, Stella is my most favorite dancer-in-waiting, so to speak.

Oh, please don't take Ratmansky away from ABT. Some of us are hoping that he is in line to succeed the current AD, and that Ratmansky will promote those "flagship soloists" who have long deserved to be promoted. Only it better happen soon or it will be too late.

I think that if you've ever danced in pointe shoes, there's something special about owning a pair worn by one of your favorite dancers. They're usually in pretty good shape when they're put up for sale. And they don't smell at all, ever. I have been turned off, however, by the men's ballet slippers, and have never been tempted to buy a pair. They always look very worn, as if they've taken a great deal of punishment, even when displayed on the Grand Tier of the Met. I've never attempted to smell one.

Didn't Cory spend some time at the Royal Ballet School, or am I mis-remembering?