Since Ms B got married and there are no longer two BWs among my ballet teachers, I shall henceforth refer to Company B simply as BW (because I’m lazy and it’s easier).
Anyway, class with BW was, as always, good. I didn’t dance as well as I usually do, but everyone has those days. Only three of us again, so once again there was much drilling down deep in the technique. There was also more than the usual array of conversation; we were all tired and disorganized (I arrived earliest, only 5 minutes before class time; BW arrived just after, and everyone else was late).
My turnout took a while to turn on — back to Trap 3 last night meant back to Single Knee Hangs (with ronds-de-jambe), and those make the turnouts tight. (I’m going to have to contemplate that, as I plan to use SNH w/ RDJ to open a trap performance on Saturday.) Not that it was non-existent; it just wasn’t up to the standard of Wednesday’s class.
On the other hand, my grand rond got its stuff together after a fashion. Coming from behind, I was rotating the turnouts later than necessary and thus losing much of the quality of the movement. BW laid on hands and fixed me: he proved to me that I can rotate my hip much further in arabesque than even I thought possible, which made for one high extension coming à la seconde. Like, BW even commented on it to B: “See how high that is?”
I appreciate the fact that my teachers aren’t afraid I’m the least to touch me.
Going terre-à-terre, though, my brain was absolutely determined to leave our the waltz turns. This kept making me end up facing the wrong corner. This may have been fatigue (I’m sleeping better, but still not really well, as you might gather from the fact that I’m posting at 2 AM), or it may have been a lack of Adderall. I forgot my second dose until it was legitimately too late to take take it. Ironically, I was so busy cleaning… Anyway.
I discovered that I haven’t lost my attitude balance, and that I can pretty reliably élevé into it now. After class, BW worked on my arms, which are slowly becoming graceful. Minor miracle, there, all things considered.
So that’s about it.
Trap performance on Saturday should be interesting. I’m resetting some existing choreography to Billy Joel’s “You’re The Only One Who Knows.” Here’s hoping I get through without bursting into tears. Seriously, that’s why I’m not even thinking about using “Leningrad.”
Also, a picture from Burning Man, below the fold since it’s mildly NSFW:
Posted on 2016/09/23, in aerials, balllet, burning man, class notes, mistakes, shiny and tagged ballet, single knee hangs versus turnout, trapeze, turnout, why are there waltz turns, you're pulling my leg. Bookmark the permalink. 3 Comments.
A class thing from last night; we did a combination that went from a cambré through a port de bras to a passé-dev and then a RDJ around to attitude, with arms in 4th, and then switching to a first arabesque (so the arms have to change opposition)…on the barre, which was frankly odd and kind of cramped.
Also, the corner was right behind me so when I did the 1st A (teacher: “if you want to do the Balanchine version you can but you can also leave it more traditional” guess what literally everyone did?) I ended up looking into the next student’s eyes close up. In the movies they’d make that the meet-cute, but I’m taken.
Weird teacherism of the evening: “Now, when you’re in fifth you should think of Alfred Nobel. You know Nobel blew up his own brother and they made him leave Stockholm…
…do they teach you about Nobel in school here? They do in Sweden. Anyway he invented nitroglycerine”
(the other half of the correction was about…turning out from the hip. now there’s a surprise!)
That does sound like it could get rather cramped at the barre … And if I ever make a rom-com ballet movie (which is never going to happen), I am going to steal that meet-cute moment 😉
And the thing about Alfred Nobel … Wow. (That could go in the movie, too :D)