Turn, Turn … Er, Ah, Oh Yes, Turn
Somehow, I’m suddenly working for reliable triple turns.
Today’s were sketchy. Too much 1, 2 … and a half … 3. First two revolutions would be fine, but I’d lose my momentum in the third somehow. Once I wound up getting halfway through the third revolution and having to kind of do this embarrassing little hoppity-hop thing to get the rest of the way around. The next time I launched too hard from the foot, like I was trying to do a tour en l’air at passé. Oy vey.
I think the problem is one of confidence. I know I can do doubles, but I’m still not sure about my triples. I get anxious and lose focus, my spot slows down, and so … does … everything … else. Clearly, the answer is to go for quadruples — the best triple turns I’ve ever done were ones that wanted to be quads.
On the other hand, turns and terre-a-terre were otherwise good. Suddenly I have nice doubles from fifth, nice tombé-piques (I’m no longer trying to launch them into space), and arms that do things related to the combination and not just random crazy stuff. Also, my adagio glissades are da bomb.
I felt tired halfway through petit allegro, though the first combination went very well, and very much phoned it in throughout grand allegro. Some of my jumps were lovely, some were just plain wrong because I missed part of the combination (thought the second chain involved entrelacé and fouetté when really it was two fouettés; fixed that going left).
The linking steps were an unmitigated disaster (in short: I could only remember half of them), though I worked to make it look like I thought I knew what I was doing. I didn’t. There was a whole coupé-tombé-pas de bourré that I replaced with a chassé, which meant my saut de chat, though decent, was hella early. Frustrationne.
This, by the way, is my new ballet strategy: Don’t know the whole combination? Just pretend you do and really commit to whatever game version you invent.
I’m out of Adderall right now, and I feel it in advanced class. The combinations are long, and I tend to fail to keep my concentration engaged while receiving them. I would be like, watching watching watching huh, I wonder if I should take my legwarmers off, D’OH!, watching, watching…
That said, I’m doing surprisingly well remembering and executing adagio right now. Occasionally I find myself in a position that I can both execute and watch in the mirror, and it’s neat to watch my legs just unfurl themselves while my body stays still and upright.
My arms mostly seem to know what they’re doing now, as well, though once today they tried to do something weird (I caught them). My head is slowly getting with the program. There was less eye-rolling today.
Also held a right attitude balance arrière that blew my previous records out of the water.
Felt like I could’ve stayed up there forever. Came down in complete control — allongé, arabesque balance, close to sous-sus, plié. First time, probably, that I’ve chosen to come down from a balance because the class was getting ready to start the second side! (Usually I choose to come down when it starts to feel like things are thinking about falling apart.)
Left was nowhere near as good — too much thinking — though the exit was similarly controlled and graceful.
At barre, B commented on how far I’ve come since January and added, “One day I look up, and there’s this dancer in front of me.”
I suspect that has a lot to do with it, in a way — I think of myself as a dancer, and I think that shapes things. As dancers, we tend to embody our inner visions of ourselves. What we visualize, we do.
Of course, quite literally being stronger and fitter than I have ever been and just plain getting to class reliably make a huge difference, too.
As does finally being able, once again, to trust my body. It’s more and more like an exquisitely well-trained horse: horse people will understand the feeling of riding a horse that seems to read your mind; even to know what you want before you do.
It may seem strange to describe one’s body that way, but the sense of trust and unity and satisfaction is the same. I know where my arms are now in a way that I didn’t six months ago.
One more detail before lunch.
Looking at pictures of Nureyev (who apparently had ridiculous knees like mine) in fifth and sous-sus, I realized that I can probably nail mine tighter if I really max my turnout and pull my inner thighs tighter than I feel is physically possible.
This should help get my giant, bony knees out of the way. I’ve been kind of cheating lately, given that my turnout is really close to 180 in first at this point. I keep doing the thing where you plié and rotate your front knee back and heel forward simultaneously, but then having to reduce turnout a bit to get my knees in or out in tendus, etc, because they’re in each-other’s way.
If I engage my inner thighs more effectively, I think I should be able to pull the knees past each-other rather than against each-other. Heretofore, I haven’t been doing that because Male Dancer Reasons, but um, suffice it to say that there’s at least one painting of Nureyev in the nude, and he had bigger (ahem) reasons than mine, so to speak. In short, I should trust my dance belt to do its job.
So that’s it for today. Lunch, splits challenge, and then … Honestly, who knows?
Coincidentally, this should also help me make my petit allegro quicker, since I’ll have to work on making the same set of muscles stronger. It will also stop me getting yelled at about my lazy assemblé and soubresaut 😉
Posted on 2016/07/02, in balllet, class notes and tagged adagio, because male dancer reasons, confidence makes a world of difference, dances with ADHD, fifth position, giant bony knees, triple pirouettes, trusting the body. Bookmark the permalink. Leave a comment.