Category Archives: partnering

Monday, Monday: Can’t Trust That Day

We threw a little viewing party last night, and I finally watched our video from Spring Collection.

There were a few WTF moments and a few really beautiful moments. On the balance, the rest was okay, especially given our highly-compressed rehearsal schedule. I’d say that analysis applies both to the entire group to me individually. It’s worth noting that essentially everyone’s WTF moments happened at different times, and the overall effect was surprisingly polished.      

For my part, I was at my worst right of the gate: I came in too hot, and you can definitely tell. The first sauté arabesque turned into a bad saut de chat, and while the sauté arabesque that leads off the “arrow” was nice, I failed to failli through and the landing was fugly. Like, I started to relax the working leg to tombé onto it, then just didn’t even really bring it through. Eh.

I was at my most mind-bendingly mediocre in the tombé-coupé-balloné-sus sous part, during which my legs looked beautiful but my arms were way too far back and my shoulders creeped up. I didn’t know about the giant hat yet, then.  The average of these two things —beautiful legs and feet, bad arms —is a flavor of mediocrity that must be highly specific to dancers who, as kids, weren’t into being beautiful and lyrical, but instead wanted to master the explosive jumps. 

I will say, though, that your average person-in-the-street would not be able to pinpoint what, exactly, I was doing wrong. They might spot that something looked a little off—might even say, “The boy looks tense.” They’d be right, really: I was tense. That’s why my shoulders and arms were so weird. I was convinced that I was going to eat Marley at any moment, since that part follows on the tail of the part in which I threw a shoe.        

Meanwhile, your entry-level balletomane would be able to identify the problem precisely—but that’s neither here nor there. 

I was at my best, meanwhile, throughout the Homage to Apollo/Balanchine Noodle Experiment segment, in which I suddenly turn into this lovely danseur who seems to know what he’s about. I—who once despaired of every figuring out what to do with my arms at all, ever—do these beautiful, lyrical, expressive things with my arms whilst partnering four girls who, for their part, also look lovely. 

The turn afterwards morphed into a kind of really high, lovely rond en tournant thing. According to D, if you don’t know that’s not what’s supposed to happen, it looks quite nice, though the finish was iffy—I gave it too much force and had trouble checking my momentum >.< I basically prepared for a normal turn in second, but gave it enough force to launch a rocket and, for some reason,  brushed my leg up way, way too high.

The Apollo jump, meanwhile, was higher than I thought (which makes me wonder how high it would have been if I hadn’t been paranoid about missing shoe situation) and acceptable. Not brilliant, but technically sound, and nice enough.

At the very end of the dance, I think I looked a tiny bit lost, though that may be because I kept, for some reason, turning my head too far in these bits that should have in profile. The movements, though, were nice enough. 

There’s a lot of improvement over last year’s video from Lexington: like, I can watch this one without wanting to crawl under a rock. The biggest difference is that I carry my arms and upper body so, so much better. I don’t keep dropping my arms and desperately searching the middle distance for … something[1].

  1. The fact that I didn’t run myself into the ground in the dress rehearsal probably helped, there.   

In the Spring Collection video, there’s only one spot in which I did entirely dropped my arms, and it’s because I had to shimmy through a traffic jam on the way from the tombé-coupé-balloné-sus sous bit to the Changing of the Trains bit. I mostly managed to stay one step ahead of the weird things that inevitably happen onstage, but not that thing.

As a performer, I’m learning to adjust on the fly the same way that you do in the pack in a bike race. I think I’ve come a long way this year. 

~

That said, I still have bad days and bad classes. Today was one. I’m having a wicked bout of body-image issues right now. I didn’t stretch after rehearsal yesterday, and I felt it all through class. I couldn’t get my brain to engage. I felt like I couldn’t move or engage all the things or maintain placement.

In the other hand, I got through little jumps and the first petit allegro without any major complaints from my foot.

In the long run, I’ve at this long enough now to know the taste of a plain old bad day. Although there’s a small part of me that’s loudly freaking out (you know the drill: worst dancer ever, no business dancing, etc), the rest of me is basically like, “Calm down, Felicia.”

Like: it wasn’t a wolf last time, it isn’t a wolf this time, so keep yelling if you want to, but we’re gonna get back to herding our sheep over here.    

This week, we’ve got a bunch of late rehearsals; we’re basically running the show until we can do it our sleep (ah, tech week). Orpheus opens on Friday, runs for three shows, and I’ll be down to one performance to rehearse for the time being.

Then it’s on to summer, as unbelievable as that is.  

~
PS: if we get permission to post the ballet video somewhere and everyone’s okay with it, I’ll stick a link out here.     

Three From Acro

Today I Learned… 

…The Apollo jump (which I had seen, but as far as know had never done) and the last remaining piece of our dance, which is mine alone and involves a turn in second and said Apollo jump.

That’s about all of it: we finish the Noodle Experiment, I back away from the girls and throw in a turn in second, then I pause for a second and when everyone else is essentially running upstage, I do the Apollo jump downstage, land it, collect myself, and run a few more steps to my place for the end of the dance. 

We might change up the first partnering bit, though we might not. We’ll see. I like the change that T and BG worked out, but it’ll be a question of whether the remaining two girls from that group are okay with it.

I’m fine either way. They’re worried about kicking me. 

I mentioned that if they kick me, it’s probably my fault. That’s kind of how partnering works for boys:

  • If the girl kicks you, it’s your fault. 
  • If you kick the girl, it’s your fault. 
  • If the girl smacks you in the face, it’s your fault. 
  • If you smack yourself in the face with the girl, it’s still your fault. 
  • If you drop the girl, it is Definitely Your Fault (and you will never live it down). 

FWIW, yes, this is intended to be funny but it’s also largely true. If you’re dancing the (traditionally) male role, part of your job is being in the right place at the right time and accounting for glitches, because the person dancing the other part has enough to worry about already. You adjust. 

And if she stops dancing, turns around, and punches you squarely in the nose? 

That is also Definitely Your Fault, unless it’s Because Ancient Aliens. 

~

PS: I was wrestling with keeping my waterfowls in a linear array in the turn from second because ATTAAAAAAAACK!, and BG was like, “Keep your chest up and think of it like … a hammer throw, only your foot is the hammer.”

Bizarrely, this worked really hecking well. 

Important note is that you still have to keep the working leg hella engaged, especially if you have sick mobility in your hips. If you think of a track & field person winding up for a hammer throw, though, they stay really tight basically the whole time. 

%d bloggers like this: