Modern, Rehearsal, Thursday Class, Shadowy Cabal Ops
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!
Posted on 2017/03/31, in balllet, class notes, mistakes, modern, rehearsals and tagged ballet problems, drill it til ya kill it, on the other hand the extensions are coming along. Bookmark the permalink. 7 Comments.
So I think I broke the back of this incredibly long barre thing that starts with 4 quick ronds, then a pair of slow but very big ones coupled with a port circling up from first to allongé, and ends up going from a circular port over an inside leg lunge to rélévé balances in 1st, 3rd arabesque, and attitude. And I got a call out for the balances.
That said I pretty much sucked in turns. I need to remember that correction about “pull up, tighten the core, and attack the pirouette”. That internal focus thing sounds familiar, like when I feel…cramped?…turning.
Also I learned a new jump.
Oh, nice! That sounds like a highly successful class (turns notwithstanding … I feel like turns play by their own rules #TurnsGoingTheirOwnWay).
Congrats on the new jump! How does it go?
like a tombé to 5th that turns into a chassé…I think it’s going to grow into a proper tour-jété in the next few weeks?
Oh, cool! Yeah, that could go that way. It’s a useful linking step, too.
Tour-jete is the best!
“When I’m working hard, I to draw into myself mentally—and, it would seem, physically.”
I do that, too. It is even permitted to a certain extent in Flamenco, but when your shoulders are not straight any more, you are doing it wrong.
Interesting! I didn’t know that about Flamenco.
Yeah, keeping the shoulders straight is the point that I’m working on. I seem to have developed a weirdly rounded way of carrying them of late, and I’m not sure why. Of course, the nice thing about ballet is that you don’t have to understand *why* you’re doing something wrong, you just have to understand how to fix it 😀
Like this, for example: