Temps De Fugue
Don’t worry, as far as I know “temps de fugue” isn’t a real ballet step. It’s just a half-baked play on “tempus fugit.”
Yesterday, at a show in which I probably knew 60% of the dancers and 90% of the choreographers, I ran into Killer B in the audience.
This season, Killer B made the leap back into life as a company dancer. We were talking about our respective seasons, and she said something like, “Can you believe it’s almost over? It went by so fast!”
And it hit me (again, because it had already hit me, but harder, because it wasn’t just me thinking idly about it) that all at once I’m basically a week from the end of my first full season in Actual Ballet Company.
The past year has been one of vast, wild changes.
In a way, it’s been like a graduation.
BW matriculated to Nashville Ballet. BG matriculated to a directorship at a youth ballet. Killer B matriculated back into the folds of Louisville Ballet, where she has, predictably, been killing it. K has jetted off to California. I fumbled my way into an Apprenticeship at Actual Ballet Company, which I still refuse to name in this blog for some reason even though I’m forever posting links to our shows ^-^’
- In case you hadn’t noticed: dancers be superstitious, y’all.
My friends from Pilobolus’ intensive, meanwhile, are literally all over the map. Several have toured the globe with Pilobolus. One is out there dancing with Momix. Two created an amazing project of their own that’s taken off and is selling like, well, muffins (that’s kind of an in-joke; I’ll try to post a link at some point). Some have graduated from undergrad dance programs. Others have matriculated into graduate dance programs.
Friends that I’ve worked with locally outside the ballet, too, have begun building bigger, better things: like the show that I attended yesterday, where I ran into Killer B and we agreed about how much we miss everyone and also about how happy we are for everyone. Like the show that I saw on Valentine’s Day, where my friend Dot (a total sister-from-another-mister, if every I met one) and a nascent company in Frankfort knocked my socks off (I auditioned for their summer show on Saturday, and it was both fun and awesome; more on that in a few).
Improbably, perhaps even implausibly, we’re all out here working our booties off (both literally and metaphorically) and actually doing it. Some of us are doing it with greater financial rewards than others, but we’re all out here moving and shaking and making dance happen with a dedication that even the Puritans would’ve had to appreciate.
And it’s so very, very weird to be part of that: but also so very, very good.
For me, also, this season has been all over the map.
There have been some really, really hard things. I struggled socially, which I should’ve expected but didn’t. I also struggled technically, at times, which I kind of expected but not necessarily in the right areas. I managed to stick it out anyway, and because of that I’ve learned an enormous, enormous amount, and not just in terms of technique.
I feel like things are beginning to gel, now. My balances are so much better, most of the time, than they were back in September (they’re not so great when I have a sinus infection that messes with my inner ear, but that’s to be expected). I know how to use my body in ways that I didn’t before. When I drop in on classes at home, I pick up the choreography so much faster than I used to.
Épaulement—never my greatest strength—is becoming more thoroughly integrated into my technique. My arms mostly know what to do with themselves, though not always, in ways they didn’t before. My hands do not constantly insist that the only ballet is Don Quixote.
At Saturday’s audition, I felt comfortable with my strengths and my weaknesses. The company in question is deeply eclectic, which is really cool, so we all tried a bit of everything: jazz, contemporary, ballet, and tap.
I was completely fine with the fact that I have basically no idea what I’m doing where tap is concerned; I muddled through anyway, following as best I could with very little idea as to what I was doing, and enjoyed the heck out of it. As I prepared to run the tap combo, I said to K (the resident tap maven—really, she’s amazing), “I’m just going to desperately follow along and hope everything works out,” and she replied, “That’s fine! I’ll just borrow your extensions for the ballet parts!”
What I enjoyed most, though, where the moments when A, who gave us our barre at the beginning of the audition, would say, “…And let go of the barre,” and I was generally able to just let go of the barre and balance (except for the attitude balance on the right side, when I put my foot into a little warbly spot in the floor and it took me a bit longer to set up as a result).
I enjoyed that, of course, because static balances have long been a white whale for me, and here I was at an audition just, like, balancing.
To make up for it, of course, I blanked on the beginning of the ballet combination when it came time to run it … but so did basically everybody else for some reason. Now that it’s over, I will never, ever forget the beginning of that combination ^-^’
When I drop in on classes at LBS, where I rebooted my ballet life five years ago, I’ve begun to be able to see how far I’ve come (I never, of course, lose sight of how far I have left to go … those goalposts just keep receding).
That’s a good feeling: like, yes, time continues to fly, but in one sense I’m flying with it for once in my life. I’m making progress in something that means a great deal to me.
Five years ago, I don’t think I could have begun to imagine the life I’m living now. It makes me wonder where I’ll be in another five years, and another.
I’m in no hurry, don’t get me wrong: but I think it’ll be something to see.
Posted on 2019/04/01, in #dancerlife, adulting, adventures, auditions, balllet and tagged auditions, let go of the barre, life, progress. Bookmark the permalink. Leave a comment.
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