Category Archives: repertoire
The variation felt good tonight, except the bit when I came in too hot right at the beginning.
Note to self: tombé is not a leap.
Not usually, anyway.
The girls, meanwhile, look amazing. The thing that impresses me most is that they’re all so beautifully synchronized.
Tomorrow we ride.
Tonight, though, I’m exhausted and I need to roll my legs, so that’s it for now.
Tuesday, after a fairly hard conditioning class and a not-difficult-but-demanding technique class, we began learning variations.
Wednesday, after a very restorative conditioning class and a lovely technique class, we continued with them.
The girls are doing the Swans’ entrance scene. There are only four of them, so they have a lot of ground to cover, but they already looked pretty great at Tuesday night’s brief “show ‘n’ tell” session.
Meanwhile, my variation (one of the many versions of Seigfried’s) is a challenge in the small studio even though there’s only one of me—it’s packed with big leapy bits, all of which seem to land me precariously close to the walls when I do them full-speed. Thus, I wind up doing a lot of marking and semi-marking. There seem to be a lot of walls in that studio.
Still, I was quite happy with the sauté arabesque-balancé-tombé coupé jeté sequence last night (it varies from the video we’re using as a model, which involves a bunch of revoltades, which I still am not sure how to do on purpose). Also feeling better about Bournonville jeté, although I still tend to jump through my arms. We worked on that a lot last night.
I couldn’t remember about 20 seconds of the version that C taught me (which doesn’t have tours in it), and since I was working with J last night, we subbed in some tours just because. They feel a lot better this year—I’m figuring out how to use a relaxed plié in grand allegro instead of hanging onto tension, which makes a huge difference.
To be honest, though, just having another year under my belt also makes a huge difference. I don’t have to think about choreography anywhere near as much: I’m better at remembering chains of steps, instead of individual steps. That makes a huge difference.
Likewise, even though we don’t get to do grand allegro anywhere near as often as I would like at home (especially since BW is in Europe for the summer), there are a lot more steps I can do without having to think about them at this point.
The most invaluable corrections this far have been as follows:
- In saut de chat, focus on travel rather than on elevation (the elevation takes care of itself)
- In Bournonville jeté, imagine leaping over a hurdle. This imparts the graceful ballon that makes it such a nice leap.
- Also in Bournonville jeté, think about reaching forward with the arms, then opening them. This both looks better and prevents me from hyperextending my back and shoulders, which screws up the momentum of the jump and looks weird (though probably okay in modern contexts?).
The central thing I’m taking away from this intensive is that I need to focus on one idea:
I used to ride a horse with whom the same basic principle applied. You had to ride him forward, or he would just slope lazily around and pretend he didn’t know from dressage.
The highlight of last night was when I came in way too hot on the first tombé-coupé and instead of the standard jeté, it turned into something spinny and impressive whose name I don’t know. It’s definitely a thing—I’ve seen it in other variations—I’m just not sure which thing. I’ll have to see if I can find it in Tarasov when I get home.
Anyway, J said, “Ooh, that was fancy!” Sadly, since I’m not actually sure how to do that particular thing on purpose, I’ll just have to file it away for now (with revoltades) and save it for some future date.
Last year, I think I was a bit wary of speed and power. I was forever doing Albrecht’s variation as if I had a check-rein on: behind the motion, without abandon. I was too busy thinking about the steps and trying to be precise, and I was definitely a little afraid of running myself over.
This year, I feel like I’ve made friends with speed and power, and when I get out of my own way, I can harness them. Confidence goes a long way!
In other news, my adductors are pretty sore, which is okay, since they’re one of the bits that need to be stronger. My beats look better for it, though in class yesterday I kept doing jeté battu on the wrong foot (wtf?) and decided to just do plain jeté like everyone else. I should try breaking out the entrechats sixes today. Quatres were nice yesterday.
Anyway, I should go do my laundry. I’m not going to walk down there this time; it’s 3 miles round-trip.
Tonight we polish up the variations; tomorrow we get to show them off.
I am having a terrible time focusing on Things That Aren’t Ballet today, so I’m taking a few minutes to write (what I hope is) a quick post about video.
Historically, I’ve only very rarely managed to snag video of myself dancing. The rehearsals for our upcoming performance have dramatically changed that, and they’ve made me think that it really wouldn’t kill me to spend a few bucks on a GoPro or something similar, because video is actually a really stellar learning tool for dancers.
Basically, video allows you to see what you habitually do wrong. If you, like many dancers, are naturally hypermobile and thus can’t always feel things accurately, seeing them can really help.
Watching all this video, I’ve noticed a couple of patterns of my own.
First, when I get tired, my arms just … ugh, I don’t even know what to say about them:
This is from the beginning of the Balanchine Noodle Experiment. My arms are just … what. I don’t even know. Like a straight line, but a lazy straight line, with no presence(1).
- It could be worse, but “could be worse” isn’t really what we’re striving towards in ballet, am I right?
Presence is really rather immensely important to this moment; so much so that BG gave me a specific note about it when we were first learning this bit.
Meanwhile, my hands, in an effort to not be like:
…have simply dripped off the ends of my wrists. Feh.
At least my shoulders are down?
The other thing I’ve noticed is that I’ve developed a habit of dancing swaybacked. I don’t really have a good screenshot of this, though you can kind of detect it in the shot above. Check out the front line of my body: it’s a perfect curve, like a segment of a circle, because I’m standing with my pelvis tilted too far forward.
I could probably get a decent screenshot if I was a more patient human being. I’m not.
Anyway. I actually know why I’m doing that—it’s an over-correction from a different problem, in addition to being an occupational hazard of being a hypermobile dancer.
Point is, I can’t feel it, so—just as with my wrists forever being like…
\_____O_____/* *proportionally speaking, my hands are not this big
…until I saw a picture and realized that they were doing that—being able to see it really helps.
When I consciously correct for the swayback thing, my turns are about 1,000,000 times better (which suggests that I’m using pretty small units of measurement to grade my turns, to be honest :P).
When I don’t, the middle of my body gets up over my leg(2), but the part from roughly the shoulder-blades (or, on really bad days, the navel) on up stays behind the axis.
- Every time I hear or write this phrase, the little earworm that lives in my auditory cortex goes, “GET UP OVER THAT LEG … AND TURN ‘TIL YA FEEL BETTER!” and then that plays on repeat for like an hour
Likewise, it sometimes causes a wiggly hip thing that I find completely revolting.
Anyway, regular work on my core should help correct for this, and I’ve rather committed myself to Pilates on Sunday afternoons (though one class per week probably won’t cut it, so I need to make myself do it at home, too).
The other nice thing about video is that it lets you see the things you’re actually doing well. The rep group is, as a whole, on top of the beautiful lines. I jump well (but, like, I kind of knew that?). When I nail an arabesque, I nail it.
So, basically, the whole point is that video is great for sorting out some of the details you never notice when you’re in class or in rehearsal because you’re too busy, you know, dancing.
I hope if the rest of the group should stumble upon my blog, they won’t mind that I’ve stuck a couple of screenshots up here. I’m guessing they probably won’t, since you can’t tell who anyone is, including me 😛
The Time of the Allergies(1) is upon us again, and D had a coughing fit at 6 AM that woke me up.
- Or, if you’re me, the time of EVEN MOAR ALLERGIES, because all times are the Time of Allergies.
Since then, I’ve actually managed to put dishes away, wash last night’s remaining dishes, put those away, make waffles (because either someone in the neighborhood was making them or I was totally hallucinating the scent of waffles, and I just couldn’t stand it anymore), eat a waffle, feed D a waffle, clean up after the waffles, and run a couple of loads of laundry.
I also failed at making tea, however: boiled the water, then forgot to actually make the tea for two hours, so had to start over. Anyway, I have tea now.
Fortunately, D picked up some allergy meds for me, so I’m breathing through my nose pretty decently at the moment. #smallvictories
Anyway, ballet-wise, I feel pretty on top of my choreography, including the Partner All The Girls! bits (actually, those are the easy bits; I really basically just stand there, look pretty, and put my hands where they need to be). However, we still have the last 23 seconds to learn, so I’m going to rehearsal tomorrow instead of going to see Wendy Whelan’s “Some of a Thousand Words.”
Funny thing is that it really wasn’t a question (because apparently my #priorities are properly aligned, or something). If we’d finished the dance last night, I might have gone to the performance instead, but I really actually want to go to rehearsal.
Fortunately, D isn’t offended that I’m opting out on my birthday present, and in fact agrees with me that going to rehearsal is the right choice. He is going to give our tickets to someone who wants to go and doesn’t have tix, which is a nice thing as well. So instead of seeing Whelan’s show for my birthday, I get the pleasure of giving someone else the chance and still getting to go to rehearsal 😀
In other news, I still have no idea what I’m wearing in the show, besides white socks and white shoes. I keep forgetting to ask, and people keep asking me, and I keep having to say, “Um, actually, I have no idea.”
BG described the tights I’ll be wearing as “awesome,” so of course I’m picturing something like this:
…But I suspect that reality will be somewhat less ornate, since all the girls are wearing pastel leos and white romantic tutus, and not so much with the bling.
In other news, today is perfect soup weather, but I forgot to buy soup, so #firstworldproblems etc. I could make soup, though, if I get desperate.
Here’s what I wore last night, anyway:
I was use-testing the socks, which are new. BG and I agreed that we kind of liked the blue tights (which are brighter in real life) with the socks, but also that they would clash with the rest of the performance.
The shirt, OTOH, is just the same shirt I wear every damn day.
Rep/Rehearsal went well tonight. Our piece is coming together. I continue like it. It’s not difficult, but it’s pretty (and I get to show off my floaty jumps and my extensions, so that’s nice too).
We’re adding a second weekly rehearsal session for the next few weeks so we’ll have time to nail down the rest of the dance. It’s something like 4.5 minutes long; we have the first 2 minutes set.
BG counts the music per phrase, which results in some completely wack counts (there’s a phrase that counts out to 7 beats because of some rubato and a caesura; it’s one of those moments in which Vivaldi goes, “HA! You thought this movement was over, BUT IT’S NOT!!! PSYCH!!!”).
Took class beforehand also. It went really, really well. My brain, my arms, and my legs were all working at the same time (will wonders never cease?). Turns were good; petit allegro was fine … even when BG was like “No Big Arms Because This Is Petite Allegro.” Which was basically a correction for me.
We were a big class in a tiny studio, so there were lots of zig-zaggy combinations. I’m down with that. I think they’re good for getting us to STOP FREAKING THINKING SO MUCH (which was basically the theme of tonight’s class). You can’t freak out about OMG LEFT SIDE INCOMING if you’re constantly zig-zagging back and forth between left and right.
Also, BG made everyone do contretemps, and I actually lurve contretemps, so it makes me happy that now everyone knows how to do them. Or, well, everyone who was in class tonight. Not, like, the whole planet.
The weird part is that my left side has suddenly decided to be better at turns and at jumps that have turns in them. No idea why. It just is what it is.
Oh! And today, in killer class, the billion and fifteen chaînés I have done in BW’s class paid off. We used them in a combination, and it just was like, “Oh, chaînés, no problem.”
So it was like, “Pas de problème,” and not “Pas de problème.”
…Which is officially the most linguistically arcane and nerdiest pun in the history of my puns.
So apparently I no longer hate chaînés. I am, in fact, forced to admit that I kinda liked the way they felt today.
In other news, I am now under obligation to make a video. I was marking a piece of choreography while transporting my giant water jug, my towel, and my notebook across the room, and T decided that I need to shoot some video with the giant water jug.
So I’ll probably sort that this weekend, because the idea sounds hilarious, and so totally typical of me. I am forever doing turns with a towel in my hand or jumps with a water bottle because I start thinking about the choreography and forget that I’m carrying things.
And, of course, should said video actually arise, I shall post it here (and on My Tiny Pathetic Insta Feed).