Flexibility

[canbelto]

Does lack of it bother you with a ballerina? I mean I know not everyone is Allegra Kent or Sylvie Guillem, but do dancers who just aren't very flexible kind of bother you? I noticed for instance that Xiomara Reyes, who in the right roles can be charming, simply is not very flexible. OTOH, Wendy Whelan can seemingly contort her long arms and legs into any position humanly imaginable.

So if a ballerina simply is not very flexible, does this bother you? Does it bother you for some roles and not others? Do you actually prefer it -- do jelly arms, legs, and backs disturb you?

[Michael]

Flexibility can be of at least two kinds, and maybe more. In the back and in the amount of extension available with legs, from the hips. Some dancers have one without the other (Carla Korbes, for example -- long extension from the hips but quite stiff in the back, or Rachel Rutherford who is the exact opposite, much more flexibility in her back than at the hip).

There are also some dancers who are just hyperextended in every joint -- Janie Taylor, for example.

There is probably a golden mean (Alina Cojocaru, for example, back flexible yet still strong, big extension but able to restrain it). Too much flexibility can be a problem for a classical dancer -- It means that when they turn out at the hip they've got to stop somewhere arbitrarily, if there is too much turn out you cannot pliee worth a damn; it means also that the dancer must stop her or his extension in arabesque before their body naturally restrains their movement, less they demonstrate the curse of La Guillem. A back which is too flexible will also lack some corresponding strength and stability.

Flexibility in both back or in extension is more necessary in some roles than in others. Cinderella's deep back bend in the recently here performed Act II is so extremely important to that role -- I cannot imagine a performance being as satisfying if the danceuse did not have a deeply flexible back, as Cojocaru has.

Your example of Xiomara Reyes is a very good illustration of the trade offs -- in her Fille Mal Gardee, the Act II pas de deux after the lovers are united, a series of deep back bends after lifts where the male principal wafts the Ballerina from one side to the other, was an exposing moment for her as you are right, Canbelto, she does not appear to have a very flexible back. Yet she was wonderful in the role as an entirety and her dramatic gifts, compact balance, stability and speed lent itself very very well to other choreographic elements in the same role.

[Alexandra]

I like inflexible ballerinas

[dirac]

I’m more struck these days by the guys with their feet up by their ears. I suppose it’s progress, but by me it looks weird.

[Victoria Leigh]

All dancers must have a certain amount of flexibility or they would not be dancing professionally. Some have more in one area than other areas, and some have it in all areas. Those with extreme flexibility can be very beautiful IF it is kept in alignment and control. If it is allowed to go to it's most extreme at all times, I feel that it is disconcerting and inappropriate. If one has it, and can use it in contemporary work to advantage, and control it in classical work, more power to them. But a lot of that is in the direction and the teaching too. A "six o'clock penché" in Giselle or Pas de Quatre is not appropriate, however, it could be quite wonderful in a Forsythe work. A dancer with this ability is more versatile, but only if she she/he responds to direction and the director has taste, knowledge, and respect for the classics.

[lampwick]

I don't particularly mind when a dancer doesn't have amazing extension. There's usually some other qualities that are quite strong. What REALLY bugs me is to see a lifted working hip in developee, off the standing hip, with the ribcage distorted. Why bother?

[mohnurka]

I think it just depends on the role or piece being performed. In some instances, very high extension may be appropriate, and at other times, it would not.

It also depends on ... don't really know how to call it... Some ballerinas are dramatic actresses and therefore amazing extension/flexibility isn't necessary for them. Others create a beautiful line in their dancing; hieroglyphics, if you will, and greater flexibilility would help.

[Cygnet]

All dancers must have a certain amount of flexibility or they would not be dancing professionally. Some have more in one area than other areas, and some have it in all areas. Those with extreme flexibility can be very beautiful IF it is kept in alignment and control. If it is allowed to go to it's most extreme at all times, I feel that it is disconcerting and inappropriate.  If one has it, and can use it in contemporary work to advantage, and control it in classical work, more power to them. But a lot of that is in the direction and the teaching too.  A "six o'clock penché" in Giselle or Pas de Quatre is not appropriate, however, it could be quite wonderful in a Forsythe work. A dancer with this ability is more versatile, but only if she she/he responds to direction and the director has taste, knowledge, and respect for the classics.

Ditto that! I totally agree! Great post!

[fandeballet]

I agree that to show flex. in good form and at the appropriate time, is fine. I think that there should be consideration on how musical it is, esp. in respect to the phrasing.

Another question: Which ballets- if any- should be exempt from this process?????????????

[canbelto]

I think (and this is just a personal opinion) that in a role like Nikya, much of the role's soulfulness and expressivity lies in having an extremely fluid, flexible back. Maybe it's what gives Nikya a certain air of the exotic. But I'd be distracted by, say, Gillian Murphy as Nikya. Because for all of her formidable talent, Ms. Murphy simply doesnt have the extremely fluid, flexible upper body that I want in a Nikya.

I think for roles like Odette/Odile and Kitri, much of the role depends on a kind of "can she do it?" tightrope so I dont mind extreme flexibility there either. Having rather stiff arms or inflexible legs would actually be distracting IMO.

OTOH, I think flexibility is less important in roles like Lise, Coppelia, perhaps even Juliet and Giselle.

For Balanchine roles, this begs the question: if a role is very associated with one dancer, who was known for this or that, does it distract you when a very different dancer dances the role at NYCB nowadays? For instance, does it bother you when someone who doesnt have unusual extensions dances the Allegra Kent roles?