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Glancing At The Road Behind

In the specific alternate universe that is ballet, it’s easy to spend all of your time being horrified by how much you still have to learn. There’s simply so freaking much material that it’s essentially impossible for one single human being to learn all of it in any neat, systematic sense.

That’s why a consistent focus on the basics is so essential: if you have placement, aplomb, a general sense of the structural logic of épaulement, and the deep training of muscles and brain, you can generally learn any step that a choreographer throws in your path. 

You don’t have to actually know, for example, pas de harp seal[1]. You see it and do it a few times, and because the laws of ballet are written on your bones (and muscles, and brain) in relatively short order you’ve got an acceptable ballet step[2, 3].

Still, as human beings, we’re wired to look ahead from time to time—and that can be terribly discouraging. We may find ourselves thinking, “There’s so much I still have to learn!” and reaching for the nearest pint, be it of ice cream or beer.

As such, I think it’s healthy, once in a while, to look back. Sometimes it’s very surprising to realize how far you’ve come.

If I could save time in a bottle, the first thing that I’d want to do …is go back to Saturday and fix my arms and shoulders. Good thing this piece isn’t supposed to be classical.

Anyway. Yesterday, at Cirque rehearsal, I was standing on a bouncy tumbling track waiting for one of my partners to return, and because I can’t stand still I randomly did a whole bunch of entrechats sixes.

It didn’t occur to me then, but it wasn’t, in the overall span of things, that long ago that I did my first entrechat six. 

It was only a few years ago that I learned Albrecht’s variation at LexBallet’s SI and found it, to say the least, rather a stretch. It was only five years ago and change that, having just returned to ballet, I struggled to get my brain back around glissade-assemblé (which isn’t really a compound step, but as well be, since it shows up all the time as a kind of balletic comma).

When I think back, I can recall the sensation of being vaguely daunted by the appearance of a pas de Basque, since I was taking a class in which knowledge of the same was considered a given and I hadn’t done one since middle school. At the time, I had to think of it as a handful of steps instead of as one entity.

I’m almost embarrassed to admit how recently balancé felt challenging (thanks again, Brian!). I spent a year or two just crossing my mental fingers and hoping it would come out right before Brian schooled my entire class by breaking it down, then putting it back together in a way that makes sense.

Two years ago—okay, as recently as a year and a half ago—I hated chaînés (mostly, to be fair, because they seemed to hate me).

Likewise, a year and a half ago and change, I realized that I needed to completely deconstruct my turning technique, and immediately despaired of ever getting back to a reliable triple. Two ear infections and a lot of concentration later, I’m just now at the point where I feel it coming: but my turns look so much better than they used to.

I used to hate adagio. I don’t know exactly when I fell in love with it (though I know I wrote about noticing it one day in class), but In the grand scheme of things it wasn’t that long ago.

Last year, quick sissones fried my brain every time.

I’ve reached a point at which learning new steps isn’t a major goal. Once in a while one comes down the pike—Mr D taught us revoltade a few weeks back—but mostly I’m honing what I already have; learning to use my body as a collected and polished machine. Picking up new steps isn’t usually difficult, so I don’t focus on it on the same way.

In learning ballet, we necessarily work from the specific towards the general.

The first things we learn are profoundly specific: the five positions of the legs and feet become the foundation of our entire body of technique. The coordination engendered by always using port de bras informs every movement in the canon, even if it’s in the unspoken, “The canonical port de bras for this step is backwards.”

Over time, as we absorb the language of ballet into our bodies, we learn to speak it fluently, with no trace of an accent. When I watch video of myself dancing now, I see that process in progress: gaps in my absorption of the language appear as hesitations and faults that might or might not be imperceptible to an untrained eye, depending on circumstances. Where I’m closest to fluency, I’m finally beginning to actually look like a proper professional dancer.

 When I look at video from last year—Nutcracker, for example—I’m surprised by which things I clearly have to think about, and by the fact that what now feels like an instinctual awareness of the audience which governs things like the angle of my body in a moment of stillness was definitely not instinctual then. I can see myself thinking about it, and I can see myself forgetting to think about it.

(I suspect that a year from now, I’ll say the same thing. I’ll watch this year’s Nutcracker video and say, “Oh, no! How can you possibly have forgotten to open your downstage shoulder just another ten degrees?!” Maybe I’ll be saying that for the rest of my working life.)

When I look back at video from two or three years ago, I see what I’m guessing Mr D saw when he first invited me to come take company class: a lot of potential coupled with a whole lot left to learn.

All of this reminds me that, although there are days that I feel I’m standing still, or even rolling backwards down Mount Ballet, I’m not. I’ve come a long way.

I’ve written several times about how, in ballet, the goal posts keep moving. 

I think that will always be true: ballet is an athletic pursuit, but first and foremost it’s an art. Once you approach raw physical mastery, there’s infinite room for improvement in artistry. Indeed,one governs the other: the requirement that each step be executed with beauty and feeling shapes the way we train our bodies.

But the endless progress of the goalposts doesn’t mean we don’t also progress. 

It just means that we are never without the joy of pursuit.

  1. This is not a real step, unless it’s the step where you finish a demanding dance and just lie on the floor and wonder why your AD is trying to club you to death with choreography.
  2. …Though the meaning of “acceptable” varies by context. Because my arms like to do their own thing, it takes me a bit longer to get them to a professional standard than it really should 😑
  3. The caveat is that it may take you years to really feel that you perform the step in question beautifully: but an acceptable minimal professional standard will look beautiful to the bar majority of people who aren’t dancers.

Wednesday Class: Musicality Day

En manège:
Temps levée arabesque
Balancé turn
Temps levée arabesque
Balancé turn
Pique turn
Pique turn
Temps levée arabesque
Balancé turn
Temps levée arabesque
Balancé turn
Chaînes x4
Temps levée arabesque
Balancé turn
Temps levée arabesque
Balancé turn
Those coupé half-turns whose name escapes me
Temps levée arabesque
Run away so second group can go, but make sure you’re spaced so you can re-enter on the next pass

Petit Allegro:
Glissade (no change)
Glissade (no change)
Glissade (no change)
Pas de bourré
Entrechat quatre
Other side

Other Petit Allegro:
Sissone simple avant
Sissone simple arrière
Assemblé (battu if you like)
Other side

I didn’t do as well with choreography today as I expected to — I attribute this to Denis’ nightbear.
Yes, that’s -bear rather than -mare. He dreamed a giant bear was hovering inches from his face and woke with a loud shout. That cost me two hours of sleep, and I was slow getting started this morning and didn’t eat or drink enough before class. The end result was weak petit allegro (edit: because I ran out of steam; and I should say “weaker-than-usual;” my petit allegro has only recently started being reliable in Wednesday and Saturday class again).

On the other hand, Ms. B gave me a ton of really good direction at barre — she’s really working on making an expressive dancer out of me, and it’s working far better than I had expected.

Addendum: there was this really awesome moment during one of the exercises when she was correcting my port de bras and epaulement and said something like, “Open that chest — really show that you’re strong — proud!” and I responded by channeling the frack out of my inner Ballet Prince, to which she said, “Yes!”

In ballet class, “Yes!” can mean so, so much.

She also gave me a modification on our centre adagio – my knee wasn’t hurting, but I didn’t want to push it, so she suggested that I substitute a penché in place of a promenade on that side.

Because I was the only guy in class and standing in the center of the group, I think it looked rather cool; rather intentional.

The challenges are timing my penché so I arrived back at the vertex just as the ladies completed their promenade and keeping the penché fluid and lyrical (which is harder when you’re tired, evidently!). It was cool; I enjoyed having the opportunity to think about timing and musicality that way.

I think my penché was a tad stiff on the first run, but it came together beautifully on the second.

This week I’m working on keeping my core together while maintaining a fluid, expressive relaxation in my upper body. These are the details that I both enjoy immensely and find quite challenging.

Anyway, I’ve almost reached the grocery store, so I’d better close. We have something at Suspend tonight, but I didn’t recall precisely what.

À bientôt, mes amis!

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