Category Archives: goals
…And belated third-quarterly #goals review 😛
I’ve lost track of which week we’re on, since it turns out that break weeks aren’t counted in the company calendar and I apparently can’t be bothered to check ours while I’m writing this.
This week was all over the place. I felt pretty good on Monday and Tuesday, left my brain at home and just couldn’t even on Wednesday, wasn’t at the ballet on Thursday (I had a previous engagement for Cirque), and had a pretty darned good Friday, even though I was in Goldfish Mode* throughout most of class in the morning.
*Yes, I am aware that goldfish actually have decent memories. Work with me, here, people.
Technique-wise, this wasn’t always the best week ever. I realized during break week that since I’ve managed to stick myself with the Shawty barre, I need to learn to work with it and not just be like “OF COURSE I LOOK LIKE AN IDIOT THIS BARRE IS WAY TOO SHORT FOR ME.” Which in turn made me realize that I’ve been using the Shawty Barre as an internal excuse for things like leaving too much of my weight in my heels (note to self: WTF?), not being tall on both sides of my body, only halfway pointing my feet, doing this bizarre thing where I let my weight drift towards my free leg which doesn’t help anyone, etc, etc, etc.
So this week was, like, Remedial Ballet 083 while I concentrated on undoing all the stuff I did to my body while I was being an idiot. Which meant sucking it up and dialing down the turnout, etc.
On the upside, Mrs D gave us this useful and memorable correction about using our cores: “You know those six-packs** you all have because you work so hard? DON’T LET THOSE CANS FALL OUT OF THE FRIDGE.”
**The visibility of mine varies … but, holy heck, am I ever growing some abs.
For whatever reason, that particular visual is really helpful for me. It also made me realize that when I notice that I’m getting swaybacked, I tend to try to use my actual back to fix the problem instead of re-engaging my core, which is how you really fix that problem.
I guess that none of those things are really negative, now that I’m thinking about them. Working like this every single day, twenty-plus hours per week, gives me a lot of time to think about everything.
Also, I finally nailed my first double cabrioles through the sheer force of peer pressure … or, really, the effect of a sentiment very like, “If they can do it, I can do it; don’t want to let the side down.”
So that’s a couple of goals knocked off the Great List Of Technical Goals.
We’re well into Nutcracker now, and next Saturday is New Works & Other Voices (which, due to some marketing SNAFUs, has garnered such nicknames as “New Works & Other Stories” and “Works and Other Works”). We’re going to be sharing the stage with a pair of artists who will be painting a giant mural as we dance. Depending on the materials that the muralists will be using, it’ll either be really cool or, “Dude, waaaaaaaaay far out bra.” Good thing that the works and other works are pretty contemporary.
In related news, I’m now on the company page on the website under “Trainees,” which is AWESOME, though I don’t have a headshot yet because I wasn’t there on headshot day. I will content myself for now with being the official Man of Mystery (regarding which, I am as mysterious as a shoebox, y’all). I have a cute li’l bio and everything.
…Which brings me, albeit indirectly, to the quarterly-ish goals review bit.
I’m rather surprised to say that I’m making quite good progress on them. I’ve finally nailed down that pesky double tour, and the progress of my turns has been solid–not in terms of the number of revolutions I can achieve, but in terms of the overall quality of the turns themselves.
I’ve gone to enough auditions this year that auditioning is starting to feel fairly routine, and I’ve had more work at times than I’ve known what to do with. I didn’t actually audition at LexBallet, but I’ve wound up dancing there anyway, which in turn is affording me the opportunity to work on artistry, coordination, and all that stuff consistently.
I set the first two-thirds of “Tenebrae” and had an opportunity to show it at an actual, real dance concert; I choreographed and performed “Loverboy;” and I’ve made vague advances towards working on “Bolero,” which is no longer part of Simon Crane, but simply a dance about riding the South Shore Line into Chicago.
The one glaring oversight is the commitment I made to BW to work on balances. I paused that effort a while back when I was getting over that case of strep that made my ears weird, and it’s time to really get back on it.
Back at the beginning of this year, I hoped I would be where I am now, but I don’t think I really believed that I would.
Now it’s up to me to keep working and to actually begin using my brain as a dancer. I still have a lot to learn, and because I’m a bit older than your average company trainee, I need to learn it fast and well.
Also, because I faffed around forever with headshots on Thursday, here, have this one:
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…”
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.
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?
*I mean Dr. Merkah, of course.
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.
Because evidently time and I have a tenuous relationship at best, I realized yesterday that I was beginning, rather than ending, the third week since my surgery, and as such I still face four weeks before I can resume my usual workload. Oops.
On the other hand, that does mean I’m healing very, very well. I’ve been
obsessing over reading other people’s accounts of healing from this kind of survey—initially to figure out what to expect, what was normal, and what was cause to panic, and but now because they’re just plain interesting—and it seems that a lot of folks still have a fair amount of discomfort and so forth at this stage. I’m chalking my relatively easy recovery up to a really awesome surgeon and above-average physical fitness.
Anyway, Golden Retriever Timescales not withstanding, I’m starting to make plans for next year.
- I’ve probably used this analogy before: while my sense of immediate time is pretty decent, once I venture beyond that, my perception of time flakes into two distinct categories—the ones you might imagine a not-very-bright Golden Retriever understanding, which is to say say, Now and Not-Now. Anything further than two weeks out, meanwhile, exists in the realm of absurd fantasy. Evidently, this also applies retroactively 😛
I auditioned for more things this year than last year. I expect to continue that trend next year. I’m looking at dance companies (ballet and modern, but mostly ballet), cirque companies, and cruise-line dance-and-cirque companies right now, as well as the usual gig-based auditions.
Ideally, I would love to work in ballet, but I realize that my particular skill-set makes me a good candidate for progressive circus companies. Likewise, while many classically-trained dancers turn their noses up at working for cruise lines, I like the idea of living and working on a self-contained floating city, and cruise-line companies value versatile performers. I suspect that my strong classical dance background and existing aerial skills will place me well (I’m also a pretty good singer, which doesn’t hurt).
That said, my best asset is simply the ability (and willingness) to up stakes and go wherever the work is.
It seems like a good idea, when you’re trying to work in a ridiculously competitive industry, to identify all of your strengths (not just the obvious ones) and seek opportunities where they’ll be useful. Given that I’ve taken a really, really atypical path to working in dance, I plan to use the heck out of that strategy. My goal is to audition as often as possible for jobs that will find my collection of both skill- and non-skill assets highly desirable: in short, to target companies that need people with strong classical (and progressive) dance training, strong aerial arts training, a background in gymnastics, fearlessness, willingness/desire to travel, and flexibility (both physical and mental). Being a ballet-and-trapeze boy who also performs on lyra and fabrics shouldn’t hurt, either.
I’m not operating under the illusion that, should I work for a cruise line or a touring company, I’ll get to see a great deal of the places we visit—but opportunities do arise, and I’m not seeing much of the world from where I am now, either 😛
Anyway, the primary goal next year is to continue training and gain as much professional experience as I can—basically, either to work with a company that rehearses and performs across a regular season for much or all of the year, or to continue to work with a company like CirqueLouis and take every additional gig that I can.
I’m not defining my ballet goals quite yet: I think I’m going to buttonhole Killer B, BG, and BW about those first. I still don’t have an intentional double tour, so I’ll be working on that through the end of the year once I’m cleared.
You guys, WTF?!!!
IT IS ALMOST JULY, YOU GUYS. HOW DID THAT HAPPEN.
Anyway, as you know, ballet goals: I haz them.
Anyway. (Yup, it’s about to get long in here, so have a cutscene thingy.)
D and I are now rehearsing our #Playthink piece.
It’s actually going much better than I expected it to.
As one does, I’ve re-written essentially the entire piece now that I’m setting it on actual people and not just on myself prancing about in the studio and waving my arms to vaguely represent the acro moves.
Initially, I had one vision in mind. Because I was futzing around with it by myself, it involved a lot of ballet.
Now, of course, that has changed. I mean, there’s still ballet: there’s always going to be ballet because, hello, it’s me. That’s kind of what I do, apparently.
But choreography has a way of getting away from you. You begin with one vision, and as you actually create a dance and actually set it on actual people, it transforms.
I suppose that this is because, in a way, a dance is sort of a living thing. It’s a little like having a child (though, of course, on a very different scale) or maybe an elaborate pet. You might think, of a horse, “I’m going to train this horse to be the best cow pony ever,” but the horse might actually not be any good at being a cow pony. It might turn out to be a dressage beastie or something else.
- My philosophy on training horses was very much shaped both by my childhood trainer and also by the trainer of my friend’s lovely Arabian gelding, which began life as what the Arabian show world in the US calls a “park horse,” morphed into what the Arabian show word in the US calls an “English pleasure” horse, did a brief stint in Arabian-show-world western pleasure, and then eventually found his calling as an endurance racer. Basically, the lady who was responsible for training the horse felt that you needed to figure out which discipline suited the horse, and then train it to be as good as it could possibly be at that discipline. I think that’s a good way to do it.
Anyway. I digress.
So this dance is now almost a steady stream of rather-balletic acro and physical theater, and I’m okay with that. One of my goals was to build a dance that tells a story, and in this case, the story is kind of funny and implausible, and acro and physical theater are good ways to tell it.
I’m not going to try to force this dance to be something it isn’t. I have an entire lifetime in which to craft ballet pieces on ballet dancers (I keep joking that I have this entire three-act ballet in my head, now I just need about fifty dancers and a million dollars or so to get it off the ground … but, really, I do have an entire three-act ballet in my head, and it’s taking up a lot of space!). Right now, I’m working with one ballet dancer (me!) and one Denis, and that presents its own set of challenges and limitations.
Honestly, in creative work, it’s so often the limitations that free us to innovate (just as necessity—or, just as often, laziness—gives birth to invention).
The neat part is that this has led us to inadvertently create a new acro move. I mean, probably someone, somewhere has done it before, but I’ve never seen it. It happens to be one that requires that the flyer have a legit center oversplit (among other things), so probably there are a lot of people who can’t do it. Bony impingement is real, it’s just not something that I experience.
Anyway, the sequence involves moving from this:
…via returning to a standard vertical candlestick, then opening to a straddle and rolling down onto the base’s feet, and then rotating your legs back and around into the position above (the arms also have to do a thing, obviously).
The same basic end could be approached by moving from the vertical candlestick into a pike candlestick and lowering both legs down that way, but I don’t think it would look anywhere near as cool.
Annoyingly, when I snagged these screenshots, I completely failed to get one of the straddle transition. At the time, I think I was like, “A still photo of this isn’t going to impart any useful information.”
Anyway, you really have to have a perfectly flat straddle for this particular sequence so you don’t just rip your legs off, because your hips take a lot of your weight in the middle of the transition. Basically, if lying face down in a center split feels stretchy, this isn’t the sequence for you.
You also kind of need really good turnout in order to do the rotation bit.
The fact that D literally cannot straighten his legs in an L-base also means that I kind of drop myself onto his feet. Eventually, I’ll reach a point at which I can do a complete smooth rolldown whilst upside-down in a full center split, which will make things a little easier, but right now there’s a gap between the end of my smooth rolldown and the end of Denis’ range of motion (because my core strength is still only pretty good, and not completely awesome).
I wanted to use a sort of grand rond de jambe as an exit, but that also takes more adductor power than D has right now. If I bring my downstage leg to second, then rond it over, the force makes his right leg (which supports my left hip) shift, and I fall off 😀
We’ll get it eventually, but not in the next two weeks.
So there’s that.
Anyway, classes were good-ish yesterday and today.
Yesterday’s, in fact, was fairly lovely. Today’s was our first Advanced Class with JAB (OMG, his initials are seriously JAB!!! XD), who really does actually give an advanced Advanced Class.
On the upside, I’m finally (FINALLLLLYYYYYY) jumping again for real: grand allegro and everything. Cabrioles with turny bits, even (though I think I kept turning them into some kind of cabriole-scissor hybrid and landing on the wrong leg).
On the other hand, possibly because I went to a party last night and didn’t get to sleep ’til almost 4 AM (and then had to wake up and eat a sandwich, which was surreal because I was still pretty tipsy and more than half asleep), my brain was for the birds today.
I struggled because there were gaps in my recall of Every. Single. Combination. once we left the barre. The bits that came off, though, mostly went pretty well (except for a weird disaster in adagio during which I basically fell off my leg and then couldn’t get back on because gravity is the worst thing sometimes).
I also hit up a new class at Suspend, which is basically floorwork for acro.
You already know how much I love floorwork, soooooo…
Anyway, we got to break out our improv for the last 10 minutes of class, which resulting in some video that’s party really cool and partly like WHY DO YOU KEEP NOT COMPLETING THE MOVEMENTS WITH YOUR ARMS, WHAT IS WRONG WITH YOU.
But, anyway, here are a few nice shots from this morning’s video, just because I like them:
Also, I feel like in the arch picture, my butt looks like a couple of angry badgers having a fight. Muscular angry badgers, though.
The tape, by the way, is just there because a tree stabbed me in the foot yesterday
Anyway, I was being annoyed with myself for not making the effort to do quadruple turns today, and then realized that I’ve somehow, like, sideswiped my ballet goals without realizing it. Like, basically, I’ve made a significant dent in them and didn’t even notice.
Basically, one of my major goals for this year was to nail down reliable triples and unreliable quadruples, basically. And, bizarrely, I have achieved that goal. I had this weird epiphany on the way home from class yesterday: I realized that, like, a year ago or so, even doing one little triple turn more or less by accident was the most amazing thing ever.
And now I’m like, “Meh, triples, yawn,” when I don’t try for quads.
So, basically, I need to pause and appreciate how much progress I have made.
For what it’s worth, I’ve also got turns in second sorted. They’re not always beautiful (or, let’s be honest, even pretty), but I can always do them. Just not always sixteen of them.
So, yeah. There you go. I feel like I’m “back,” more or less, right now.
Of course, Choose Your Own Intensive begins Monday, soooo… . . .
First of all: THANK FREAKING G-D. I have broken my week-long streak of disastrous classes, FINALLY.
Today in BW’s class, I was not a giant freaking disaster area.
I did not feel weak.
I did not forget every single combination (in fact, I managed to remember all but one of them, though for some bizarre reason I kept doing inside-out turns on one of them).
I did not feel horribly nervous or completely unworthy of BW’s tutelage and as such didn’t spend have the class talking, though I did ask several clarifying questions (another really nice thing about private class).
My legs didn’t fall off and my foot didn’t start screaming at me.
…Which is good, because it was, once again, the All Asher, All The Time show.
When you’re having a terrible
week day, nothing will make you feel worse than a private class.
When you’re having a fairly decent day … erm … well, you’ll probably come out of your private class feeling fairly decent.
Today definitely fell into that zone: I can tell I’m making progress, but the goalposts keep moving, so I keep thinking I’m so bad at this one thing, but I also think, I’m way better at this other thing.
I wouldn’t say that I’ve got 100% of my strength back, but I’m also not sure that’s accurate. Were it accurate, I think the 8-8-4-4-2-2 grand battement would’ve killed me.
In case you’re wondering, that particular grand battement is fairly hard, but still not as hard as Rayevsky’s which, if I remember correctly, went: 8 front, 8 back-inside, 8 side, 8 back, 8-front inside, 8 side, EFFING DETOURNE, straight into the other freaking side. Honestly, I feel like I’m probably missing something in there. Regardless, it’s clear that Mr. R wants his dancers strong—and he teaches with enough precision to warrant it.
In the hands of an ineffective teacher, that combination could easily become a turnout-destroying exercise in futility, but Mr. R is one of those teachers who have 27 pairs of X-ray vision-equipped eyes arrayed all over their heads so they can call you out on failing to engage one wee finger of your deep rotators even when they’re looking at someone at the far end of the barre.
Edit: I suspect invisible eyestalks may be involved.
BW also teaches with that kind of precision. I am still totally in awe of the moment when he shot me exactly the right correction with his back to me and no mirror for guidance.
Anyway, I think I’m in that in-between zone: kind of between levels. I’m working on sustaining higher extensions and so forth, and that requires a greater degree of strength in the supporting leg. I’m working on cleaner, sharper, turns with higher turn counts, which requires a better spot and more accurate placement.
- …Though, today I was just having a remedial “don’t turn the wrong freaking way” kind of day. There were singles and doubles and one triple, and that was fine, since we were aiming for precision.
- …And a steady supporting leg, which in my case also comes down to strength—or, more accurately, the balance of strength, as do extensions. BW noted that, for me, the challenge is balancing the extreme mobility of my hips and the natural strength of my quads by strengthening the rotators and other muscles that oppose the quads. Basically, I need to work on my butt. Even more. And not ever do anything extra with my quads, period, end of story. He might not have actually said that second bit, but it’s kind of implied?
We also managed to get our petit and medium-ish allegro on, though we skipped entrechats this week. BW was pleased with my changements, which we’ve been modifying to improve my tours.
- This works because ballet is systematic and sequential: sus-sous balance begets soutenu turn and soubresaut, which in turn begets changement. Soutenu turn and changement together, combined with a strong plié, beget tours and then double tours (or, if you’re me, 1.5 tours >.<).
BW has a way of saying to me, when we are in the midst of Accidentally Private Men’s Class, “We do this this way…” and then explaining some subtle point of men’s technique and what makes that subtle point important.
A solid double-tour requires that one’s legs squeeze together and stay there through the change of feet and through the rest of the jump, essentially because physics.
If you ever had the opportunity to play on one of those rotating tire swings as a kid, you probably remember that you could make it spin faster by tucking yourself into a ball or slower by stretching out and leaning outwards.
If you’ve done dance trapeze, lyra, rope, or any of the other free-spinning aerial circus apparatus that allow it, you also know that you can create insanely fast spin by making yourself into a vertical line that runs right up and down the vertical axis of the spin.
The same principle applies to tours: the closer everything stays to the vertical axis, the faster you can turn.
You can’t have your calves flapping around when you have to rotate twice around your own vertical axis before you land (facing the correct direction). That means you have to snap-squeeze your legs right the heck in from the tips of your toes to the tops of your thighs.
- …So if you’re a dude and you’re going to work on double tours, wear your best dance belt (and a smile, I guess?).
To build this habit, you do a billion changements in which you do not snap the legs out and bring them back (as pretty as that is), but instead sort of pivot them around each-other as you would in the midst of a soutenu turn.
- This is moderately counter-intuitive, because in a soutenu turn it doesn’t feel like that’s happening … but it is.
Anyway, that’s about all the braining I can manage tonight.
The funny part is that I remembered our medium-ish allegro combination, but still proceeded to do it wrong because my brain would not engage. It ended with assemblé back no change, assemblé changé. That assemblé back no change tripped me up soooo many times, because (like every dancer on earth) I do assemblé changé a lot more often.
In the end, though, I ran it until I got it right, which is another nice perk of flying solo in class. If you need to get a thing down, you can drill it ’til ya kill it.
Anyway, I’m taking an extra class tomorrow in honor of BG’s birthday, and then the usual assortment of weekend shenanigans, and then it’s onto my self-imposed Dancer’s Hell Week; my wee Choose Your Own Intensive.
You guys, I cannot believe it’s June already!!!!!!!
I’m apparently in a bit of a rut right now, of the irritating kind defined by the feeling of being sufficiently depressed to find socializing exhausting but not so depressed that you can’t see that A) you’re depressed and B) you’re kind of a jerk right now.
On the other hand, good things are happening regardless, to wit:
- I can finally jump reliably again! (And I am So. Out. Of. Shape. But I can jump, so that’ll be sorted soon enough.)
- Ballet Detroit’s master class was superlative! Literally one of the best classes I’ve ever taken and also one of the hardest. Rayevsky gives a heckin brutal barre, but in a good way. Meanwhile, our final exercise across the floor involved (for the boys) sixteen grand pirouettes. On each side. I managed eight on the right; I literally can’t remember what happened on the left =:O I will be working on these with BW.
- Got my triples back going right. Going left, turns still feel a little weird on my healing foot, so I’m working on getting clean ones and not focusing on counts—so it’s singles and doubles, which I mostly don’t do like a crack-addled wildebeest. Mostly.
- Did a … We’ll call it a “quarduple.” Not quite a real quad, but a proper triple that ended with I … AM … GOING AROUND … AGAIN … DAMMIT!!! It wasn’t pretty, but it happened.
- Did turns at the barre without panicking because there was no time to panic, because the in question was like “8 counts AND TURN! 8 more counts AND TURN! Now repeat (AND TURN!) and reverse (AND TURN!)”
- Also landed a double tour out of sheer terror. Apparently, I perform best when I’m basically terrified of disappointing my instructor. Sadly, I didn’t even really clock the fact that THAT HAPPENED at the time because, you know, sheer terror.
- Got a scholarship for Pilobolus’ intensive 😀
- Picked up my first Official Dance Paycheck. YASSSSSSS.
- Learned that D can Bluebird Lift me.
So those are all good things that happened. I’m hoping that now that I can jump again and have survived a double tour once, I’ll stop psyching myself out of double tours.
PS: I can only Bluebird Lift D if he climbs into it, partly because he’s harder to balance than I am because he’s not as good at engaging all the things, but also partly because my arms are short.
PPS: I realized that even though I know how to lift people bluebird-stylie, trying to be lifted us confusing as hell when you’re trying to remember where your hands go when you’re doing the lifting and translate it to placing your bodyparts appropriately.
Sometimes, in the process of navigating your life, you look up and realize you’ve passed a bunch of waypoints without even really noticing.
I’ve been thinking about this a lot lately: I realized that I needed to update my dance resumé, which pretty much made me laugh out loud, because I’ve come a really long way in less than one year, and I totally failed to notice.
In short: this year, my life has suddenly taken off.
Or … well. It feels sudden, but when I think about it, it really isn’t.
(moar behind the cut; it’s long)
The most interesting man in the world doesn’t always fall off the trapeze, but when he does, it’s during an audition … and lands him a callback!(1)
- Okay, so falling off the trapeze may have had exactly nothing to do with it. But still! I got a callback!!! YASSSSSSS!