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Kate_N

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  1. Hurrah! congrats on the approving looks. They are hard work to earn. I've never thought about the length of her combinations, but I suppose I'm used to more advanced classes. Also, I think her centre is simpler than her barre - I don't know if you found this? THe allegro is pretty basic, and adage also - often her class is quite crowded so that also limits what she sets. Thanks for reporting back - I often recommend Ms Frost as one of the best London teachers for adult students, so it's interesting to hear other people's views. One of these days, try Renato Paroni's class =- you might find you enjoy his teaching style. And I leave his classes sooooo turned out ... I'd be really interested to hear your views on his classes.
  2. I loved Ms Bussell as a judge - it was great to have such knowledge there. (in stark comparison to the dance-ignorance of Ms Dixon). So pleeeeeeeeese, BBC, appoint someone who knows what they're talking about. Bonnie Langford would be fab! (I still miss Arlene Phillips).
  3. Or this: the official documentation of the QAA - the National Qualifications Framework. https://www.qaa.ac.uk/docs/qaa/quality-code/qualifications-frameworks.pdf
  4. You might find this Gov.uk site useful: Qualification levels in England, Wales & NI
  5. As far as I know (I work in HE) they are different things. A BA (Hons) is a degree. A Diploma is usually not the equivalent of a degree - at my place it's seen as equivalent to around 2 years of a degree course. If the position sought is as a dancer, the level of qualification really will not matter - it'll be about the quality of the dancer as a dancer. All the degrees or diplomas really will not matter. And no, a future employer in another field would rarely see a Diploma as equivalent to an Honours degree.
  6. Oh I feel your pain! I've been told probably every class I've taken. And ribs down. Hannah's most recent to me was "stop wriggling your hips." But isn't it lovely when she gives you a sideways nod as she walks past you in class? It makes me feel that all my hard work is paying off, to get that note of approval from her! And yes, her classes might be "old school" but anyone who learns in them is learning clean precise technique, safely. I never feel that the atmosphere is oppressive, as you say her sense of humour is always there. And I'm there to work and learn, not gossip ...
  7. Hi Ruth - not that I’m nagging or anything 😏 (yeah, right) but I’d be really interested in your experience of Ms Frost’s and Mr Kierce’s classes. I recommend Hannah Frost’s classes a lot (and really like them myself) - but I’m not a beginner, so I’m interested in other people’s views.
  8. oooh, looking forward to reading about your experiences, RuthE! @BeaverElliot when you see this thread it might help us advise you if you give something of your dance background and current level of study. Then there are the practicalities of where you'll be staying in London, as this might affect which studios are good for you. London is a rather large city!
  9. There are many options in London for adult learners. It would help to know what level you're currently dancing at, as pas de deux training is generally for more advanced dancers in good control of their technique. So I won't comment on likely training opportunities for that, except to say that, as far as I know, there aren't any drop in, or open classes for pas de deux in central London studios. The first thing I thought of is the dedicated class for men and boys at Danceworks on Saturday afternoons, but it's pretty advanced. (Women who like jumping do it too - I love learning the usual male jumps) http://danceworks.net/classes/schedule/saturday/ For a beginner male dancer, there isn't really any need for a separate men's class - the repertoire is shared, and the steps are the same (for example, I've learned tours en lair in syllabus work). But if you want a men only class, you could try the enrolment course at City Lit: City Lit Men's Ballet If you're going to be in London as more than just a tourist, you might want to look at a termly enrolment class rather than drop in classes - see Ruth E's thread about London classes for beginner or begin-again adult ballet students. I'd also recommend Alexander Simpkins, who teaches at the City Lit classes. I see Mr Simpkins sometimes in Nina Thilas-Mohs' classes - he's a beautiful dancer to watch and very generous in class. Another excellent teacher for beginners - and for those of us who need to keep our technique sharp! is Hannah Frost, who teaches at DAnceworks, and Central School. She is tough, funny, and excellent - gives really good corrections, so you really get the placement she's asking for. Her classes are crowded but she gives very good individual attention, and will adapt some things in her Improvers class for the male students. There are always a few men dancing in her Beginners class. I love her classes for their precision & the demands on stamina and control. Nina Thilas-Mohs' classes at both Danceworks (Sunday afternoons) and Fridays ( Central School of Ballet Central Nights) regularly have (professional level) men taking class, and Nina will adapt centre combinations for men - her classes are slow and simple at the barre, and fast and fun in the centre, so plenty of opportunities to jump out and turn a lot. But they're not for the beginner, really. David Kierce might be a possibility - he teaches at Central School adult programme at Beginner & Improver levels - I just did his Improvers class (which was actually still fairly much a Beginners standard) - he's very funny, an exacting teacher with excellent technique teaching, but oh my! 40 people in a class - far too crowded. No chance to really jump out or move across the centre.
  10. I was there this afternoon - a friend & her daughter had a spare seat in a box, which was a new experience for me. We gave them a standing ovation & I can't understand why the whole house wasn't on its feet. O'Sullivan & Sambé were extraordinary together. YOu forgot they were dancing - they were acting and just being the characters. The dancers playing Mercutio & Benvolio were also wonderful - having the three boys in the play (they were all young teenagers in the play!) played by three relatively young dancers was inspired casting. As my friend's daughter said: "this will be one of those performances that in a few years' time we can say "We were there when ..." Brava! and Bravo!
  11. I remember seeing a piece of straight theatre (an Ostrovsky play) once on one of my visits to Moscow, just after the dissolution of the USSR - about 1993/4 I think. The leading lady (wearing a sash with Soviet medals) entered, and before starting her dialogue., walked diagonally downstage and took a bow, then walked back upstage (without turning her back on us), and started the scene. Wonderful!
  12. Ha ha ha! This is reminiscent of the highly partisan "claques" of audience members in the height of the Romantic ballet in Paris in the 19th Century - scuffles and fights between auduence members over the relative merits of their favoured dancers were not unknown 😉
  13. BRB then uses "Artist" to indicate an hierarchy: First Artist Principal Artist and so on. The entry level "Artist" is to the corps de ballet, but I really like the practice of calling even corps members "Artists". Because they are!
  14. I've attended a few ballet events (ENB, BRB) which have included watching a rehearsal or a class. I've also been lucky enough to attend company class in the company of a family member, and also in the teaching workshops of a family friend. These experiences have been quite special & I know that they are a rare privilege. So I agree with you absolutely about this, Rosewater, absolutely! I find it rather concerning that parents are so rude & ignorant as to allow children to behave in the disruptive ways you describe I work partly in the theatre and spend a lot of time in rehearsals, either supervising, running them, or watching others' rehearsals. They are places of serious work, but even more, they are places where we're trying things out, experimenting, and more often than not, failing, and needing to go to the next solution or experiment (and the next, and the next ...). Failure is necessary but difficult. You need to create a safe physical and mental space in which to fail and then develop through failure to success. There needs to be a bit of "Fight Club" rules about this sort of observation: what happens in class, stays in class. So people who watch class need to be aware of the privilege, and behave correctly. My only experience as a dancer being watched by strangers in class made me even more adamant about respectful behaviour as an observer of class or rehearsal. At DanceXchange in Birmingham sometimes in the summer there would be a sequence of classes organised by an outside hirer with some well-known teachers. Young dancers from 12 upwards were permitted to attend, but so were their parents. These parents would sit in across the back of the room, chat to each other, or talk to their children in between exercises. It was rude & disruptive. I was trained to understand class etiquette: the moving dancer doing the combination always has right of way. But these parents didn't understand that and we sometimes had to dance around them in across the floor combinations from the corner. It really put me off those classes & I did mention it to the organiser.
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