Author Archives: asher

Danseur Ignoble: On to Plan C

So we had a great time recording my audition piece today …

Except for the part wherein I apparently somehow failed to actually hit the “record” button during the actual run.

Fortunately, I have at least some video to work with — I recorded is working out the choreography, which is actually kind of hilarious. There are some nice arabesques in there.

At the end of the day, I’m still going to have to re-record this, somehow. I have no idea how, as I can’t afford to rent the studio again right now (even though it’s fairly affordable). I’ll figure something out, though.

So that’s it for today.

Someday I’ll have an actual finished video.

Wednesday Class: Keep the Chocolate in the Fondue Bowl

Class was pretty good today.

Brienne gave us one of her signature long, tough barres – but I guess I must be getting stronger, because I made it through two sets of two killer fondu combinations without feeling like I was going to die or like I just couldn’t get my legs off the ground anymore.

Or, well … some of that’s strength and some is technique. Brienne is bringing ideas to class from Robert Curran, our new artistic director, and one was about pelvic alignment and was like a miracle for me.

As a kid, I always stood swaybacked, and I had to correct for that in the ballet studio (and in gymnastics). Now I no longer tend to stand swaybacked, but I still correct – which leads to over-correction (AKA the mortal sin of tucking), so Brienne worked with me on pelvic tilt.

She suggested that we think of the pelvis as a bowl and concentrate on keeping the water in the bowl — thus, in my case, as we worked in fondu and through extensions, I had to tilt the bowl to the front, since in the past I’d been dumping the water out of the back. (My interesting porprioception makes that feel like a huge change, but it’s not.)

As soon as I found the spot where the water would just be shifting towards the font rim of the bowl (but NOT SPILLING, you do not want to spill), my extensions magically became about a billion times lighter and easier.

I also got nice detail corrections for my arms, which makes me happy — my arms have come soooooooo far. I used to be a squid; now I’m slowly becoming a swan — just like in the famous fable, right? Where the squid grows up to be a beautiful swan?

Maybe I’m confused, here…

I also nailed a coupé balance for so long that I shocked the heck out of myself.

Coupé is often my worst balance; today, I was able to just let my arms float up and hang the frack out, like, forever. And close to soussous. And turn. Without falling. Or having to bourée like crazy or anything.

WTF, you guys. Holiday miracles? It’s Chanukah, after all.

I made up for it by forgetting the order of the frappé/Grand Battement combination, though, so there is still balance in the universe.

You’re welcome.

I think the adagio at center was okay, though I was fairly well cooked at first. When we marked it, I felt like a disaster, but I was able to pull it together, more or less.

Across the floor, I kind of held it together on the first run, and actually nailed the second run down quite well. My turns started out cray, but then I got my head back in the game and pulled my core together. It is always all about the core, you guys (and about keeping the water in the bowl, and turning the arm at the right moment to keep the elbow supported, and about using your épaulement and not hiding from the audience, and…).

The grand allegro combination was almost good, except when I started thinking and hosed it up completely. Note to self: don’t think about which leg; just go, go, go (as the super cute bevy of little girls called out to me on my bike this morning).

We did grand jeté a la Bournonville, and I’m not sure mine was quite right, but it was a decent normal grand jeté. And my entrelacé was good, which it for some reason always is.

Oh, and I did some entrechats that weren’t complete abominations when we did Little Jumps part 2.

Most importantly, Brienne said I look good and things are really coming together — which is the best thing ever.

We live and die by the words of our instructors, especially the ones who push hard and ask a lot of us.

Tonight, more roller time.

For the record, the cat is extremely dubious about the foam roller. Usually, when I’m stretching, he gets on the floor with me and “helps” (nothing like a face full of cat butt to improve your stretch, I always… wait, I mean never… say!); when I’m roller-ing, he mostly supervises from the sofa or the ottoman.

Tomorrow, video at last. I promised Brienne a copy 🙂 I owe so much of my improvement as a dancer to her amazing classes.

Anyway, that’s it for now. Groceries, lunch, home, housework, roller.

À bientôt, mes amis!

Stop! Roller Time!

I spent another half an hour with my foam roller this morning. How did I not “get it” before now?

Also watched a documentary about the Kirov in which a dancer said something like…

…If a dancer doesn’t wake up with at least some pain, that means he’s probably dead.

So that makes me feel much better about my achy mornings of late!

… Off to work on the video.

Foam Roller, I Choose You!

So I just spent like an hour with my new best friend, the foam roller.

In the past, I’ve mostly just rolled my calves. Tonight I rolled errrrrrrrthang, then stretched, did shoulder stands and “air splits,” and then rolled errrrrrrrthang again. Even my back. Even my sides. Especially those weird hypertrophic glutei medii that are endemic to male ballet peeps. I even managed to roll my pyriformes (which really, really needed it). Okay, I didn’t think of how to roll my upper arms until just now, so I’ll have to do those in the morning. And my neck is out of scope for this roller, I think.

OMG, you guys, why haven’t I been doing this all along? Every part of my body feels better (and my foam roller only cost me $5!). Parts of me that I didn’t even know were sore feel better. It is like having a whole new body.

C’est tout. À bientôt, mes amis!

Monday Class: In Developpe-ment?

Okay, that was bad, I admit it. Couldn’t think of anything else.

I felt a bit stiff this morning. I may have overdone it yesterday with caffeine, rum, and sugar, while under-doing it with, like, actual food and calories, heh. Today, I made roasted chicken legs* and vegetables for dinner, so that’s a step in the right direction.

*…As I said to my friend Robert, “…Cut from the bodies of bros who skipped leg day. THIS IS WHY YOU NEVER SKIP LEG DAY.”

Fortunately, as I’ve mentioned before, in ballet, every day is leg day.

On the other hand, The Lady of the Camélias was stunning. Not only very fine dancing, but very fine acting, particularly by Svetlana Zakharova, who absolutely embodied the principal female role, Marguerite. Anna Tikhomirova brought humor and aching pathos to Marguerite’s mirror image, the legendary Manon Lescaut, who appears both in the ballet-within-the-ballet and also in Marguerite’s inner visions.

Andrei Merkuriev portrayed Monsieur Duval, father of the lovelorn leading man, Armand, with a moving gravity worth noting.

As so often happens, watching great dancing instilled in me a renewed sense of both why I dance and what ballet should do — lessons I hope will stick with me while I’m recording my audition video this week!

I walked away from The Lady of the Camélias remembering that I need to return to what might really be the first principle of free movement in ballet:

Don’t make it happen —
Let it happen.

…Which I largely succeeded in doing during barre, but not so much at center.

Class started out strong, but Tawnee (subbing for Brian, who’s dancing in various places over the next few weeks) worked us quite hard, particularly in the fondues. I acquitted myself quite nicely throughout the barre, up to and perhaps especially the fondues, but my legs were pretty cooked by the time we got to center.

That said, my développé at barre was about as good as it has ever been today — a partial compensation, I guess, for the fact that my turns were horrible, horrible, horrible! Except for the last one, which was … eh. Decent, I guess?

I’ve noticed that, when I’m tired, I resort to trying to make things happen, and I get really tense. You definitely can’t do adagio well when you’re tense. Or, well — I can’t.

So, basically, if the motto of every ballet teacher ever is, “Make it look effortless!”, at center, I more or less did the opposite … at least until we got to jumps. We only did little jumps (we ran out of time), but those always go well for me, and they use different muscles than developpé.

I should probably add that, fatigue notwithstanding, this class was fantastic — very reminiscent of Brienne’s killer classes, though with a slightly calmer energy. I think it’s a question of personality: I wouldn’t say that Tawnee’s more laid-back than Brienne, just that her intensity is more … internal? Both run a tight ship (which is incredibly important on Monday morning!) and issue solid, intelligible, helpful corrections.

Tonight I’ll be rolling out … um, basically every muscle in my body, probably … and then taking some naproxen before bed. I already gave myself a good soak in the tub, but I might take another one. I’ve been working on really nailing down port de bras, and I’m feeling it in the muscles of my upper back — the middle and lower parts of the trapezius especially, but also the little muscles whose names I forget that keep the scapulae (the shoulderblades) pulled in against your back.

Incidentally, if you’re doing port de bras without your shoulder blades sticking out, you’re probably also not letting your chest collapse inwards and your shoulders round and creep up, so that’s something worth thinking about.

In order to achieve really free, graceful port de bras, you really have to hold it all together and use the big muscles in the center of your back** to suspend your arms … which, when you’re paying attention to using them right, can get surprisingly heavy over the course of a class even if they’re not very big.

**This is why dancers tend to have beautiful backs.

Tomorrow B. and I will rehearse my piece and finalize some choreography. I haven’t even marked this dance with a second person, let alone run it, so there will probably be some things that need to be ironed out. Thursday, we’ll be able to record, and then I can finally finish my Columbia application 😀

I think it’ll be awesome dancing with B., because we have very similar personalities and we kind of feed off each-other’s energy in a really cool way. (Denis and N., B.’s husband, were cracking up about this at dessert after the ballet yesterday; B. and I kept going on and on and on and on about dance, and of course waving our hands about like madpersons (there is nothing, I’m sure, quite like being crammed into a tiny booth with two dancers madly walking through sweeping adagios with their hands), and evidently this was highly amusing.)

Erm. What else?

Flexibility-wise, the left split is back to being super easy; the right is still a little tight, but I’m at least getting down to the floor reliably again. I feel like I should probably focus quite a bit on flexibility this week, since I’ll be dancing every day through Thursday, and the weather is going to be grey, damp, and chilly — a perfect recipe for stiff muscles.

Okay. That’s it for now. I’ve got a little more laundry to fold, and then I’m going to roll my legs and go the heck to bed.

Saturday Class: Beats Me

Neither Denis nor I slept much last night — maybe a few hours, maybe less.

Consequently, I felt like a disaster in class today, though my fellow students said I danced well. Huh.

My legs weighed a ton (you decide whether metric or imperial; either is too much) and I couldn’t get the beats working, for the most part.

Of course, I could barely retain simple combinations, so I wasted a lot of clock cycles wondering if I was even doing anything that resembled what I was supposed to be doing. I am sure that I launched at least one turn the wrong way. Feh.

Beyond that, though, class was okay. I have to remind myself that, a year ago, there is no way I could have worked développés to 90+ degrees from fondu on this little sleep. I definitely couldn’t sustain extensions as well.

So I tell myself, Next week will be better.

Which it almost certainly will.

Especially if I can get some sleep.

There’s not a single combination that I really remember well enough to record — the adagio was nice; the combination for turns began with balancés, and I felt that mine were sloppy. Some of the turns were nice, though, including a kind of surprise double. Really a 2.25, because it was supposed to be a 1.25. Like, I seriously thought to myself, “Is this where I’m supposed to point when I’m done?” while continuing around through another spot.

Sometimes thinking in ballet makes interesting things happen. Mostly not, though, so I still don’t recommend it.

So that was Saturday class. Tomorrow we’re playing bells and then going to see Our The Lady of the Camélias.

On Thursday, we’re going to see the Nutcracker, which they’re either streaming live again or re-broadcasting. Either is fine with me.

Sometime between now and then, B and I will be doing the audition video. I definitely need to get some sleep before that happens!

So that’s all for now.

À bientôt, mes amis.

Reflections on a Bad Day

Yesterday was a bad day: a very bad day. The kind of day on which the depths of my disorder are somehow visible to the general public; the kind of day on which sensitive people ask me if I’m ill. The kind of day on which, for whatever reason, bipolar reveals itself in enormous dark circles under my eyes.

It was the kind of day on which the thought of talking to people is nearly unbearable — at once repugnant and frightening, since I can’t trust myself to speak in a way that doesn’t reveal the magnitude of my debility; on which I feel the fear the injured alpha wolf must feel — that my weakness will be revealed and I will be torn apart.

The kind of day on which I am wildly paranoid in an inchoate kind of way, but still rational enough to know that I am paranoid.

Yesterday’s venture deeper into to the dark and tempestuous waters of mixed mania was almost certainly precipitated by the use of a sleep aid the previous night. It’s a counter-intuitive outcome, but one I’ve experienced regularly. For some reason, antihistamines do things to my mood.

When I’m fairly euthymic, they render me a little groggy and down the next day; when I’m in my current state — skating desperately along the knife’s-edge of mixed mania — they’re a potentially-disastrous crap shoot.

The sleep-inducing medication in question is an antihistamine.

I seem particularly prone to the adverse effects of antihistamines, anticonvulsants, and other sedation-inducing medications — in short, depressants. Alcohol can also induce deeply unpleasant and even dangerous mood-states after its pleasant effects have worn off.

I would conjecture that I’m also unusually prone — relative to non-bipolar people — to the effects of stimulants, but I rarely experience those with the immense dysphoria typical of my reactions to sedatives.

Sedatives combined with stimulants, meanwhile, are a recipe for a day in Hell (whereby I probably should’ve skipped the iced coffee I had with lunch yesterday).

Yet, there comes a point at which one must decide whether the risks of a sleeping pill-induced bad day are worse than those of continued insomnia.

The after-effects of the sleeping pill, presumably as my brain attempts to re-regulate itself, wear off in a day or so if I don’t take another one. It is possible to get through one very bad day with a little help.

The effects of insomnia, on the other hand, will continue to accumulate and self-amplify indefinitely, until the current manic episode passes — and it is difficult to predict when they’ll jump the track and become manifestly dangerous. Worse, manic insomnia tends to beget manic insomnia — the less I sleep, the less I sleep — which induces further mania.

This is, perhaps, the heart of the problem with bipolar disorder: beyond its often-disabling nature, beyond the fact that non-bipolar people seem literally (and, perhaps, understandably) unable to comprehend what it’s like, it carries with it an immense sensitivity to all the factors that influence brain chemistry — including the very medications we use to treat it.

Worse still, perhaps, it is associated with great creative gifts — but also with the inability to utilize those gifts.

Bipolar disorder disrupts the ability to do sustained, concentrated creative work (or uncreative work; it may be even worse — the “worstest” — for that!).

The medications we take to counter the destructive aspects of bipolar, meanwhile, are equally capable of destroying both the creative faculties and the ability, physical and/or mental, to exercise them.

Lithium alone is associated with micrographia, Parkinsonian movement disruptions, and disturbances in balance and equilibrium, to name just a few of its adverse effects. For visual artists, dancers, and musicians, it can be devastating. Worse, these effects do not always ease up (as is often the case with other medications) as the brain and body acclimate: instead, they are often cumulative and even progressive.

In some cases (the tardive dyskinesia and akathesia associated with antipsychotics; the thyroid disruption associated with lithium), they become permanent: they will remain, perhaps treatable but generally incurable, even if the medication is stopped.

Artists living with bipolar find themselves trapped between hammer and tongs. The immense sensitivity that informs our work is at once fed, imprisoned, and subjected to danger of execution by the firestorms that rage in our brains and minds; when we bring in the fire crews, however, the ensuing flood too often downs all but the mere ability to keep body and soul together. Too often, the ability of the soul to soar is not preserved, nor even the ability of the body the function as it once did.

I have no useful advice to offer, here — just frustration to vent.

The question that all of us who live with bipolar disorder always face is this: are the costs of this treatment worth the benefits?

For many, the answer is a resounding yes — for many more, a qualified yes. For others, though, the answer is no, or not really, or I feel trapped; there is no right answer, here.

Too often, practitioners and caregivers still treat those of us for whom the existing medical therapies are not acceptable bargains as recalcitrant children who do not know what is best for us.

Sometimes, of course, they’re right — bipolar is a disease that does not want to be medicated, and sometimes it’s the disease talking; likewise, in our most florid moments, we bipolar types aren’t always rational.

However, I don’t believe that should be the first response. When an apparently-rational patient says, “I have tried these medications, and the side-effects were untenable — what now?” a practitioner would do well to listen, to consider alternatives, and — if need arises — to make a referral to someone else who may know if another strategy.

And always, always — even when we are manifestly mad, with all the attendant indignity of madness — patients should be handled with dignity and tact.

By way of illustration, there can be no doubt that lithium, in particular, saves lives.

So, however, does penicillin — and we find other ways to treat people who respond adversely to penicillin. We don’t criticise them or treat them as bad patients.

We who are or who hope to become practitioners would do well to keep that very simple example in mind.

When we express contempt towards mental illness patients who can’t tolerate the usual medical therapies, when we treat them as misbehaving children or miscreants, we are really expressing deep-seated cultural prejudices. Also frustration, of course, but that alone really doesn’t explain it; a doctor, PA, or NP may be frustrated by a patient’s inability to take penicillin, but that frustration isn’t generally expressed as contempt.

Instead, penicillin sensitivity (especially when severe) is generally met with compassion — It’s too bad the simple and inexpensive option doesn’t work, let’s see what we can find that will.

I know this because I, in fact, can’t take penicillin. I’m deathly allergic to it.

I am not, in fact, likely to die from lithium use, and I’m willing to use it as a short-term intervention should things get really, really out of hand. I am not, however, able to tolerate is effects over long-term treatment. The same can be said for antipsychotics.

I do the best I can to manage without — and I continue to research and seek and hope for an alternative. I also realize that, for me, a medical alternative may never appear.

I continue to understand that my current strategy may not always be tenable, either — that sometimes bipolar disorder gets worse with age, and that a day may come when I am no longer able to manage as I currently do.

Right now, the lesser of the two evils is bipolar: someday, that may not be the case.

If that day arrives, I may have to strike a different bargain. Bipolar, in the end, is the mother of many bargains.

Until then, I will struggle to make the most of my creative gifts, knowing that someday I may not be able to use them.

Until then — and indeed, thereafter, should that day come — I will continue to be immensely grateful for the fact that I have health and mental-health practitioners in my life who do not regard my decision to eschew long-term medical therapy with contempt, as the foolish decision of an irrational child, but rather with compassion, as the careful decision of a rational and intelligent adult.

That is an immense privilege; a great gift.

It is also a reflection of privilege: I am white, male, of “normal” size, well-bred, well-educated, and well-spoken. I am married to a medical professional.

Doubtless, all of these things factor in the quality of care that I receive — when none of them should. All that should matter is that I am a human being, and thus deserving of respect even when I’m irrational, stubborn, and wrong.

This, ultimately, is what every single person with mental illness deserves — even when we are irrational: respect. The essential respect of one human being for another.

This is basic human dignity in action.

It should be neither a privilege, nor something we stumble upon by luck.

Wednesday Class: Still Feeling It

Back to Brienne’s class today: not the hardest barre she’s ever given us, but still pretty demanding; center work felt fairly easy physically right up to the end, but technically there were a few demanding elements.

Specifically, today’s adagio (which, interestingly, included one of the same transitions I’m using in the audition video choreography) was built on extensions wherein the working leg travels slowly across the center of balance — from croisé, développé avant, hold, though passé, extend first arabesque…

That sort of thing, only with pivots and little promenades happening at the same time. The second half did a similar thing with ecarté extensions (and then we did the other side, and then reverse of both sides, including “backwards” pas we bourré).

Développé no longer vexes me, but I had trouble finding the calm, still place from which adagio works best for me: I was nervous today, which is unusual.

I was also feeling critical of my body, which isn’t unusual, especially given that I’m having that weird response wherein you get dehydrated while exercising (Monday) and then your body retains water line crazy for three to five days. Oy vey.

By the time we got to turns, I was, however, able to make good use of the note Brienne gave us about pausing and breathing before the turn in our devilishly simple combination (devilishly simple as in it’s really simple, so you have to do it right! :P).

She also did that thing that ballet instructors do — you know, when they offer a general note, but make really direct eye contact with the people who need it most? …And gently reminded us (and especially me) to rise to relève for turns, rather than jumping to it.

It helps immensely, by the way, if you’re wondering … which I know, if only I can remember to do it :/

I replayed my mental footage of Baryshnikov doing turns and tried to channel him (is it acceptable to channel living people?).  This led to some pretty dancing and one reasonably acceptable double.

I really need to get my turns back together, though. There isn’t much excuse for not having a reliable double, at least, at this juncture: I’m just not putting enough time into turns, even in my kitchen (in which turns from second, which I’m working on via Brian, are also iffy).

Ironically, the better I get at dancing, the harder it is to dance in my house. I can still work turns en place in my kitchen (that’s one way to mix the batter, am I right?) as long as they don’t require extension.

Big jumps, on the other hand, are generally impossible (small, restrained versions can be done, but you perform as you rehearse, so I don’t do them often — the occasional entrelacé might slip out now and then…).

A little petit ou moyenne allegro fits into the living room, as do a pas de chat or two, as does adagio if its travel is limited and I’m careful about where I put my extensions and I remember to move our giant ottomans and my exercise ball (don’t judge) first.

I practice balancé a lot because it can be done back and forth, back and forth and thus fits into various places; consequently, my balancé is a lot prettier now 🙂

I need to think about how I want to respond to this. I feel confident enough to actually practice stuff, now, and  practice could improve my technique. I am considering regularly reserving a room at church on Thursday prior to bells, maybe.

… More practice could also improve my condition. I definitely felt Monday’s excesses at the end of class today.

Such is life.

My trapezii have rarely been this sore (except back when I had just started dancing again and my arms and back had done basically nothing through all those years of long-distance cycling), and I felt it in my port de bras and épaulement. They still looked okay, but I was more aware than usual of those muscles.

Needless to say, I am not planning on riding the bike all the way home. I had an appointment with my therapist this afternoon, and now I’m drinking tea and thinking about which bus to take.

In other news, I am once again considering the addition of Friday morning class to the rotation as soon as I’m really feeling on top of my three-days-a-week schedule (it’s definitely getting there). I might have to pick up some part-time work to cover the additional expense, but I don’t really mind that idea, provided that it doesn’t entail a long commute.

So that’s today. Don’t jump into your turns (except, of course, when appropriate!) and find your happy quiet place.

À bientôt, mes amis!

A Little Too Much

Sometimes, I make bad decisions.

In fact, I would argue that I am better at making bad decisions than the average person — which is to say that, because I am a tad impulsive, I probably make them more often than most people do.

I’m not normally prone to catastrophically bad decisions (once in a while, sure — but for someone with bipolar and ADHD, I’m doing a reasonably decent job not burning my house down because SQUIRREL!).

Rather, it seems that I rather often find myself saying, “…It seemed like a good idea at the time.”

Anyway, this is one of those stories, but it’s an instructive one. For me, at least (consider this another “note-to-self,” I guess?).

Yesterday, I decided that I should stop at the grocery on the way home from the studio and pick up a few things. Dancers gotta eat. (Isn’t that a song? “Birds gotta swim; fish gotta fly; Dancers gotta eat if they don’t wanna die…*”)

*…So it doesn’t exactly scan, but you can force-fit it.

There were five items on my list; five — I think I finished up closer to twenty, including five pounds of potatoes, a couple of pounds of quick oats, and some other things that are packaged by the pound.

In short, my purchases were rather on the heavy side for carrying home without, say, a proper backpack (my dance bag is tiny), shoulder bag, bike with panniers**, or what have you.

**This was Bad Decision #1: I left my bike at home because I’m not willing to risk a fall on ice right now. There was no ice yesterday, and in fact the temperature when I left was a balmy 45F.

Anyway, just purchasing heavy groceries wouldn’t have been a terrible idea if I’d then decided that, as I usually do, I should call Denis to come collect me at the store.

Instead, as I was still in a mildly paranoid frame of mind, I decided that it annoys him when I call to ask him to pick me up, and that I should try to get home without doing that.

So I schlepped my purchases down to the bus stop and got on the bus.

…Which, in and of itself, might have been an acceptable decision.

Except then, without bothering to consult Transit App (Which, you guys, has made my life SO MUCH EASIER. I love living in the future!), I decided that there was no way the current bus would actually make a timely connection with the bus that would get me closer to home, and that it would make more sense to get off and walk 1.7 miles with my heavy-ass bags (I did have the sense to stuff my potatoes into my dance bag, at least).

WTF, you guys.

Um.

It seemed like a good idea at the time?

So I started walking.

And walking.

And.

Walking.

Now, 1.7 miles really isn’t that far (for me). I will walk that far for fun without even thinking about it.

But a 1.7 miles with twenty-odd pounds of groceries in flimsy plastic carrier bags (because I forgot my reusable bags, because ADHD I guess?) and no free hands with which to scratch your perpetually-itchy nose; 1.7 miles of which the last .5 mile traverses three transverse moraines with short but steep climbs?

That was no fun.

Needless to say, by the time I got home, I was both drenched in sweat and more or less ready to lie down dead on the floor. And my shoulders hurt. And my arms. And my hands. And, in fact, even my legs.

And it had taken roughly forever and a half because every five or ten minutes I would have to stop put my gloves on (because the bags were eating through my hands, even though I double-bagged everything), take off my hat(because it was too hot), take off my neck tube (ditto), take off my sweater (erm … thritto?), or scratch my by-our-lady nose, which answered my attempts to use Applied Zen with an escalating arms-race of itchiness that quickly approached Thermonuclear Zombie Apocolypse levels.

After arriving home and quite literally sitting on the floor for a few minutes, being angry at the world for … let’s face it, who even knows? Sometimes, when you have bipolar disorder, your thoughts don’t really make a lot of sense.

…Um, where was I?

Oh, right. So after literally sitting on the floor for a few minutes, I got up, put the groceries away, washed dishes, and made chili for dinner and the best freaking chocolate muffins in the universe (reduced-sugar version; the basic recipe is vegan, though these ones have non-vegan chocolate chips in) because Denis loves them and I am a sucker.

And then we went out to the live-in-HD production of A Winter’s Tale, capping off a day that might have already been a little much by staying up past our bedtime (though, to be honest, that has nothing to do with why it took me ’til 4 AM to get to sleep).

Perhaps unsurprisingly, today I am not feeling so very peachy. I woke up with my wildly-underutilized upper body muscles feeling like they were full of ground glass*** and the rest of me feeling, well, really just kind of meh. Puny, icky, achy, under the weather, and … I don’t know, swollen or something. If that makes any sense.

***Note to self: maybe stop picking on people who skip leg day until you stop neglecting your upper body completely? (Further note: in ballet, EVERY FREAKING DAY IS LEG DAY.)

And I realized that, in a sense, this was what I felt like when I was getting back to class after the recent Pneumonia Campaign (except, then, the ground-glass sensation was in my legs).

Which has led me to a revelation that really seems like, you know, it shouldn’t seem revelatory.

Specifically, that small expenditures of energy can still add up to one big expenditure at the end of the day, even with dribs and drabs of recovery in their midst.

You’re still burning matches, even if you don’t just light the whole book on fire and watch them all go up in a blaze of glory (or, alternatively, you’re still using up spoons, even if you don’t just throw them all at the smug-faced hipsters at the next table all in one … hm. Maybe I’m still feeling a little grumpy today).

Over time, of course, conditioning can help you start the day with more matches (well, not always: health conditions can get in the way, of course). The trick is figuring out how many you’ve got, since they’re invisible, and you don’t know they’re gone ’til you’ve used the last one.

So it turns out I might have overdone it a little yesterday, whereby I’m taking a rest day today (as if I ever do anything on Tuesday in the first place).

Some part of me, of course, continues to complain vociferously about this idea: You don’t need a rest day, it insists, You didn’t even do that much yesterday.

Except, as it turns out, I did — not just the walk (over the moraines) to the bus, then Brian’s class (which felt fairly easy, but was still pretty athletic), then the walk to lunch, then the walk to the other bus, then the walk through the grocery store, then the walk home with all those freaking groceries, then the cleaning and the cooking, all of which involves being up on your feet and moving … yeah. That’s nothing to sneeze at.

Does this mean that, the next time I feel the need to do two days of hard classes and all the other stuff back-to-back, I won’t?

No — in part, to be honest, because that’s the life I’ve chosen for myself. Dancers gonna dance.

But it does mean I’ll consider the process of conditioning, and maybe I’ll learn to go easier on myself when it is time for a rest day.

…But does it mean I’ll learn to make better decisions?

In all honesty, in a general sense, probably not.

But it might mean that I’ll learn, eventually, to figure out roughly how many matches I’ve got without burning the whole book and half of tomorrow’s book.

Monday Class: I Feel Somewhat More Human Now

Class went well today. I continue to be fascinated by the changes in how I perceive the tiny muscles in my hips and thighs.

Violinists (by way of example) develop more refined receptive fields and richer-than-average somatosensory cortical representation of their left hands through use. I would guess that dancers’ nervous systems adapt in a similar way, affording a more minute porprioceptive experience of what are, in fact, some pretty obscure muscles.

My mood is also significantly better. I was definitely a tad paranoid this morning, but I talked myself out of it on the bus — or, well, I gave myself a stern talking-to about it and made myself go to class anyway.

Brian gave us a barre that felt short and fairly gentle, then followed it up with interesting combinations at center and across the floor, which (as usual) I mostly did right, with the exception of occasionally firing off a turn the wrong way because thinking.

Pro tip: if say to yourself, “Crap! Which way do I turn?” the answer your brain provides almost always be wrong. At least, it will if you’re me.

Repeat to yourself (in your best Early 90s Tom Hanks voice):

There’s no thinking in ballet!

… And then just fly, little birdie.

Our final combination went:

Sauté arabesque
Tombe
Pas de bourré
Glissade
Assemblé
Échappé
Demi fouette
Jump back to 2nd
Demi fouette
Brush through failli
Full fouette
Coupe to tombé
Pas de bourré
Glissade
Assemblé
Sous sous balance
Sauté arabesque
Run away!
… And then repeat going the other way as soon as the 2nd group finishes.

It was fun; very high-energy. Set to that same lively piece from Swan Lake that I enjoyed so much last week.

There were a bunch of implied steps that we had to work out to keep everything linked.

In other news, I am getting much better at spacing, largely by dint of not having to focus so hard on just doing the steps, which used to use up a lot of mental clock cycles.

So, anyway, that’s it. My friend B. will be back this week from a conference she attended over the Thanksgiving break, and she’s going to join me in my audition video, which I suppose I could post here if it turns out all right.

It’s the opening piece from the ballet I’ll be working on for the rest of my life, “Simon Crane,” which is actually supposed to be a corps piece, but will work okay with two dancers. The video has to be between 1 and 3 minutes long, so “Shadowlands” is right out. It’s 7 minutes from start to end. (Edit: I realize that, the way I wrote this, it reads as if I mean that the entire ballet is a corps piece. While it is, in fact, corps-heavy, I just meant that the opening dance is a corps dance. Derp.)

Anyway, I need to go catch the bus.

À bientôt, mes amis!

PS: I am out of Adderall and also I am an embarrassing stereotype, so I left my coffee cup *and* my water bottle at the studio.