On the First Day of December
Last year, I published my list of ballet goals for the new year on December 18th.
Almost a year later, I can say I’ve made good progress on them (for one thing, I actually understand brisée now, instead of just doing the balletic equivalent of whacking at it with a big stick whenever it approaches). It’s been two steps forward, one step back, but overall the long arc of technique bends towards … um … better technique.
Anyway, I’m formulating next year’s goals now.
It’s funny—last year I focused on making my goals more concrete. This year, I intend to make fewer really concrete goals.
Part of this is that I’m not sure what’s next in terms of technique: obviously, I don’t know everything. I don’t think anyone alive knows every single step, if only because some of them exist in one stream but not in another, and most of us come primarily from one stream (Vaganova, RAD, Cecchetti, Balanchine, Bournonville) or another. That said, without the guidance of a syllabus program, it’s quite hard to say what should come next.
Last year, things seemed pretty obvious: the double tour is a standard feature of men’s technique, so it’s worth having if you’re going to audition; I had nailed triple turns and quadruples were obviously the next thing and also useful; etc.
This year, I don’t know that I need to focus on adding new steps as much as polishing existing ones. It would be nice to have a solid revoltade, but it’s not essential.
Anyway, I’ll have to remember to ask my teachers, especially BW and Killer B, for their thoughts on ballet goals. The elusive Reliable Double Tour has eluded me; if I don’t nail it down by December 31st, I suppose that’ll stay on the list.
More of my goals for next year have to do with pushing myself out into the world a little more—auditioning for more things—while shifting my focus a bit.
They say that it’s easier to get a job when you have a job, and I think that’s certainly true in the usual working world. I suppose there’s a corollary in the performing arts: it’s easier to feel confident about auditioning for things when you’ve already got a gig.
I don’t feel like I have to audition for every single thing out there. I have a gig that I like and that I’d like to continue with. I certainly wouldn’t turn down a paid ballet gig, of course, but I enjoy working with CirqueLouis. I feel like I can be a selective about my auditions, and like there’s less pressure: I am, rather surprisingly, on my way to my goal of making dancing pay, at very least, for itself.
I have my eye on some specific auditions, and I feel pretty relaxed about them.
Choreography-wise, my goals are a little more specific.
I think I’d like to actually see about setting the opening to Act II of Simon Crane—the traveling piece set to Ravel’s “Bolero,” which will stand on its own rather nicely. I’ve also rather completely re-envisioned the first piece of choreography I auditioned (that seems like about a thousand years ago now!). It began as a solo piece; I’m resetting it for two dancers (though more could work if I can lay hands on more dancers).
To be honest, I’m not sure it’s really even accurate to call it the same piece, at this point. It’s still set to Barber’s “Adagio for Strings,” and it still centers on a theme of loneliness and grief, but beyond that it has almost nothing in common with the original version. It has inherited some ideas from “Work Song,” some from “Fade to White,” and some from the Pilobolus intensive. I’m hoping to snag L from Sunday Class, but I don’t know if I’ll manage to, as I haven’t seen him in ages. Either way, I’m really hoping to figure out a way to make that one happen.
Intensives-wise, only LexBallet and Pilobolus (all 3 weeks) are currently on my radar for 2018. I’m hoping LouBallet will run the master class series again. I might add another ballet-specific intensive and I might not.
It depends on what I’ve got on the calendar, how our finances look, and whether I can get a scholarship. Proposed changes to our joke of a healthcare “system” are set to significantly increase our insurance premiums, which will mean tightening the belt with regard to what I can afford to do out of pocket. I’d like to hit Ballet Detroit’s open intensive week, though, if I can.
So that’s it.
In summary, here’s the list:
- Technique: consult the masters. Overall, though, I want to improve the quality, consistency, and artistry of my technique.
- Auditions: LexBallet, Allegro Dance Project (maybe), Inlet Dance Theater, a couple of dancer/aerialist gigs with touring companies and/or cruise lines (haven’t decided which ones yet), Pilobolus if they hold auditions this year, other gigs as they appear on the horizion, probably.
- Intensives: Definitely LexBallet and Pilobolus. Possibly Ballet Detroit.
Quick update: if you’re not completely sick of Nutcracker yet, there’s a really nice version from the Dutch National Ballet on YouTube here.