- …you’re trying to figure out where to cram in a side-side-side gig so you can make some extra money this summer so you don’t have to worry as much about expenses during the main season >.<
- …you realize that you’re performing at a gig you couldn’t currently afford to attend
- you look at your summer rehearsal and performance schedule and realize that you have officially broken your summer break o.O’
- …you discover that inflatable bathtubs exist ❤
- …you realize that, although you don’t think of yourself as an ambitious person, you actually do have some pretty lofty goals that you want to achieve in your lifetime … they’re just not necessarily ones that chime with conventional ideas about “success”
Last week, DS and I put the final touches on our piece for PlayThink’s mainstage show, Gale Force rehearsals began, and I discovered that I do really freaking good turns if I don’t have contacts or glasses on (weird, right?).
My hypothesis about the turns thing is that being unable to see anything clearly prevents the following:
- Spotting too high … which I STILL do all too often
- Hyper-focusing on my spot spot. I didn’t realize I might be doing this until I paused to analyze the feeling of those really, really nice and effortless doubles (and one effortless triple) I tossed out there the other day. I think I get so fixated on the idea of ACTUALLY LOOKING AT AN ACTUAL THING IN THE ACTUAL WORLD that my neck stiffens up in an effort to fix my focus. A stiff neck doesn’t help your turns, guys.
I also finally started listening to Hallberg’s A Body of Work, which I bought on Audible before the season ended and have been putting off because … well, reasons, I guess. I don’t know precisely what those reasons are, though I could probably figure it out if I sat down with my inner being and had a good conversation.
I know part of it was just the sheer dread of having to hear The David Hallberg talking about his amazing successes as a dancer during a time when I was feeling like literally the worst dancer alive.
It turns out, though, that Hallberg is as engaging and humble as an author as he is lyrical and princely as a danseur. So it turns out that in addition to being a fabulous dancer he might ALSO be a fabulous human being. He certainly comes across as thoughtful and very, very human in his writing.
Curiously, many of his struggles are #relatableAF in fact. I found it immensely edifying to hear about his difficulties with his early efforts at partnering, you guys.
Speaking of edifying, I also got an offer for a full scholarship to a summer intensive in Europe, though sadly it coincides with tech and theater week for GFD’s show, so I can’t go. But it was really cool, anyway.
This summer I’m focusing on partnering, tuning up my turns, and NOT DOING DUMB THINGS WITH MY HANDS.
As you may or may not be able to tell from this picture, I’m also working on #BalletFitness … specifically:
- whittling down my thighs so I don’t have to fight with them in 5th position ;D
WRT that last one: I don’t mean spot-reducing; I mean focusing on using the right muscles so my stupid quads will chillax and get out da darned way, while focusing on eating good food so I don’t either gain a lot of weight or constantly feel puny and starved.
I’d like to reiterate, once again, that for me, the size of my thighs is a functional thing. There are people who are much softer and curvier than I am who can dance really well with much bigger thighs because their pelvises are arranged in a way that allows them to access a tight 5th position at their size (which might, for some of them, be harder at a samller size).
Over the past year or two, I’ve realized that I not only have hyuuge quads, but I also have very little clearance because of the way my pelvis and my humeri come together. This means that regardless of my apparently awesome capability for rotation in the hip joint, my 5th position is prone to difficulty because my big, stupid legs are in the big, stupid way.
I mean. They’re not really stupid legs. They’re good legs, Brent. They’re powerful legs. They make it easy for me to jump high and lift people (and yes, in case you’re wondering, you legs and core really do most of that work almost all the time).
But they are big, and they’re set close together, and those factors conspire to place them right in each-other’s way if I’m not vigilant about working in such a way that A) my quads don’t go, “COOL WE GOT THIS BRUH” and inflate to the size of intercontinental ballistic missiles* and B) there’s not much extra “fluff” to get in the way. “Fluff” is probably better than muscles, since it’s squishier, but there’s just no freaking room.
*intercontiental balletic missiles???
So basically I’m in the midst of this crazy transition during which I continue to be sort of flabbergasted by the fact that I am apparently doing this dancer thing now, but also not entirely flabbergasted in the same way I used to be. I don’t know exactly how to describe That Feeling When, so I’ll leave you instead with this lovely picture of ya boiii Mercutius T. Furbelow expressing his sentiments about the arrival of summer weather here in the 502:And this update on the status of my surgical scars (or relative lack thereof):
Where to begin? BP went well, as did LouBallet’s Spring Dance Festival. My group’s piece in our show in SDF got a resounding response from the audience and made our director happy, and those are the things that warm the cockles of a dancer’s heart, or at least this dancer’s heart.
BP was my first show with a Big Giant Head, and while the Big Giant Head itself was awesome (our costumer is AMAZING), dancing with it on was a learning experience, even though I did very little actual dancing. I had exactly one lift, which didn’t go well in our first full-dress rehearsal (it was impossible to make the established lift work with the costumes in question), so we changed it to a simple cradle lift that both looked fine and worked. Except in the closing show I somehow managed to bonk my Big Giant Head against my partner’s Big Giant Head, which caused my Big Giant Head to go slightly askew, which led to me almost running both of us into a leg curtain on the exit.
Fortunately at the last minute the curtain hove into sight in what was left of my peripheral vision, and I was able to take evasive action. No dancers were injured in the making of this ballet, or at least not by me.
- I did dance on a somewhat dislocated hip for three weeks, and I’m still paying for that.
So goes the glory of the stage, eh?
Anyway, on the last day of our season I was presented with a contract for 2019-2020. Since I’d just auditioned for another company with surprising success, this left me with a quandary: dance with New Company next year, which will let me stay at home and work on getting the house together, etc, or bite the bullet and rent a room in Lexington, knowing I’ll need to add a second job into the mix in order to cover my expenses?
I’d be lying if I said I knew beyond the shadow of a doubt that I’m doing the right thing, but I’ve pretty much decided to go ahead and re-up with Actual Ballet Company The First for next year, even though it’s potentially going to make my life more difficult. I think the structure of the full-time schedule is what I need right now, and while I love the fact that New Company has thrown me straight into the deep end, they rehearse part-time.
- Regarding which, I’m doing the Cinderella Pas De Deux in their summer show, which is both delightful and terrifying because like, OMG Pas De Deux, but also NO PRESSURE o.O’
- Regarding which, summer ballet goal: “Improve Partnering Skills” looks like it’s getting checked off the list via the Baptism By Fire method
On the other hand, I really like the people and the company culture at New Company, and part of me feels like I might be making entirely the wrong decision. I’m not actually even sure who to consult about it, though I plan to buttonhole my various ballet peeps after class tomorrow (I’ve been out of commission for about 5 days thanks to a really nasty sinus/chest bug).
Technically I have until the 11th to hand in my contract.
I honestly didn’t expect to actually have, like, a choice at this point (or, for that matter, ever) in the thing I still have trouble calling “my career,” so to have a choice between two options that both have more bright spots than dark is sort of incomprehensible.
Either way, I’m embarking on a side-gig that should help keep me afloat throughout the season without also causing me to stop and catch fire, as it were.
Coming back to my old stomping grounds at LouBallet School after basically being away for the entire season, I’ve been able to see where I’m a stronger dancer than I was last September (and, of course, where I definitely still need work). I’ve been greatly enjoying class with L’Ancien, particularly the moments that I’ve actually managed to earn some shocking words of praise (don’t worry, though, to preserve my reputation I’ve made sure to be a complete screw-up whenever possible, and to do stupid things with my hands at all applicable times).
It’s weird, because one rarely has the chance to step away from the group of dancers with which one has done most of one’s meaningful training for a significant period of time, then return.
Anyway, needless to say, I’ve got my goals in order for the summer, and I’ll definitely be dancing somewhere in the fall.
I’ll also be dancing with New Company for the summer, which I suspect will be a delight. More on that soon. I don’t think I’ll be doing summer intensives, but I might do some masterclasses at LouBallet and LexBallet.