Category Archives: it is a silly place
It’s funny: when we speak of someone being “unstrung,” we typically mean it in the sense that a harp or a piano that has been unstrung is usually having a pretty bad day.
We don’t typically mean it in the other sense—that a bow (the old-fashioned kind made from wood and/or horn and/or bone) should be unstrung regularly, lest the tension of the string ruin its strength.
I think I’m experiencing a bit of both right now.
It’s deeply unpleasant to miss a week of class. By day three, I begin to suffer from the sneaking suspicion that I’m losing my figure if I eat at all (please note, if you’re new to this blog: this a criticism I apply solely to myself—I’m not generally prescriptive about dancers’ bodies, unless the dancer in question is me). My history of anorexia is still, essentially, history … but I’d be lying if I failed to admit that its voice speaks louder when I’m forced to sit down for a while.
This is complicated by the fact that my internal mirror, my mental representation of my body, is updating slowly: that I’m starting to see myself as this rather athletically-built kind of boy, possibly the sort that runs to fat by current professional ballet standards (though perhaps not by any saner standard in the world).
Likewise, I begin to feel frustrated: I know I’ll have to work back into my body a bit; that ballet in particular is an art that demands constant practice. If I miss class for six days, I, my director, the audience, and even the spiders in the stairwell will know. And I’ll really, really know. My deep rotators are, by this point, slowly morphing back into deep potaters (though I am at least feeling well enough to do simple turnout exercises now, provided I do them lying down or in small batches).
And yet it would be impossible and unhealthy to dance through the illness I’ve had this week—I might have milked a few more classes out of myself, but it’s probable that for every hour I strained to charge forward, I’d pay back a day in interest. The show must go on, but at the same time it’s stupid to feck about with a fever and an aggressive infection that has already colonized your upper respiratory system and is eyeing your lungs. If you have to do a show and you don’t have a second cast, you do it; if you’ve got a slow week of class and rehearsals, for goodness’ sake, just take a minute and heal.
Now is no time to get sick—at least, not sicker than I have been. If there’s a good week to take a hit from North Tonsilia, for that matter, this was it: next week is PlayThink, then it’s tech week for Weeds. This week we had fewer rehearsals than usual, and none that were unusually demanding. There was time to sleep and recover.
Time to sleep and recover also means time to review video of Tenebrae and think about work and consider how to move forward.
It’s still a little weird to think about myself as a professional dancer and as a nascent choreographer. It’s really weird in this way that it’s not as weird as it once was. I’m starting to think about the long game; to consider strategies for working as much as I can for as long as I can. It doesn’t seem as ludicrous, anymore, to think seriously about choreographing projects and so forth.
In that light I should think about trying to avoid, say, choking to death. I sliced up some steak to eat with a salad today (now that I can eat salad again :P), but I failed to account for being pretty much unable to breathe through my nose, still. I wound up aspirating a longish piece of steak in the process of trying to bite through it, and D had to perform the Heimlich maneuver. Obviously, it worked: out came the steak, and after a few minutes I was able to go eat my lunch, which I’d literally just started.
Still, it gave me pause. I’ve managed to choke on things before, as one does, but never so badly that I couldn’t sort it out myself. It was less scary than one might expect: like, the initial feeling was, “Oh, I’m choking, I should sort this out,” followed by futile attempts to somehow dislodge this strip-o-steak, um, psychically or something?
The problem being that by the time I staggered into the living room where D was, I was kind of redlining and started to panic as I realized I couldn’t remember the universal sign for “choking,” which apparently is not instinctive :O
That said, I was still able to make a faint gurgling hiss somehow: apparently that, combined with the usual hand-waving that I do when I can’t find words, prompted D to realize that I was choking.
The actual experience of being Heimlich-ed was interesting: there was a moment of, “This isn’t worki—” and then all at once it had worked and I was holding a disgusting, slimy strip of meat in one hand. Weird. After that there was a brief episode of the physical rage that’s my universal response to physical threats, but in a particularly helpless-feeling fashion that made me sit down on the floor and say some colorful words.
And then I realized it was just that—the same reflex I always have—and that I was fine and D had basically just saved my life by correctly reading a particular form of interpretive dance that I do when my language coprocessor crashes.
Which, in retrospect, is really rather funny. So now I have another amusing story to tell at dancer parties, which are basically the only parties I attend, about how interpretive dance saved the day.
You guys, I swear my life is not normally this interesting.
You may now proceed with the obvious jokes related to choking on huge meat, biting off more than I can chew, etc.
Last night I kept choking on water (and tea, and everything else). That should’ve told me something.
Here’s a quick recap of this week!
Dr. B ordered a shot of prednisone and a round of antibiotics. I was actually still running a fever this morning, and was apparently a thermonuclear reactor last night when I was sleeping. Hmm.
Evidently, that repeatedly-choking-on-water thing is sometimes a sign that your tonsils have decided to annex the greater portion of your nasopharynx in the name of Prussia.
On the upside, my lungs (though fairly annoyed by the repeated coughing fits induced by my tonsils’ aggressive assault on South Pharyngia) have chosen to remain diplomatically neutral. Which is to say that they’re slightly wheezy, but we caught this before “slightly wheezy” could develop into “a goop-filled colony of Upper Tonsilia.”
Also on the upside, the medrol injection has started doing its job, which has both reduced the pain in my throat and made breathing, coughing, and drinking easier.
Provided, of course, that I don’t attempt to do all three at the same time.
Insta thinks I’m into:
- cats & dogs
2 outta 3 ain’t bad (not that I mind body bodybuilders or anything)
I got back to aerials today. Worked on rope for the first time since Intro class (so very, very long ago, that seems!) and realized, holy heck, I like rope. We did some trapeze, too, and I learned a new sequence that works for my bendy, snaky body.
After, we chatted about the personality of the apparatuses. Ultimately, we decided that rope is like that big, kinda rough punk kid who maybe doesn’t shower enough but will stop and help you change a tire in the rain, while silks are totally Mean Girls (pretty, but bitchy as hell and complicated, and they’ll drop you like a hot potato if you set a foot wrong). Trapeze, which we didn’t discuss, strikes me as a little aloof and superior. Probably a bit kinky, too. Dance trap is definitely kinky.
After, L and I set a new phrase for my incredibly complicated acro-ballet-ball piece.
Tonight in class, my body remembered how to ballet (though my right quad decided to involve itself in an relevé lent devant one, which was weird and annoying and promptly made it cramp right up the rectus femoris o_O). We were a little boisterous, but still BW gave us some challenging combinations and some good corrections. I did the petit allegro as if I was, like, actually decent at petit allegro. Go figure.
I have, at most, a few more classes with him. I’ll miss him rather more than I care to admit.
At the same time, I’m trying to look forward and plan the next phase of my training. I’ve had a stellar mentor in him, and while hope we’ll keep in touch a bit, it makes sense to build that kind of connection with someone local. I think Killer B might be a good fit. Did I say that already? Predictive Text seems to think so.
Oh. Lastly, I submitted my proposal for a piece for the next choreographers’ salon thingy. Now I need to round up my dancers and get to scheduling. I’ve decided to set the piece for seven dancers, and I think I have enough
victims volunteers, but whether I can lay hands on all of them at once remains to be seen.
But, first: Good Pesach, y’all!
…Assuming that it is in fact still Saturday. Honestly, being off sick has really screwed up my internal calendar. (I dare not even contemplate what it’s probably doing to my internal- and external rotators .__.,)
Dear Northern Hemisphere,
I’ve officially switched to my springtime header, so if winter decides to repeat its coda* yet again, sorry about that.
You may lodge any complaints with the National Oceanic and Atmospheric Administration**, which is clearly losing its battle with the capricious demiurges of weather, who in turn don’t want any snot-nosed dance blogger*** telling them what to do.
Your Humble Danseur
*Prolly the Nutcracker Prince, amirite? Because obvs. Winter. Always showboating. SMH
**These are the folks who run the US weather machines, yesno?
***Who hopes to be slightly less snot-nosed soon, through the miracle of modern medicine?
Yesterday I checked in with my GP, who is awesome on numerous levels (not every doctor closes out an appointment with, “When’s your next show?! You have to tell me so I can get tickets!”). She confirmed my sinus infection and sent me off with a ton of prescriptions—specifically, levofloxacin and pseudoephedrine, plus the usual generic Adderall—which I proceeded to fill at the usual CVS.
I’m sure my local band of intrepid pharmacists think I’m basically a crank addict or running a meth lab or whatevs. (Crank is speed, right? Yesno? Why, of course there’s an answer for that question on the internet.) I can see why they might think that, given my prescriptions and the fact that this end of town is sort of known for that sort of thing.
Really, though, I just want to be able to breathe through my nose and adult.
At the same time, even.
And, sadly, while psuedoephedrine marginally improves my adulting abilities, it doesn’t do so effectively enough that I could, say, skip the Adderall for now. Adderall, meanwhile, does exactly nothing for my congestion, as best I can tell.
So, there you have it.
Normally, the combination of psuedoephedrine and Adderall doesn’t actually make me feel like anything other than a person who can both breathe and efficiently accomplish important goal-directed behaviors pertaining to daily life. Apparently, however:
(psuedoephedrine + Adderall + coffee) * feververtigo resulting from inner-ear wonkiness
= high AF
>_____> o_____O’ <_____<
At least, to be honest, I assume that’s what being high AF feels like. My illicit substance-use history comprises, in short, the occasional glass of wine and a few beers (and never more than two in one day) prior to age 21. At one time, it was because I was that annoying judgmental straightedge kid; at other times, it was a function of fear of addiction; now it’s just basically force of habit. Which just goes to show that anything can become a habit.
- I did get very tipsy at my Mom’s New Year’s Eve party when I was 17, which involved exactly one flute of champagne. I then went upstairs and proceeded to watch Rosencrantz & Guildenstern Are Dead, because OMFG I was so embarrassingly Serious and Earnest in high school, and senior year was peak Serious & Earnest territory.
- Not that all straightedge kids are annoying and judgmental. Some are awesome and humble and all that. I just wasn’t one of them. Ugh. Can you tell I’ve been watching The Mortified Guide…?
Anyway, I’m just not sure how else to describe the weird state of consciousness in which one is both somehow very, very like awake but also … floaty. Spacey.
Not, like, Kevin Spacey. More like this kind of spacey:
Admittedly, I probably could’ve skipped the coffee … but I decided, as one does, that since I was officially not contagious I should peel myself out of bed and go to rehearsal, and that involved driving, which involved staying awake.
Which was a problem, because awake was the one thing my body absolutely, positively did not want to be. (Actually, there are a whole host of other things it didn’t want to be, but they’re all basically subsets of awake.)
Honestly, the single most alarming thing about this particular sinus infection has been the absolutely crushing fatigue.
Like, driving home from my doc’s office, I was constantly fighting the urge to just close my eyes and go to sleep. Not, mind you, just thinking, “Gosh, I’m really sleepy, *yawn*” but actively having to tell myself:
DO NOT CLOSE YOUR EFFING EYES, MORON. NO. NO. OPEN THEM BACK UP. IT IS NOT OKAY TO BLINK FOR 5 SECONDS AT A TIME.WHAT ARE YOU DOING?!
This, remember, is me: the Boy Who Stayed Awake. I do the driving on all our road trips because I can stay awake more or less indefinitely as long as I’m sitting upright (read: I can only sleep sitting up with assistance from modern pharmacology, and have been like that my entire life).
The same person for whom achieving a night’s rest typically involves less “going to sleep“ than “lying there in hope that sleep will eventually trip over me on its way to meet someone in the Pacific Time Zone.”
Like, literally, I only realized last year that people can actually, you know, actually go to sleep.
ON PURPOSE!!! (You guys! I’m serious! What even is that?!)
So having to fight to stay awake … WHILE DRIVING, no less … is something of a novelty.
One that I addressed by drinking WAY THE HECK TOO MUCH COFFEE.
Anyway, basically I floated my way through rehearsal in a state that resembled somehow experiencing that hypnagogic sense of falling through space whilst remaining upright and alert (well … more or less).
Fortunately, the part of the show that we worked last night mostly takes place sitting at a group of tables, and I was able to mark it without actually having to fall on the floor (technically called for at various points, but not necessary when marking). Which is good, because had I made it to the floor it’s highly unlikely that I would then have made it back off the floor.
Then I ate a bunch of chicken-flavored crackers, recopied my choreography notes (you guys, I have never done a piece that involves this much writing: this thing is complicated), and went back to bed. Exciting, right?
Amazingly, I’m pretty sure I actually learned the choreography I needed to learn. See all those letters in circles at the bottom of the right-hand column? Those are 4-count phrases. There are six of them, continuously mixed and re-mixed throughout the piece, comme Rosas Danst Rosas (speaking of which: if you haven’t seen Rosas yet, you can watch the whole thing there … and then, if you’re feeling inspired, you can create your own take on it as part of a worldwide project).
The longer I spend in the rarified climes of the dance world, the more I realize that I am the kind of dancer who learns modern choreography best by, in short, brute force.
Show me a phrase once, and I’ll feck it right up. If I’m lucky, I’ll have shot a good mental video so I run over it again and again in my head and have learned it by the time I’m halfway home.
Show me a phrase, then walk me through it three times, and I’ll start to give it back to you accurately. Let me run it around six times, and I’ll start adding musicality and nuance.
- I pick up ballet choreography much, much faster: usually I need one demonstration, and I’m good. That doesn’t mean I’ll do it correctly after seeing it once, but it does mean I know what I’m supposed to be doing and can hypothetically fix my own errors.
This means, in short, that I struggle at modern auditions, but I quickly become an asset in rehearsal.
The downside is that it makes me very hesitant to rehearse modern choreography on my own, because I’m afraid I’ll misunderstand part of the demo and train myself into a step that isn’t there, or that goes somewhere else, or whatever. I develop pretty strong motor patterns, and fixing them can be a challenge.
I also managed to come up with my own special shorthand notation for the set phrases that are remixed and sequenced throughout the piece:
That felt like rather a stroke of genius, to be honest.
I’m not primarily a verbal learner, but in ballet contexts I use the names of steps (or, well, sometimes the nicknames I’ve privately given them) synchronized to the rhythm of the music (or the counts) as a backup system for when I’m missing a piece of my visual and kinaesthetic maps. This little cheat-sheet of four-counts represents a surprisingly successful attempt to create that same kind of backup system in a modern-dance context.
The sort of tablature of notes further up evolved over the course of the first day of rehearsals, though I’ve refined it a bit since the first iteration. It acts as a framework; kind of a score, if you will, to keep track of what happens when.
At the beginning, for my group, so much of this piece is counting like crazy, then throwing in some small-but-important gesture. Even “PAUSE” has a specific meaning entirely disparate from “HOLD.”
… And stays home.
I’ve had a sinus thing going on for a while, and it has finally run me to ground.
I’m just flat-out exhausted despite having slept 10 hours plus per night for the past several days, and since sinus pressure and fatigue are key indicators of sinus infection, I’ve made an appointment with my doctor for Friday morning.
To be fair, I really meant to do this sooner. I got through theater week and the week that followed purely by the good graces of pseudoephedrine, basically, which allowed me to keep going without really solving the underlying problem (which, to be fair, pseudoephedrine isn’t designed to do). Oh, well.
That said, I’m also bored stiff. It’s possible that there’s nothing as ridiculous and pathetic as a dancer who currently lacks the energy to dance. You would think a lifetime of recurrent sinus infections would have inured me to the mental restlessness associated with being physically “on the bench,” but no.
Even though I escaped yesterday evening to help transport some stuff from CL’s old headquarters to our new ones, I’ve reached that point at which one begins to entertain bad ideas (“Maybe I’ll just do barre!”) in order to allay the weird restlessness.
And if this all sounds like so much First World Whining, don’t worry—it 100% totally is, and I know that. It’s not really that horrible to be a sick dancer, just annoying and inconvenient.
Per husband’s orders, I’m playing it safe and most cooling my heels until I can see the doc (though I do have to go to rehearsal tomorrow, because work). With any luck, she’ll declare me fit to fly while we’re getting this sinus thing handled.
This morning, perhaps due to the time change but perhaps also due to the fact that we’re all up to our eyeballs in alligators right now, the struggle was really, really real.
Barre was … well, meh about sums it up. It wasn’t the worst I’ve ever done, but I also wasn’t entirely awake, and my legs felt like they weighed about 48 kilos each.
Center tendus were … ugh. More like tendon’ts. I got through the first version without too much awfulness, but when we ran the reverse I kept changing the facing of my hips when I shouldn’t have and, as a result, winding up on the wrong leg, and then having to do this tendu-failli-tendu thing, and then sometimes I’d have faillied the wrong leg somehow and I’d still be wrong, and I’d just go, “Feck it,” and coupé over in whatever way would get me to the right place ’cause ain’t nobody got time for dat.
Adagio was at least back to meh, instead of actively WTF-worthy. When I’m “on,” adagio feels fairly effortless. When I’m off, I adage like a spatially-challenged stork with some kind of substance-use disorder. I still get through it, but it’s … um.
So basically I made it through the adage at a more-or-less acceptable level while lamenting Thursday’s effortless extensions and wondering why my legs continued to experience enhanced gravity, whether last night’s sleeping pill would ever wear off, and exactly how much postnasal drainage could actually dump itself down my throat before something horrible happened (the answer: a lot, apparently, as nothing particularly horrible happened during the remainder of class, regardless of the constant stream of sinus goop working its way down the back of my throat).
Going across the floor, things finally began to improve. First off, the talking-to L’Ancien gave all of us about using our weight and our plié shook free of the cobwebs (I think it probably happened while we were doing 6th port de bras in the adage) and rolled into play, and some very, very nice turns resulted (though there was that one triple with way too much force … sometimes I get excited about turns and forget that you don’t need to use all the grand allegro booster rockets).
Second off, I realized that we were all struggling along together.
To whit: uur first turns combination was exceedingly simple—tombé-pas de bourrée to 4th-en dehors-repeat-repeat-rotation-en dedans, then straight into the second side—and did exactly what we all expected it to do so nobody had to think.
Our waltz, on the other hand, was simple but remixed familiar elements in a new way.
We’re all good friends with balancé-balancé-waltz turn-waltz turn-tombé-pas de bourrée and then whatever.
This time, JMH gave us:
balancé-balancé-waltz turn-waltz turn–CHAÎNÉ-CHAÎNÉ-CHAÎNÉ (petit developpé)-tombé pas de bourrée to fourth-en dehors-tombé back-en dedans (dancer’s choice: I did attitude turn en dedans because it’s in our Showcase piece; finished to arabesque allongé).
We all had to mentally yell at ourselves to keep from going balancé-balancé-waltz turn-waltz turn-tombé-pas de bourrée… I suspect that must’ve been pretty funny to watch. There was much visible gnashing of teeth, though we mostly kept the wailing on the inside.
Still, the waltz overall managed, amidst great struggle, to somehow turn out quite nicely. Against all odds, the repeat was rather lovely.
By the time we got to little jumps, my brain was beginning to light up, and the major mistake I kept making was adding extra jumps—in one combination, I kept adding extra changements when the prescribed step was a simple sussous balance. WTF.
I actually yelled at myself about this out loud at one point. Specifically, I said, “Why am I punishing myself?!” as I failed, yet again, to prevent myself from putting in extra changements. Jeez. On the other hand, they were quite decent jumps, so there’s that.
Moreover, my petit assemblé has stopped being a disaster area (my legs actually assemble in the air like they’re supposed to, you guys!), and I finally seem to have programmed that weird coupé-coupé weight shift into my brain somewhere along the way. We finished with jeté-temps levée-coupé coupé-brush jeté, and it was just … there. Like magic.
Anyway, today’s Theater Week Prep Day, during which I will Make All The Food and Clean All The Catbox and Wash All The Dishes and Finish The Stray Laundries and basically prepare for the fact that for the next six days I am unlikely to accomplish anything other than dancing.
The primary goal, really, is to make enough food in advance that I won’t have to really cook until a week from today: instead, I’ll just be able to throw things in to reheat as needed. Obviously, things like scooping the catbox that can be done quickly will still happen. Just not a lot of cooking, because I am unlikely to feel like cooking, but extremely likely to feel like eating, when I get home after rehearsals.
So that’s it for now. My legs feel like blocks of lead, and I plan to soak them in epsom salt solution for as long as my conscience permits later on. If the cat ever deigns to return the use of my left arm to me, anyway.
My schedule has officially gone plaid again, so I’ll probably be brief for the next couple of weeks.
We’re in the theater next week, and with a little good grace from the Powers That Be, our piece will be lovely.
Here’s my epic developpé near the end:
… And here’s what happens when I wind up too close to the column right next to BG:
In other news, I thought I would hate having to wear jazz pants, but actually I kinda like these ones?
“Dear heavens, it’s 8 AM already,” he said.
Or, at any rate, he tried to. What came out, instead, sounded more like, “Mrrrghghhhh.”
You’ve probably guessed that today wasn’t the best day I’ve ever had in class. I don’t think it’s so much the getting in at 1:30, which isn’t the end of the world really, or the getting up at 8 on slightly less than 6 hours of sleep.
I suspect that it was the combination of NyQuil (taken to fend off a sinus headache and extra congestion brought on by dry air and so forth: not sleeping was not a viable option) and getting up at 8 on slightly less sleep than it would’ve taken to give the NyQuil time to wear off.
Possibly adding Adderall, a further decongestant, and a cup of coffee to the mix this morning wasn’t the greatest idea.
On the other hand, I made it to class without dying, killing myself, or forgetting my shoes, so there’s that.
At any rate, I wasn’t alone. In one way or another, everyone was heroically Living The Struggle this morning, including L’Ancien, who was mysteriously detained (he apologized profusely).
I do think, however, that I was the sole member of the class who began barre with legs that trembled like the voice of an ancient soprano on Easter morning.
Even standing in fifth was, erm, challenging. I mean, standing in fifth is inherently challenging, and some days your body does it better than other days … but I can’t remember any other specific day on which the challenge in question involved, like, vibration.
So that pretty much alerted me to the fact that it was going to be an interesting class.
By the time we got to the section of our highly-compressed barre that I’ll call “fondu de rondu,” the trembling had stopped. I was grateful for that, and because frankly it was, in fact, a little frightening: imagine balancing, for example, at passé in the midst of a rolling earthquake, for example.
However, the end of the tremors and the lovely high extensions that showed up out of nowhere (and with no conscious effort on my part) conspired to lull me into a false sense of security.
I should’ve realized it when I could tour lent in the mark, but not in the actual run. Obviously, something was rotten in Denmark.
Still, I bulled my way through the adage, through some not-great turns, and through the little jumps (in which I made L’Ancien a little happy by actually jumping, which his the one thing I can do reliably, almost (see below).
And then came the grand allegro. It was simple: pique, chassé, entrelacé, failli, tombé, pas de bourré, glissade, grand jeté, then four more grand jetés just for the hell of it, en manège.
Except when L’Ancien gave us the combination, somehow my amazing brain decided that the first phrase (pique, chassé, entrelacé) was performed left, and that it changed directions via a fouetté or something.
Evidently that wasn’t at all correct, and I can now tell you that it’s quite alarming to fund that you are unexpectedly grand-allegroing yourself towards the person on the next corner and yet, simultaneously, that you can’t seem to make yourself stop…?
That’s not where the mystery comes in, though.
The mystery is that we ran it again, and I did the same thing.
I DID THE GRAND ALLEGRO BACKWARDS TWICE, YOU GUYS.
So, all told, far from the best class I’ve ever had. Not quite Depths of Despair quality, just a whole lot of WHAT IS WRONG WITH ME THIS MORNING?.
To which the answer is obvious. I’m cooked, and perhaps too many drugs. In short, the equivalent of taking class with a hangover, minus the headache.
At any rate, I’ve managed to eat some lunch and now I’m thinking about having a lie down before my audition (though, at present, only thinking, because I’m horrible at taking naps and I’d really rather just power through and get it behind me).
Here’s hoping that things will go a little better this afternoon. We’ll see, eh?
I needed a new headshot, so I asked my friend Christina, who’s a photographer, to shoot some for me. She agreed and asked if I wanted some action shots as well, and I thought that sounded awesome. Anyway, we went out on a grey afternoon with temperatures in the 50s (fahrenheit) and worked for about an hour.
Even though it was hard to get sufficiently warmed up, Christina managed to snag some great shots … and a couple that I asked her to keep because, frankly, they’re kind of hilarious. So here are a few: one funny one, one that’s a great picture of something that’s not very good ballet (but might be pretty good action-movie Kung Faux!), and one that’s just plain beautiful.
So here they are:
You know that effort face I keep talking about? Well, THIS IS IT. This is the face that I CONSTANTLY MAKE during petit allegro and also, apparently, whilst attempting to do grand allegro outside in the cold with my shoulders swallowing my neck.
Also, just noticed I have developed a terrible case of Starfish Hand in this one.
TEACHERS: TALK TO YOUR DANCERS ABOUT STARFISH HAND BEFORE IT’S TOO LATE.
One more thing: I learned in this process that even if you know you’re going to destroy your shoes by wearing them to a damp outdoor dance shoot in the middle of a drizzly Kentucky winter, you should STILL WEAR SHOES THAT FIT.
First, dancing outside in the cold is hard enough without worrying that you’re going to slide out of your shoes when you launch or when you land.
Second, if you actually do get ’round to pointing your toes, oversized shoes make your beautiful dolphin feet look like bricks anyway.
Mad props to Christina for making this shot look beautiful even though I did my best to make everything look ridiculous 🙂
Nobody ever posts their Pas De Don’t moments: you know, those times when only one leg is turned out, only one foot is trying to be pointed (to be fair, the bottom one hasn’t had time to get there yet in this shot), you’re making A+ For Effort Face, and the jump you’re doing is great if it’s either modern dance or Kung Faux, but not so great if it’s supposed to be Pas de Chat Italien and actually ballet.
For the good of humankind, then, here’s another of mine.
My épaulement is janky as heck in this shot—and while that makes for some heckin’ awkward ballet, it makes for some really cool Kung Faux, so I’ll take it. Besides, you never know when you might need exactly the right photo to go with your audition application for an international spy thriller ballet.
Christina spotted this one in the mix and kept it for exactly this reason—it totally looks like an action-movie still (presumably from some weird action movie about a random ballet boy just trying to get home from class after all of his street clothes were stolen by ninjas or something). I kind of love it, to be honest.
Y’all. Can I just say that I freaking love this?
The pose is from the piece BG is setting on us right now, only we use parallel fifth instead of parallel fourth. Between the surface and the wind, parallel fourth was hard enough to manage; parallel fifth was … umm, yeah. But we both liked the parallel fourth version better anyway.
Never mind the fact that I’m still working off my, ahem, “winter coat.” (That is, the extra coating of insulation that you get when you go visit your parents house and there is no class and your Mom keeps stuffing food down your gullet and you were already still getting back in shape from your last break … oy.)
Never mind the fact that it’s cold and I’m tired as all heck in this picture. I look like I know what I’m about. And I kinda think I look pretty good. Like, if this was a FumblR picture or whatevs, I’d swipe right.
Or … you know, whichever way you’re supposed to swipe if you think someone looks good.
There’s also a color version of this pose shot against the backdrop of the same facade as the first two…
- …All that remains of an historical house whose name escapes me at the moment; I’ll fix that some time when I’m not trying to get to bed.
…that I like quite a lot, so I’m going to slap that down here, as well, even though I was only going to post three shots.
There’s a version of this in which I’m not staring directly into the camera, but I like this one better, so here you go. If you know me well enough you can tell by my eyebrow that I’m basically about to dissolve into a fit of laughter. I almost pulled off the Imperious Gaze, but was borderline slap-happy by this point.
Also, I really need to learn to do this port de bras without hyperextending my fingers, because that looks kinda weird. Though it may not actually be entirely possible for me to do that: my third (ring) finger on both hands only seems to offer “bent” and “hyperextended” as options. Oh, well.
But most importantly, my feet look pretty bangin’ here, even with the oversized shoes.
I think I’m probably going to badger Christina to do a shoot of the same basic jumps and poses and so forth in about three months, when the weather is awesome and I’m in peak shape.
So, brief recap. Here’s what I learned doing this photo shoot:
- If it’s cold, bring something warm to wrap around yourself between shots. Also probably a thermos full of something hot and possibly alcoholic, unless you have to drive or are underage in your region or whatevs, in which case skip that alcoholic thing.
- WEAR SHOES THAT FIT
- WEAR SHOES THAT FIT
- FOR THE LOVE OF ALL THAT IS HOLY WEAR SHOES THAT FIT (you can thank me later)
- You will look weird giving yourself a barre and so forth in the middle of the street in the middle of the afternoon. Do it anyway, even if it means getting there early. I didn’t because I was actually really fracking depressed the morning of the shoot and didn’t get there early enough (or at all), and I regretted it for the entire shoot, but especially when I was doing the eleventy-ninth pas de chat from a standstill 😛