Category Archives: learning my craft

Week 5ish Wrap-Up: Be Confident, Atreyu!

I’m not sure that break weeks count as weeks in the company calendar, but I’m counting them anyway.

This week was a step forward. I began figuring out how to adapt to the fact that I have inadvertently assigned myself to a barre that’s significantly too short for me (and for my counterpart, who’s about my height) so it doesn’t screw up my entire day. I remembered how to use my turnout muscles. I realized that I’ve been letting my standing leg be lazy … or, well, not so much lazy as shy.

For whatever reason, I’d been having a gigantic crisis is confidence in myself as a dancer (partly because I had a rough several days distributed between weeks 2 and 3). I also realized that my innate shyness was probably coming off as standoffish. As such, I decided to take it upon myself to actually, like, talk to people this past week, and to apply every performing artist’s favorite maxim:

Fake it ’til you make it.

Basically, I decided that I’d pretend to be confident in hopes that it would actually work.

Lo and behold, it did. What a shock (yes, I’m being sarcastic).

When you’re not confident, the natural tendency is to kind of shrink into your body. Not only does that look ridiculous on someone with my build, but it makes ballet about a thousand times harder. You can’t do a good piqué turn on a tentative leg, let alone the triple-turn-on-demand that our AD routinely requests in class. You can’t do a double tour if you don’t commit.

The funny thing is that when you start acting with confidence, you dance better, and that makes you more confident.

On Friday I actually got a positive shout-out from another dancer in class while we were doing turns … and, amazingly, I did not then proceed to hose up the rest of the combination.

I did eff up the left side, but not unexpectedly. I’m having an intermittent issue doing things when the right leg is in the standing role due, I suspect, to way the heck too much driving. I’ve figured out how to work on that, though (pop the pelvis back together as needed, then do the piriformis stretch and all the hip flexor stretches as frequently as possibly).

Anyway, we started in on Nutcracker this week, and I’m learning my rôle and enjoying it. We’re two weeks out from our next show, I have a Cirque show the week after that, and then we’ll be in the teeth of the Nutcracker before we know it.

That said, I also have an audition this morning, so I must close here and get my butt in gear. I have some thoughts on technique that I’ll try to write up soon.

Week 3 Roundup

This week has been all over the place.

On Monday, I hydroplaned driving home and totaled the truck, though you wouldn’t have known it was totaled to look at it.

I’m fine. Yes, I was driving carefully: in fact, rather ironically, I was changing lanes to avoid a deep puddle … so that went well 😅

Our truck has almost 305,000 miles on it, so the insurance company pretty much would’ve totaled it out over a decent-sized scratch. Tink the Tacoma and I did a nice little pirouette, slid backwards on the diagonal, and bulls-eyed the passenger-side taillight into a concrete barrier.

All this was way less scary than it sounds. I seem to be prone to spells of absolute calm in times of physical danger: nothing will drop you right into a philosophical frame of mind like knowing you’ve done exactly what you’re supposed to in a given situation and that it’s well and truly beyond your control now.

I think a part of me was like, “Well, if I die now, I’ve actually basically achieved all of my current major goals, so…”

The company, first day of class, 2018-2019 season.

Including looking like a pumpkinhead in this picture, evidently.

Still, I will miss our truck a bit in my somewhat Shinto-flavored way. Some animistic portion of my being thinks of it as a faithful friend. Tink The Tacoma did so much for us, so uncomplainingly.

Tuesday I sweated balls due to poor sartorial judgment.

Wednesday I struggled with the piece Mr D is setting.

Thursday, Mr D’s piece started to gel, thanks in no small part to S, who suggested videoing the piece, and some input from the girls. Mr D seemed both excited about that and deeply relieved.

Several of us also had this very revealing conversation about the closing piece in last week’s show–evidently I wasn’t alone in feeling like I barely had it or in winding up on the wrong leg here or there.

Friday I started to feel like I’ve got my feet under me. I’m learning how I learn and how to make up for my shortcomings. I’m beginning to feel like I can ask my fellow dancers questions.

Going forward, I feel like I need to stop shortchanging myself by allowing the excuse “I have less training than everyone else here” and really step up my attention to detail and so forth. I’ve had three weeks to settle in to company life, so now it’s time to really buckle down.

That said, it’s fall break for us this week. When we return, we’ll be diving right into Sleeping Beauty and continuing to work on everything we’re already working on.

For us, Nutcracker rehearsals begin later in October; the kids have already started.

My entire family is coming to the opening night of Nutcracker, which is really cool. My sister has never been to Kentucky, so it’ll be a neat trip for her and her husband, I think.

Anyway, I worked a late gig for Cirque last night, so I’m taking a day for R&R today, doctor’s* orders.

My cat curled up on my legs.

Doctor Catto prescribes a full day of rest and relative irresponsibility.

Tomorrow, I have a Cirque rehearsal, and then the rest of the week will be devoted to The Great Cleaning Of The Entire House.

PS, how do you like my “catto joggers and ballet booties” look?

Me, relaxing, shirtless, on some pillows

Also, random Topless Boys Live update. My scars are basically invisible on the right (left in this pic bc my phone keeps turning its flip image feature on 🤔) and getting there on the left, with the exception of the spots on one side that had a weird reaction to the tape.

*I mean Dr. Merkah, of course.

Week 2 Roundup

This week, I did some stuff well, some stuff really badly, and a lot of stuff somewhere in between. I nailed the overhead press lift. I didn’t fall over, drop anyone, or knock anyone else over, nor did I kick the audience in our show last night (it was in our building’s performance space, which is more like a ballroom kind of thing, so the audience sits in chairs along the wall).

To be fair, I would have to have REALLY messed up to kick the audience, as I’m mostly in the back in the stuff I’m in right now.

I’ve made a deal with myself. I’m a trainee, really; a company apprentice. So I’m here to learn, and I have a LOT to learn. Every time I’m tempted to make an excuse, then, I stop and ask myself, “Okay, so X is a thing that’s getting in the way. How can I solve that problem?”

I am still shy in person: like many introverts, I have trouble getting to know new people most of the time, and especially when most of them already know each-other. I’ve been letting that get in my way a little. This week, I decided it’s time to step up and ask about the choreography when I haven’t caught something or don’t remember something. So far, nobody has rolled their eyes and gone “O FFS HOW DO YOU NOT KNOW THAT?”

I have trouble processing spoken language, especially when I’m doing something, and especially especially in a big, echoey room. It’s just a function of how my brain works. There’s a bit more of a delay for me than for most people between when someone says something and when my brain works out what it was they said.

In class, I can deal with the echoey room part by standing closer to Mr D when he’s giving us a combination. In rehearsal, sometimes he tosses choreography at us from across the room while we’re standing where we finished the last bit, so I’ll have to work out a different strategy for that. I think just asking my fellow dancers is a good way to go; often, they have similar questions. Sometimes we just all look at each-other and shrug.

I’m … erm … moderate at remembering choreography.

I’ve realized that I’m worse at remembering choreography in group pieces than I am in other situations because you can’t not look at people (when there are 20 of you in a circle, you have to use your eyes if you’re going to avoidd kicking each-other in the face). When I’m looking at my fellow dancers, I tend to automatically follow them, and things don’t always make it into my long-term memory for some reason.

This means that I need to review like crazy on my own either in the studio or at home. Fortunately, I have video of the main thing I’m working on remembering.

Steps-wise, for some reason, it’s still the petite Sissones that do my head in. And, of course, knowing that makes me nervous, which prevents me from picking up the petite Sissone combinations correctly. Feck.

So obviously I need to practice the hecking heck out of petite-allegro stylie Sissones on my own. Ditto brisées. Other stuff is mostly coming together on its own, including fancy grand allegro things that I don’t know I can do until I’m throw into the deep and and just do them.

I need to come up with a strategy for sticking a pin in parts of dances that I don’t have when I’m reviewing and I don’t have video. Historically, I’ve dealt with those bits by getting stuck, which only trains you to get stuck. I queried one of my fb ballet communities for suggestions, and one of the best was coming up with some kind shorthand and writing down the choreography as soon we learn it (or at any rate as soon as possible). I think that will help, and it will also hep me understand where I’m missing bits.

Double tours are progressing, though I sometimes get frustrated and start doing them like I’m angry and then Mr D says, “Easy …. easy.” But I’m remembering to spot them more reliably (it occurred to me that it’s impossible to count your revolutions if you don’t spot!) and to go Full Pencil most of the time.

I’m also remembering to jump from the ground up, which is a function of working on snapping into Pencil Mode. In case you’re wondering, attempting to disconnect your upper body from your lower body and toss it into the air under its own power doesn’t actually improve your jumps.

Repeat to yourself, “THE LEGS LIFT THE BODY.”

Like all jumps, double tours begin with pliés. Everything squinches down to load the sproings, and then the reaction of the loaded sproings launches the jump from the ground up. You let the legs lift the hips (this was a David Reuille thing). Then you let the hips lift the body, in part by keeping everything attached and not turning into a slinky.

I’m going to have to get with someone who is relatively fearless about partnering and work on assisted turns, because I HAVE NO IDEA WHAT I’M DOING.

i-have-no-idea-what-im-doing.jpg

replace computers with girls en pointe and it me [shamelessly stolen from memegenerator.netmemegenerator.net]

I would not have expected to be like, “Yah, the lifts are the easy part,” but actually they kind of are? I mean, as long as your partner doesn’t turn into a sack of potatoes. Lifting even 120 pounds of potatoes is about a billion times harder than lifting even 150 pounds of dancer.

On the other hand, I have rather a lot of experience lifting other humans and absolutely none spinning girls in pointe shoes around with my hands. I’m afraid I’m going to knock someone over. On the other, other hand, Mr D announced after Friday’s parade of all the boys spinning various girls in pointe shoes that we’ll be working on that a lot more. Also, I think I’ll be ordering the other half of the set of books on partnering of which I for some reason only have volume 2, which very reasonably assumes you already know how to do the basic stuff.

Also, I suck at the promenade version of the same, for the same reasons.

But I guess that means I can’t actually get worse at it, so there’s that?

If I was less shy, I would just ask S or C or L, all of whom know more about this whole partnering thing than I do, having actually been formally trained in it instead of just experiencing the patchwork of, “Here, do this,” and occasionally, “Oh, and you do it like this!” that makes up my partnering background ^-^’

I’m also working on solving problems like: I have sound upper-back flexibility, so why does my cambré derriere suck a lot of the time? Mr D demonstrated to me that I can basically fold myself like a napkin if someone just runs a hand up the underside of my arm, so … huh. I think the problem is that I get tense and wind up working against myself, so I’m going to have to figure that out.

Also, I need to get my head coordinated with everything. It’s still a bit intermittent, whereas it needs to be automatic. I need to train it so I don’t have to go, “Oh, yeah, use your head” (in the ballet sense ^-^’). Ditto my arms, which are getting better but still sometimes forget to do anything.

So there you go. All I have to do is learn the rest of how to be a professional dancer by the middle of December. No pressure ^-^’

 

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