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Kate_N

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About Kate_N

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  1. Kate_N

    Miko Fogarty

    Samuel Beckett: "Fail again. Fail better." I do think some of the speculation and critique here is quite inappropriately personal. We really don't know what goes on in other people's lives. What if Ms Fogarty or Ms Dean were to read some of these posts? And I suggest again people look at the training of Daniil Simkin - similarly hothoused & danced in many competition, now enjoying a rich and fulfilling artistic life working between 2 of the world's best companies. These are dual choices and I think it's difficult to draw broader conclusions about training from them.
  2. Kate_N

    Miko Fogarty

    I'd say we should be very careful to make any assumptions - particularly when there's the implication that somehow these young people are morally failing. Maybe Ms Fogarty simply burnt out? Maybe she had a change of heart? Maybe there is an injury she just doesn't want to speak about publicly? You might look at the career of Daniil Simkin - he was 'hothoused' in a similar way as Ms Fogarty, and dances with ABT, and is just going to the Berliner Staatsoper.
  3. I would have stayed on to do Renato’s class, but I had tickets for an art exhibition that I wanted to see before it closes. The Unilad thing was Ms Scarlette teaching a complete non-dancer (and I mean completely) to do some ballet moves, as part of a competition to be Britain’s most boneless man. It’s apparently going to be an advert on the Unilad website. I can’t wait to see it. Not.
  4. Meant to say, in case I sound rude or unappreciative of Ms Scarlette's class: it was lovely & graceful, with a lot of emphasis on correct alignment & getting on your leg. Some quite tough stuff using flat foor & demi-pointe balances at the barre, and at the centre. Flowing port de bras in the centre. But a truncated class because the 1st 20 minutes were taken up with filming something for "Unilad" (a noxious lad-style sexist organisation), unfortunately. We didn't jump or move across the floor, other than an adage temps lié. But the centre work was graceful & dancey at the basic beginner level.
  5. Thanks to @TYR and @Michelle_Richer for information about Ms Ballantyne's classes. I took her class on Sunday (even though Renato Paroni was teaching later). It was a really wonderful class - I'd recommend it to anyone who wants a lovely flowing stretchy juicy class, with some really beautiful choreography. (waves to Tyr - we passed as I was leaving and you were entering the studio at Central - ready for Renato's class: I hope there were some good jokes!) It wasn't a beginner class - you needed to know the basic technique, but it wasn't one that was so complex in choreography or so fast that you lose technique (you know that sort of class?) and I leant some interesting things about dynamics in the tendu and grande battement and really taking up space. It was just what I needed after two days of sitting down. And a bonus was that there were only about 12 of us - so we had tonnes of room in that lovely big upstairs studio 3 at Central. I think as I get older I'm "collecting" interesting and different approaches to technique - and Ms Ballantyne's class was like that. Gave me lots to think about, and I want to do it again! On the theme of trying out new teachers, I also tried out Karis Scarlette's beginner class at Danceworks yesterday - it was a very basic class, and I think that rather coloured my view. Ms Scarlette is utterly lovely & charming & funny, teaches really well, but I didn't find any moments of "oooh!" as a new way of looking at the same old same old (although she gave me a smart correction of my abiding bad habit of my ribs flaring). Not helped though by a tiny studio. But it was a nice gentle stretch after a day in meetings. But the level was basic, and although I'm a great advocate of going back to basics all the time (I certainly need to!) I didn't gain any new way to think about those basics in the way I always do in Hannah FRost's or Adam Pudney's classes.
  6. Kate_N

    Intermediate Foundation as an adult

    You're very lucky to have found that!
  7. Kate_N

    Intermediate Foundation as an adult

    In my adopted home town (county town across the border from your county) I always had trouble finding advanced enough ballet classes, without resorting to dancing with the teens. It's great you found a teacher to take you on for the vocational syllabus.
  8. Thanks for this @Michelle_Richer - if Ms Ballantyne was teaching the Intermediate at ENB, then I'll be OK.
  9. Kate_N

    Intermediate Foundation as an adult

    Just watched your interview: lovely! And I've been itchy for going to a concert for some music in the last week (I may just go to Evensong in the Cathedral) and your comment on the music made me realise what I've missed are my ballet classes! That's where I get lots of beautiful music. My studio is on a summer break ... But I'm working in London on the weekend, so will get my dose then.
  10. Kate_N

    Intermediate Foundation as an adult

    Thanks! As a former north Lancashire resident (borders of Cumbria) and deeply deeply homesick for Borrowdale at the moment, I'll lap up discussions of roadworks in Keswick! Haven't been up there since Easter, and if I think about it too much, I'll start crying. Off to the iPlayer.
  11. Kate_N

    Intermediate Foundation as an adult

    Congratulations! @The_Red_Shoes If you were comfortable with the problem of being identified, could you say when the interview was, as it'd be lovely to be able to listen to your interview on Radio Cumbria via iPlayer? Many congratulations!
  12. But do we actually have evidence (not anecdote or feeling) that a) overseas-trained students are 'replacing' locally-trained students? b) that internationally-trained students aren't trained in the 'slow and steady' mode?
  13. But we didn't!!!! Margot Fonteyn had a very long career - we had her for a very long time. And everything else that @Pas de Quatre says. And - in response to part of the discussion above - remember how young she was when she started. As were many of the Diaghelev dancers, and the early Sadler's Wells ballet. Ballet changes - I could write a long long post (well, it's because I'm writing a book partly about this) about the way ballet has developed from concert dance in the 1830s and 40s - bodies, choreography etc etc etc. One thing hasn't changed: it was always an international art form. Dancers travelled, and audiences all over Europe (and then the US) marvelled at the latest 'Italian" or "French' or 'German' novelty in ballet. It was a novelty and - for example - Elssler's fouettés were front page news. Because - apparently - no-one else had done them before. I think @Pas de Quatre's comment sums it up for me:
  14. Ahhh, thanks Tyr. I like Nina's fast class pace, but if REnato Paroni is back, I'll do his class - for the jokes as much as anything. May see you at the barre!
  15. Just that, really. I"m in London for work Sunday & Monday, and was thinking about dropping in to a class at Central School in their adult programme. If Renato Paroni is not teaching, I'd rather try another teacher (I am "collecting" teachers). Ms Ballantyne looks like a really interesting teacher. Any comments on the level of class, or its feel? Of course, if there's any info about whether Mr Paroni is teaching, please let me know! ... I love his classes and will go to his, but usually there's a substitute teacher.
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