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Thursday, May 21, 2015

Throwback Thursday and Erik Bruhn


Throwback Thursday and Erik Bruhn

Erik Bruhn is regarded as one of the world’s greatest classical dancers. He was born in Denmark on October 3, 1928, and his name then was Belton Evers.

He trained with the Royal Danish Ballet School, and joined the company in 1947. In two years he was promoted to soloist, but soon took a leave of absence to dance with American Ballet Theatre. Although he returned to the Royal Danish Ballet, he continued to dance with ABT (1955-1958; 1960-1961; 1968-1969). He also performed with New York City Ballet, the Royal Ballet, the Australian Ballet, the Royal Swedish Ballet, and the Paris Opera Ballet.

He had a legendary partnership with ballerina Carla Fracci, and was known not only for his technical virtuosity, but also for his artistic portrayals. According to an article in the New York Times: “He was one of the few dancers who could bring the house down simply by executing a series of entrechats as James in ''La Sylphide.'' The steps, no matter how brilliantly executed, were always part of a deeper concept, part of a characterization.”

Following his performing career he was appointed director of ballet at the Royal Swedish Opera House in 1967, and later he worked as assistant director and then director of Canada’s National Ballet.

Erik Bruhn died in Toronto on April 1, 1986 of lung cancer.

From the Big Blue Book of Ballet Secrets:

Dance History Factoid #68:  
“Erik Bruhn was called the “Epitome of the Danseur Noble” by the New York Times.”

                Link of the Day:

Quote of the Day:
“Dance every performance as if it were your last.”
-          Erik Bruhn

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Wednesday, May 20, 2015

Wacky Wednesday Sissonne and Scissors




Wacky Wednesday Sissonne and Scissors

The word “sissonne” doesn’t mean “scissor”. The French word for scissors is “cisuaex”, which means either “a scissor kick” or a “chisel”. So the confusion is understandable. So what does “sissonne” mean? It is the name of the person who is believed to have invented the step. Isn’t it interesting that the inventor’s name should be so similar to a word that accurately describes the movement of the balletic step?  Hmmmmm. Truth is stranger than fiction, once again.

Like a pair of scissors, a sissonne jumps from two feet, the legs open in the air, and the dancer lands on one foot. The other foot may or may not close (that is a discussion for another day).

So who was the inventor? It is believed that a man named François César de Roussy, count of Sissonne, a 17th century French nobleman, is the one who created the step.

Isn’t ballet fun?

From the Big Blue Book of Ballet Secrets:

Secret #15x:  
 “A sissonne acts like a pair of scissors, but that is not the meaning of the word.”

                Link of the Day:

Quote of the Day:
“History isn't about dates and places and wars. It's about the people who fill the spaces between them.”
Jodi Picoult, The Storyteller

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Tuesday, May 19, 2015

Technical Tuesday Big Three




Technical Tuesday Big Three

I have touched on this subject before in reference to tendues (Ballet Secret 4i). But this rule of the Big Three involves all other steps except rond de jambe or anytime the leg and foot move in a circular pattern.

The Big Three are:  1. In front of the belly button (devant), 2. Side ( a la seconde), and 3. Back (Derriere). In the back if the foot is in tendu the foot is behind the supporting heel, if the leg is higher, as in arabesque, the leg is behind the working hip.

The important thing is to understand is that the foot and the leg will always be placed in these directions except during a circular movement like rond de jambe, in which case the leg still passes through the Big Three positions.

These positions are always the same regardless of where the dancer is facing (en fas, croisé, etc.). This is when beginners often become confused and lose the perfect geometry of the positions.

Now you know!

From the Big Blue Book of Ballet Secrets:

Secret #5i:  
“The Big Three: there are only three places for the leg and foot (except during a rond de jambes).”

                Link of the Day:

Quote of the Day:
“No matter how long you have traveled in the wrong direction, you always  have the choice to turn around.”
-          Anonymous
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Monday, May 18, 2015

Mmmm Monday Anticipation


Mmmm Monday Anticipation

As we progress toward the end of another school year, students (and teachers) are anticipating summer vacation. The word “anticipate” means “regard as probably; expect or predict”.  Also: “to expect or look ahead to (something) with pleasure : to look forward to (something)”, as in summer break.

I started thinking about anticipation and how dancers can use anticipation to help their technique. They must anticipate changes in musical tempo and adjust their steps to stay with the music; they must anticipate their spatial needs and always allow enough free space for everyone to move and not crash. And, in every combination of steps, the ending of one step is the preparation for the next so this transition must be anticipated in order to create a good flow of movement.

Anticipation involves mentally preparing for a rehearsal or a performance, too. Dancers often have to fill in for a dancer who is suddenly injured or ill, and anticipating this possibility will help one “step up to the plate”.

From the Big Blue Book of Ballet Secrets:

Secret #23g:  
“ Being able to anticipate is a good tool for dancers.”

                Link of the Day:

Quote of the Day:
“If you come at four in the afternoon, I'll begin to be happy by three.”
Antoine de Saint-Exupéry, The Little Prince

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Sunday, May 17, 2015

Sunday Spread


Sunday Spread

Two pieces of bread with nothing in between isn’t much of a sandwich. It might do, in a pinch, but it would be so much better with something good spread all over the center.

I believe life is like that. A sandwich that is functional but sad and incomplete without a nice amount of goodness in the middle - things like love, kindness and generosity. These things are spread all over, including the corners to make the two pieces of bread oh so much more than just two pieces of bread.

So fill your sandwich every day. And as a bonus, remember today’s quote by Mother Teresa and “let no one ever come to you without leaving happier.”

From the Big Blue Book of Ballet Secrets:

Motivational Secret #76:  
“Imagine love as a sandwich filling and spread it wherever you go.”

     Link of the Day:

Quote of the Day:
“Spread love everywhere you go. Let no one ever come to you without leaving happier.”
-Mother Teresa

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Saturday, May 16, 2015

Super Saturday Space Statute




Super Saturday Space Statute

Space: That final frontier for all you Star Trek fans. In dance (and life, for that matter) there is today’s important statute: Two dancers cannot occupy exactly the same space at exactly the same time.” 

This may seem either impossible, or obvious, depending on your point of view. Yes, two dancers can perform a pas de deux, and work closely together, but at no time are they occupying exactly the same space (only parts of it), at exactly the same moment in time. 

When two dancers, or two objects, occupy the same space at the same time, what happens?  A crash. This is why it is so critical for dancers to be aware of the space (imaginary bubble) around them at all times.

Because as we all know, there is no crashing in ballet.

From the Big Blue Book of Ballet Secrets:

Ballet Statute #33:  
“Two dancers cannot occupy exactly the same space at exactly the same time.”

                Link of the Day:

Quote of the Day:
“It's hard to beat a person who never gives up.”
Babe Ruth

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Friday, May 15, 2015

Fun Friday Formulas


Fun Friday Formulas

Learning combinations of steps can be confusing, especially for beginning dancers. Even a simple set of steps can appear complex and daunting. In ballet, learning a single step is difficult enough and dancers spend years honing each step. But when these steps are first combined with other, similarly challenging steps, the process goes to a whole new level of confusion.

When I work with older beginners or adult beginners particularly, I like to create formulas for common step combinations. For example, a grand allegro of sauté, faille, glissade, saut de chat becomes:  step-hop, step-through, run, run, leap. These are familiar terms and they help make a complex-looking group of steps become clear. It creates a pattern students can follow so they can then "sew" the actual steps together into the correct sequence.

Almost any series of steps can have a fun formula.

From the Big Blue Book of Ballet Secrets:

Secret #22g:  
“ Fun formulas help beginners learn dance combinations.”

                Link of the Day:

Quote of the Day:
“The most important single ingredient in the formula of success is knowing how to get along with people.”
-          Theodore Roosevelt

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