Category Archives: mistakes
Yesterday, I had nothing before ballet, so I was properly fed and rested and so forth.
As a result, BW’s class went very well.
After, I went and played at Suspend, where we did all kinds of lifty things in Acro 2.
After that, my car decided to throw a fit and D had to come rescue me (fortunately, I noticed that it sounded weird and didn’t get on the expressway). As result, an already late night got later, and I was too tired to pack lunch.
This morning, D came home early and sent me to Cinci with his truck, which was really sweet of him. I had eaten two hot dogs for lunch, with the intention of grabbing some real food when I got back into Louisville.
In Cinci, partnering class was half really frustrating: I couldn’t hear because my allergies were trolling me, and we were learning partnering phrases, so I kept not quite understanding what was going on. As a result, I kept frustrating my partner, which made me nervous, which makes my brain not work too well.
- Also, my body wanted all the fouettés to be tour jetés. WTF, body?
Anyway, we got there eventually.
During the second half, we did group lifts, and that bit went really well. Didn’t hurt that Acro 2 last night was all about the dynamic group lifts :p
Anyway, after Partnering, my plans for food were scuttled by a traffic jam. I resorted to buying Chex mix at a gas station when I refueled the truck. I would be surprised if that even brought me back up to baseline.
Anyway, BW’s final class was more challenging than it should have been, since I basically ran out of juice. I got all the way through anyway, but my grand pirouettes weren’t really all that grand. They started out nice going right, then fizzled, going left, I just worked fourth-passé-second-plié-relevé-plié-relevé, etc, without the actual turns.
On the other hand, I cracked out some nice grand allegro: it was kind of my way of saying, “I value your class and, dammit, I’mma try as hard as I can!”
That backfired, of course, when we proceeded to follow the second grand allegro combo with even moar petit allegro.
Oh, I can now check entrechats six off my goals list. Or, at any rate, I can mark them as done with baseline success but in need of werk, werk, werk, werk. They’re not pretty, but they’re there.
We did 36 of them.
Also, after that, so many Royales, which are my least favorite jump. I mean, seriously, in France there’s a hamburger named after them.
- I may be employing artistic license here. Who knows?
Anyway, my legs felt weak and resentful (I suspect that, if you’re a dancer or a cyclist, you understand what I mean), and I resented their resentful attitude (note to self: I need to draw a resentful attitude 😁) until I realized that it wasn’t fair to resent them when it was my own fault for not feeding them.
Evidently, it takes a lot of calories to run this body at peak performance, or at any rate more than the ≈600 I have it before tonight’s ballet class.
At any rate, I’m pleased with myself for not giving up. There were a few times in class tonight that my dark side whispered,”You could just say your foot is unhappy!”
But I didn’t.
So there’s that.
Anyway, I’m going to go have a wee soak in some Epsom salts. Tomorrow, I have to leave at 7 AM for Cinci because evidently I’m insane, so after that I’m off to bed.
Today’s class was a … you know what, the French do have a term for it: a melange. A mixed bag. Tutti frutti, perhaps.
Barre was good. Then bad. Then good. Then bad. I’ve mostly recovered my strength, anyway. There were some very nice balances, some very nice fondus … and some balances that weren’t, and some fondus that were really very much fondon’ts.
Adagio started out awkwardly and progressed into beauty (thank freaking G-d). The waltzy terre-a-terre thing was actually fairly nice going right (musicality! literally effortless triples! literally acceptable chaînés!) and terre-a-terrible going left. I mean, so bad that on my second run left (when I inserted myself back into the last group for a remedial run), my badness became contagious and BG, who was taking class with us, blanked on the second half of the combination.
- Okay, so I’m not actually sure that was really my fault, but it was funny. What I think really did us in was this: as we prepped our run, BWK said, “Really travel on those waltz turns, gentlemen!” and then we put everything into traveling through the waltz turns and promptly forgot what the heck was supposed to follow them. For once, I remembered first, and stage-whispered, “Piqué arabesque! Turn!“
I then tweaked my mostly-healed toe and bailed out mid-run going left on the next thing, a very similar-but-rather faster terre-a-terre. I couldn’t get it taped fast enough to make it back in for the warm-up jumps, so at that point I was done. Meh.
So, basically, several points in the “progress” column and several in, depending on who you ask, either the “regress” or the “congress” column[2,3].
“If pro is the opposite of con, then the opposite of progress must be Congress.”
—Attributed to Mark Twain, anyway
- Yes, that was a cheap joke.
- No, I’m not sorry.
After, I joined AMS for swimming and roller-coasters (and inventing fake rides for an imaginary theme park of our own), which may have been completely irresponsible, but which was also completely worth it. I now have a season pass to an amusement park that’s located barely more than a stone’s throw from my house and actually literally on the way home from ballet.
Since there’s a water park there where I can swim my brains out in a wave pool, I intend to use the bejeezus out of said season pass.
As is the way of these things, the season pass is less expensive than paying regular admission twice. It’s also comparable to or less expensive than a membership to various local swimming pools that don’t have waves and gigantic waterslides (or rollercoasters).
This solves my “How can I do cardio without overworking my quads?” problem quite nicely. I can now go swimming a few times each week … and if the occasional roller-coaster or two sneaks into the deal, that’s probably okay.
- For your amusement, here are some of our imaginary theme park rides:
- The Wheel of Poor Decisions: Located close to our Unlimited Drinks Buffet, but at the furthest possible point from all restrooms, our giant Ferris wheel will cause you to question your life-choices.
- The River of Punishment (AKA Time-Out River): There is no splashing on this contemplative lazy river-style tube float. Also, no talking, no smiling, and absolutely no horseplay or fun of any kind. You should use this time to sit in your tube and think about what you’ve done.
- Hangry River: Located at maximum distance from all food service venues, Hangry River offers a ride on doughnut-themed inner tubes through a veritable degistive tract of slow, sinuous curves. Fear not: as you exit the ride, you will pass through our otherwise-inaccessible Hangry Valley Food Court, where you can stuff yourself on pizza, doughnuts, and ice cream to your heart’s content.
At the moment, my car smells like the inside of someone’s dance bag.
In fact, it smells like the inside of a dance bag belonging to someone who shoves his sopping-wet warm-ups into said bag after class and then forgets about them and goes home and the next day is like wtf did I do with my warmp-ups and then finds them when he goes to get his shoes out in ballet class the next day and shoves them back in his bag and forgets about them again until he finally remembers to bring the freaking bag in so he can wash them, which might take like an entire week[1, 3]. Ewww.
- I can neither confirm nor deny that this has actually happened to me.
- Possibly more than once.
- For the record, this problem is pretty specific to commuting by automobile, since taking public transit or riding a bike rather prevents leaving your dance bag in the car all week, doesn’t it? Though I did once leave legwarmers in my bike’s trunk bag ._. Good times, good times.
So I’m planning on going after my car with some carpet foam tonight. Possibly also mowing the lawn (completely unrelated, but still something I should probably do), but we’ll see.
Anyway, fairly good day in Modern today.
I am still madly in love with floorwork.
Perhaps I always will be? The lights (which are on sensors) clicked off about a quarter of the way through our floorwork combination, and we were just like, “Ahhhh.”
Modern dance naptime, you guys. For real. It’s as refreshing as a nap without all that annoying napping.
Meanwhile, I’m back to being able to withstand light pressure on the outside of my right foot, so it’s now possible to safety-release into various rolls from an upright position. It’s still iffy about turns, but TB (who has been in class with us a few times now—yay!) suggested a different way of taping it that might help, so I’m going to try that tomorrow and Thursday.
I’m also continuing to work on knowing where UP is, which is remarkably hard (TB finds this unsurprising about me; I suspect it’s part of the “ridiculously hypermobile dancer” package).
I’m also also continuing to work on not being so freaking terrible at scheduling myself. As such, I created a dance-specific calendar, and because I figured, “Why not?” I’ve posted it as a page. That way D can find it easily and figure out where in hell I’ve gone, which can be a problem when you’re married to a dancer who won’t stand still for 5 minutes.
Turns out that it loads desperately slowly (read: about the same level of urgency as an unhurried sloth), but whatevs. It’s a start. I thought about making a separate calendar page for intensives, but that seems excessive. Instead, I made two separate calendars with joint output. The intensives show up in a red font; everything else shows up in blue.
crazy awesome. Or something like that.
That said, it turns out that I’ve YET AGAIN double-booked myself on so many levels it isn’t even funny, so now I’m trying to finagle my way out of the Cultural Dance workshop I can’t take because I’m in Lexington during half of it. That sort of forces me to take our AD’s masterclass, though, which I’ve been semi-dreading because, like, he’s our AD and therefore inherently terrifying.
In other news, I guess it’s time to Order All The Dance Belts before I jet off to Lexington and then Connecticut. I have three that I like well enough; I would really like to have five so I never, ever have to worry about whether or not they’ll dry on time.
I need to make up my mind whether to order another pair of Yumikos or to order some M. Stevens tights, also, mainly because there’s some lead time involved in acquiring another pair of Yumikos.
Though, come to think of it, my Very Own Personal Yumiko Rep is about to jet off to a tropical paradise for an intensive because he is, in fact, awesome (no, really; last year he got invited to dance at Jacob’s Pillow), so that might sort that for me. I’ll have to find out when he comes back from Ballet Paradise.
Since I am, by nature, a giant show-off, I joined a detachment of my fellow ballet peeps in the Pegasus Parade yesterday.
Although the weather was drizzly and blustery, the parade was fun. Even the standing-around-for-three-hours clusterfeck was reasonably fun, since I was standing around with BG, T, C, E, AB (our in-house yoga teacher), and, um, the one girl whose name I for some reason can’t remember (apologies!). We kept each-other entertained with snark, irony, and occasional earnest conversations about what we’re doing with our lives.
After a while, myAdderall wore off because I forgot to my second dose for the day, and I remembered an important equation:
me – Adderall + standing around with nothing to do^(enough time) = idiocy
Fortunately, I did not (seriously) injure anyone with my giant umbrella. I miiiiiiiight have gotten a little too enthusiastic during a bout of umbrella fencing and poked BG in the chest (regarding which: I should probably not be allowed to have a giant umbrella until I learn how to keep a lid on things 😦 ).
The parade itself was 17 blocks of ballet walks, waltz turns, random partnering exercises, spasms of grand allegro, and occasional yoga.
My foot did not make it through without getting sore at all, but it only got a little sore.
After, I booked it to BW’s class.
Have I mentioned that I ate lunch at 11:30 and then completely failed to eat anything until after my haircut, which finished up at 9 PM?
BW’s class, truncated, was an hour of barre, slow but not easy. By the end, my feet didn’t want to point and my left leg basically argued my about brushing into an arabesque above 70 degrees and then folded into attitude on what was supposed to be a an arabesque in plié. BW said, “Let’s callgood it a day and stretch—you probably haven’t eaten since lunch, have you?”
And then I realized that, yes, I knew this feeling. It was Ballet Bonk again. Evidently, BW is great at spotting Ballet Bonk.
So we stretched, and I asked BW to snap some pix for this month’s Suspend Challenge.
It’s Splits Time again, so here you go:
This morning, I opted just to do barre. My foot is finally actually healing now that I’m being extremely conservative with it, and since I have two classes tomorrow, then classes and rehearsals Friday through Sunday, I figured it would be a good idea to take it easy today.
- For values of “take it easy” equal to “do barre in Killer Class,” which is sort of like saying, “Oh, I’m taking it easy; I’m only climbing halfway up Mount Everest.” Particularly given that barre was a full hour long this morning.
Anyway, that was probably for the best. My brain was not on its A-game today. I managed to get almost every combination wrong in new and different ways … especially our fondu, which was supposed to go like this:
balloné, balloné, jeté front front front, balloné, balloné, jete side side side, balloné, balloné, jeté back back back, fondu passé developpé, fondu passé developpé, fondu passé developpé, retiré, fondu attitude, grand rond, fondu attitude
… and then reverse all that shizzle, or something along those lines.
…but quickly turned into this:
balloné, balloné, jeté side, wait, what?! balloné, balloné, jete … side for realz, I think??? balloné, balloné, jete … what the **** am I doing with my inside leg right now??? fondu all the unfoldy legs at the wrong time all the way around, retiré, arabesque, fondu attitude side, what the actual heck am I even doing right now??????!!!!, fondu developpé and HOOOOOLD.
Barring the moments in BW’s class when I sometimes fail to actually intake the beginning of some combination because I’m busy thinking about some fine point of technique and then have nobody to follow, it has been a while since my brain so thoroughly failed at the barre.
I actually asked between sides which way we were supposed to jeté first, and then proceeded to do a completely different set of wrong things on the second side.
Sadly, I had no problem remembering the adagio and terre-a-terre, even though I didn’t do them (I was stretching and watching BG dance, since he took class with us today).
I don’t know what my problem was, and I don’t think I want to know.
Tomorrow will be better. Until then, here’s a picture of my cat being extra derpy:
Modern today felt good. It was just me, and LF gave me a cool visualization thing to start with. We did lots of floor work and work with using weight and the head-tail connection to move through space. Very cool stuff.
At first my legs were like, “NO. NO, NO, NO. Nope. Screw you, buddy.” I’m experiencing the kind of achy, fatiguey weirdness that I have when my hormone levels are more out of whack than usual (read: when I’m essentially running on empty), which probably explains it. Seeing an endocrinologist is definitely in the plans for … meh, some time this year.
That said, the legs got over themselves by the of class, and I feel it was a good class overall. I finally admitted to LF that I get stressed out about remembering modern choreography, and she told me not to worry so much about it. On the last run of our final combination, I didn’t. Oddly enough, I remembered way more of it than I thought I would.
Dance Team was awesome today. They did some really good and really original work, and AS and I were really impressed. My own rehearsal also went well.
Ballet with BW was partly a private class—one of the owners of studio was with us much of the time, but had to pop out now and then to take care of admin things. Such is running a business!
Class was very intense—in a good way, as always. Interestingly, I got the exact same physical correction from BW tonight that Killer B me yesterday (or, well, one of them…). Obviously, my shoulders, neck, and chest are a hotbed of ballet problems right now.
I’ve realized that, too some extent, this grows out of a deeply internal focus. When I’m working hard, I to draw into myself mentally—and, it would seem, physically. I’m working on it, though!
Curiously, though, my legs had overcome the morning’s meh-ness … which is good, because I would have died of the rond de jambe combination alone, never mind the fondu and the grand battement, if my legs had continued to suck. The fondu/adagio, in particular, was challenging: slow fondu, slow relevé, slow fondu, extend avant then fondu attitude, hold forever, extend, sus-sous, continue pattern inside leg back, etc. The pace was what made it hard—it’s that combination of precision, restrained power, and grace that makes your blood boil at adagio tempo.
Speaking of grand battement, I realized that I haven’t been leading with the heel when closing from the back. It starts that way, then gets lazy in the last inch or two, which is no good. It makes for a lazy fifth and, over the course of the combination, works the supporting leg loose. I mentioned that to BW, and he gave me an extra set to the back only (though still finishing with plié-passé-attitude devant) to sort it.
We also did the dreaded Kneewhacker Turns, which went better than usual. Interestingly, I did whack my knee quite resoundingly once. It didn’t particularly hurt, but startled the heck out of me. I didn’t do it again, that’s for sure 😀 And, in fact, The Kneewhacker Turns that followed were whack-free.
At center we tendued (with turns) and then drilled double turns from fourth and second. BW had many thoughts my turns, all of which tie into problems I’ve been attempting to solve. My spot wasn’t as slow as it was the other day, except when I was being afraid of the Kneewhacker.
I called it a night after a nice waltzy combination across the floor. My toe had started complaining a little, so I decided to take the conservative route. Little jumps Saturday, maybe, and we’ll see how it goes from there.
After class I my fellow Bike Commuter Cabal operatives for a drink and a late supper. Ben and Jenn Folsom were in town, a rare treat for all of us. It was good to catch up with my bike peeps!
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.
Before tonight, I had managed never to really fall off the trapeze before. I’ve dumped myself off handstand-style once, but that doesn’t really count.
Tonight, I managed to take a legit fall—during my audition.
In retrospect, I made the wrong call abotu my music: instead of just going for the piece I’d intended, “La Mer,” which was a little too long, and letting them cut it off, I opted for “Beyond the Sea” (Bobby Darin’s version).
It turns out that the tempo of Darin’s “Beyond the Sea” is actually quite a bit faster than the recording I have of “La Mer.” I was tired and attempting to adapt, and somewhere along the line my brain decided halfway into an egg-to-pike inversion that I was actually doing the arabesque roll to sit that comes at the end.
Since one wraps one’s arms for the inversion in question, it’s not possible to do the roll in question without breaking said arms. I’m more afraid of breaking bones than of falling, so I basically just let go.
Apparently it was a pretty spectacular fall—and a technically-correct one 🙂 I tucked and rolled, and as a result the only parts of me that hurt are my forearms, which is what happens when you wrap your arms and then do crazy shizzle.
I popped back up and was ready to hop back on the trap before they even had a chance to cut the music (though they did, in order to make sure I was okay). I sorted my way through the rest of the trap routine, though I didn’t do the arabesque roll at the end; my arms weren’t digging that.
Ironically, the rest of the audition went pretty well, and apparently my trapeze improv looked pretty great (the fall was evidently quite exciting as well :D).
So, that’s my life for you. When I do finally manage to fall off the trap, it’s in the middle of an audition.
At least I didn’t fall down during the dance portion? I did fall down during the acting part, but that was on purpose.
Oh, also, ballet was good today, petit allegro was far less bad than usual, and we discussed rehearsals for showcase, etc.
We also had a Physical Theater workshop, and afterwards I was chatting with the teacher, and she said something like, “So, you dance ballet?”
And I said something like, “Yeah, a little modern, but ballet is really my first language and my first love.”
Then she said, “I could tell—the legs!”
And now, if you’ll excuse me, I’m going to Eat All The Food.
I’m launching a series of post on the details of technique. It’ll probably consist primarily of steps I’m struggling with, so take it with a grain of salt.
I find it helpful to write things out in an effort to get a grip on them. These aren’t so much instructions (though if they work for you, awesome!) as observations.
Tombé-coupé-jeté is a subset of coupé-jeté en tournant (if you do jazz, you might know this as a “calypso,” if I understood my classmate correctly).
As its name implies, it’s a compound step. The elements are:
- a tombé into a
- turn at coupé
- that lends its rotation to a jeté
Some form or another of coupé-jeté en tournant shows up in men’s technique a lot—QV Le Corsaire’s famous (and famously-hard) Slave variation, the Pas de Trois from Swan Lake, a whole bunch of stuff in Nutcracker, etc, etc.
Coupé-jeté pass starts at ~1:20 This guy knows what he’s about.
Also, I like the way he moves.
The tombé version is the one I’m concerned with here.
I’ve been wrestling with making my tombé-coupé-jeté consistent on both sides so I can use it in choreography without having to think about it (because thinking is basically death to my ballet technique; it makes my brain overheat and crash).
The basic mechanics, traveling right, go like this:
- Tombé onto the right leg.
- Bring the left leg to coupé while executing a turn en dedans.
- Your arms help to provide momentum for the turn.
- Don’t leave your body behind!
- Transfer weight onto the left foot. Your left leg will be in a demi-plié.
- Simultaneously, grand battement the right leg just as you would for a plain old vanilla jeté.
- Spring off the left leg.
- For men’s technique: tombé to second (you get a bigger jump, and men’s technique is basically be distilled into How To Get A Bigger Jump).
- I realized today that I kept tombé-ing to something like 2.5ième. Bleh.
- It works a lot better if you actually really do tombé to an actual 2nd.
- The turn happens in the coupé.
- NOT in the tombé.
- NOT in the jeté*.
- *The remaining momentum from the turn will cause the jeté to rotate slightly, but if you think of the turn as being in the jeté, you’ll inevitably add a rond-de-jambe, and everything will go right to Hell in a hand-basket.
- I tend to start unfurling my working leg at the wrong point in this turn. DO NOT DO THIS. It throws everything else off, and also results in a wobbly flight path.
- The right leg sweeps STRAIGHT OUT, as in grand battement, avant or to 2nd (I’m not actually sure if one is correct and the other incorrect; I didn’t think to ask JP).
- The working leg does not rond.
- I repeat, the working leg DOES NOT ROND.
- I find that it helps to think “Grand battement!” rather than “Don’t rond!”
So let’s think about how this all works on the right.
- The tombé loads the right leg, providing impetus for the turn just as the plié does at the beginning of a pirouette.
- The arms come together to add to the momentum of the turn as the left leg snaps to coupé.
- The body has to stay connected—the shoulders and hips must travel together—in order to execute this movement well. This is true for all turns, but especially true for coupé-jeté en tournant.
- The coupé builds momentum that will allow the jeté to sail along a curvilinear pathway.
- At the end of the turn, the weight is transferred to the left leg in demi-plié. The right leg sweeps straight out to initiate the jeté.
- The jump lands on the right leg. It’s possible to move right into another coupé-jeté en tournant or into another step entirely.
Here’s what I tend to do wrong when doing tombé-coupé-jeté en tournant.
- I tombé into some weird 2.5iéme kind of position instead of a clean 2nd.
- I fail to keep my hips and shoulders together.
- I try to come out of the turn at coupé to soon.
- I sometimes snap the leg up as one would in saut de chat instead of sweeping it straight up.
- I rond the leading leg in the jump to compensate for exiting the turn too early.
In case you’re wondering, yes, I did do about a million slow-motion coupé-jetés on my living room carpet while trying to work all of this out.
Anyway, now I know what I’m doing wrong, so I should have a better time getting it all sorted.
In the meantime, here’s a really good video that demonstrates coupé-jeté en tournant. I should probably note that I’ve only watched it with the sound off, so I have no idea what it sounds like 😛
*Yeah, it’s a pun, and a bad one.
I can’t sleep, so I might as well write, eh?
Mostly good barre today (or, well, yesterday). No scary turns-at-the-kneewhacker; got my RdJ en l’air back, extensions were okay-to-good. The adjusted passé/retiré is becoming automatic.
That said, the frappé was delightfully wicked: facing the barre (universal ballet code for This will either be a piece of cake or hell on wheels), singles (from flexed) en croix on flat, repeat in a sustained fondu, spring straight up to doubles en relèvé, petit battement at maximum speed for a billion (okay, actually sixteen) counts, straight into the reverse, repeat twice as fast, plié, brush out while remaining in plié, close back, other side. Doesn’t sound too hard, but it’s that “repeat twice as fast” that gets you. It adds up.
Also, my petit battement is currently way(1) better on the right than on the left. Feh.
- Or, well — the difference at double-time is definitely enough that I notice it, which is too much.
What doesn’t kill us makes us stronger. BW either wants us strong or dead. I’m guessing strong; he’s a sweet guy.
Also a fondu-adagio thing with all the attitudes and demi-ronds en l’air and the holding the extension à la la seconde until the legs became impervious to pain, plié — inside passé balance for eight, plié — outside passé balance forever, sus-sous, détournée, other side. This was lovely and light and painless except for that à la seconde. At one point BW shouted, “Fight for it!” and I kid you not, that gave me a second wind. Because I adore BW as ridiculously as I adore Ms. Killer B of Wednesday Class fame. Basically, if he told me to jump off the Brooklyn Bridge…
Also, at one point he touched my foot, and part of me is like I will never wash those shoes again but, to be honest? They’re kinda grungy, and they’re white, soooooooo… .
Anyway, at center we did a tendu (or dégage, or grand battement) combination that was all about body facings and épaulement and little faillis and turns from fifth. I did grand battements and doubles on the repeat, since my body finally decided to get with the program and face the right way.and my arms Asiago sorted themselves.
We then did a really nice (and simple) terre-a-terre with back-to-back turns from fourth:
chassée – pas de Bourée – fifth
chassée to fourth
Sweep through to soutenu turn from croisée to opposite croisée
sus-sous balance with port de bras
Going right, I felt good and managed two easy doubles in the first three turns, so I aimed for a triple on the third.
Turns out that you can, in fact, force a triple through sheer stubbornness, even if if you haven’t got the momentum for it, if you’re willing willing to let it be an ugly triple.
It was totally, “Around, aROUND, gorammit WE … ARE … MAKING … IT … AROUND AGAIN IFITKILLSME!”
But it was still a triple.
I made up for for it by almost careening into the mirror doing
hell turns chaînes on the left. Apparently, my ear isn’t quite up for those yet, no matter how hard I spot.
Also, I travel like a mofo. I managed to eat up the whole floor doing 2 piqué turns, 2 soutenu turns, 2 piqué turns, 4 chaînes. There was a lot of ATTAAAAAAACK! involved. I get a little excited about piqué turns sometimes. I’m even worse about tombé-piqués/lame ducks, though. Frealz.
So that was Thursday. Today it’s all about scraping the paint, then painting the paint.