All the Wednesday 

Killer Class

Barre was generally fine except for an occasional creeping-up shoulder and the fact that, for whatever reason, my body was like “HOW DO ARMBAR?” when it came time for RDJs en l’air. Breathing mostly worked.

Adagio was literally half great and half terrible. It was like my turnouts just gave up on the repeat first side, then got their crap together again for the second side. 

Turns were less weird today. I didn’t try for doubles going left. That just seemed like asking for trouble. Going right, I cheated myself out of either a second good double or a triple by failing to decide what I was going to do. 

I bowed out all the allegro because my ear had started to feel odd and I didn’t want to push things too hard. This made me sad, because the grand allegro was fabulous — opened with a renversé, and included two Bounonville jetés, en tournants, and cabrioles. I haz a sad. 

Dance Team 

I adjusted the choreography a hair to make one transition less difficult, then added a new phrase. We didn’t have time for more than that because there was a bunch of “housekeeping” stuff we had to do before we got to dancing. This is our week for Saturday rehearsal, though, so we’ll make up for it

Trapeze 3 

After a line-dancing warm-up in which I finally understood WTF a “grapevine” is (and the usual array of trapeze warm-ups), we started learning dolphin rolls. I almost nailed them. We also did the reverse birds’ nest (which is basically made for me) and attempted to beat to sit from a crucifix, which I couldn’t do because my shirt was too slippery. This is because I forgot to change out of my ballet clothes, which are definitely not optimal for trapeze. I have this little sleeveless shirt from Sansha that’s perfect for ballet but too short and slippery for any other application 😛

I also discovered that I have lost my v-ups. Ugh. Back to conditioning with me. 
I’m too tired right now for tags and stuff — I’ll try to add them in the morning. 

About asher

Me in a nutshell: Standard uptight ballet boy. Trapeze junkie. Half-baked choreographer. Budding researcher. Transit cyclist. Terrible homemaker. Neuro-atypical. Fabulous. Married to a very patient man. Bachelor of Science in Psychology (2015). Proto-foodie, but lazy about it. Cat owner ... or, should I say, cat own-ee? ... dog lover. Equestrian.

Posted on 2016/11/16, in balllet. Bookmark the permalink. 2 Comments.

  1. I was really very pleased to get called out for “great elevation” in modern this week. We’re doing this release thing that starts off like:

    parallel/bras bas, open to 2nd, close again and soutenu, repeat, reach to the floor with your right, pull up to a suspension on the left with the right knee in passé, a quick travelling handstand, run 2 steps, and (basically) a coupé jété if it was ballet, then an up-and-over half turn edd, run 3 steps, and a jumping half-turn off your left, edh. Touch down and safety-release, rolling to the right (ie your left as you do it), and you’re into the floorwork section.

    and the other, Graham influenced one has a travelling sequence like:

    4th/tombé 5th/somewhere between an RDJ en l’air and half a promenade, to 4th (you get four counts for this)/run 2 steps/so-called bison jump (i.e. the one where you contract in the approach and drive both hands backwards and down as you take off, aiming for height more than travel)/keep jumping until you hit a wall.

    on the subject of keep going until you run out of space, Renato actually called something as “jusqu’a l’épuisement de piste” the other night, which isn’t so much ballet French as…French.

    • Both of these combinations sound really cool. I like the bison jump — it’s so much the essence of Graham distilled into one movement.

      And congrats on your elevation call-out! I seem to recall that you’ve been working on that, so it sounds like you’re making good progress.

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