Anjuli_Bai

If the deshanked pointe shoes are a tad too big you can always wear a pair of white socks. However, if you have put in a thin foam rubber insole (because the inside bottom of the shoe is kind of rough) they shouldn't be more than just a bit too big. As for wearing a split sole versus a full sole slipper - I think it depends upon the dancer's individual foot. The teacher should be able to determine who would benefit from one or the other. As for soft blocks - I understand the reason they are used - but I'm not sure I agree with it and I didn't use them.

Well, in 40 yrs of dancing, if I had kept them all I would have had to move out of the house. However, I do have a few pairs from significant performances with the date written inside or on the sole. I do a series of lectures on dance, so I have one pair that is almost new and one pair at the very end of life to show to the people attending the lecture. The old end-of-life pair is truly just a raggy thing barely recognizable as a shoe. The ribbons are even older and more used as I used to take them off a dead pair, wash and iron them, and sew onto a new pair. I never used my shoes in any kind of ingenious way, however, my cat did. Especially when she was a kitten she loved to snuggle down into them - even if they were still wet. ICK! If I could easily get a picture up on this post I would show you just how dead a pointe shoe can be - and look!

It's good to see Dance Theatre of Harlem dancing again.

This is not at all a stupid question - but quite a good one. There are a couple of roles in the ballet which call for a male dancer to wear pointe shoes such as the role of Bottom in The Dream. They have also in some productions worn pointe shoes in the roles of the step sisters in Cinderella. The male dancers of Les Ballet de Trockedero wear them all the time. It is not unusual for men to work on pointe in ballet class for a number of reasons. It does strengthen the feet in a different way. A man might want to know how it feels and how to teach pointe if he wants to be a teacher. It would be of benefit if he wants to choreograph including pointe work or teach pas de deux. I'm not saying that all men mustr take pointe if they want to do any of the above but some do find it helpful since the center of balance and timing is quite different on pointe then in slippers.

The editor can certainly make a difference. There is one publication for which I write where the editor devises what he considers to be clever headlines - which I find at times downright embarrasing. Another editor once turned my meaning upside down - to the polar opposite of what I had said. Yes, I never submitted anything to that particular editor again - but the damage was done with my name attached. Another time as Ian mentioned above, a review had been "awkwardly truncated without reference to the author." I would have gladly shortened the article had I been asked or given a "word count" maximum - (for which I had asked) True - this doesn't happen often but it does happen. As to which performance of a series the critic sees.... Some theaters/companies limit the critic's access to a particular performance - such as "first night only." Others will give the critic a choice. Being human, although a critic (insert a smile here) one is also affected by how one feels - the chemistry we bring to the event.. I try to take into account the attitude with which I arrive at the theater. There are some days we are more open than others. Some days we feel more positive (or negative) than others. I remember having a particularly trying day and I arranged to cancel my press tickets for that evening to the next evening. One would hope that such a thing as personal chemistry shouldn't influence the professionalism of the critic - but who's to say it doesn't since all critique is subjective after all. As for the rose tinted issue - one might ask by what standard? A performance of a particular company as compared to previous performances by that same company might be considered positive - but in comparison to the same production but danced by a world renowned company - would not be as positive. I try to go by what I am seeing before me as well as the growth (or not), the artistic development (or not), the artistic vision (or not), the production values (or not), of the dancers as individuals and the company as a whole. I bring quite a different standard when reviewing a major world class company. Another influencing aspect might be the frequency with which one sees a particular company. If a critic sees a company on a regular basis as oppposed to seeing a company only rarely (such as when it happens to tour to that area of the world) would certainly affect the critic's views. In any case, any critique is a snapshot in time - of a particular performance at a particular time by one human being.

It is much easier to soften them than to harden them. So, if you start from hard you then have the possibility of softening them to whatever degree suits you.

It depends upon which critic I am reading. I've learned over time which critics have a real in depth knowledge and I've become familar with their style of writing. Some fall in love with their own words and one can tell that the clever turn of phrase is more important than truly conveying information. Some equate obfuscation with sophistication. There are one or two I read just for the pleasure of the writing. It is easy to tell when someone is writing to impress the reader, or if the writer is trying to hide a lack of knowledge behind a well placed "balletspeak" word or two. I don't mind reading a critique written by someone who is plainly not knowledgeable but simply writing to convey his/her impression of the performance. I'd much rather that (an honest novice) than to read an article written by a pretender - someone who thinks he or she needs only to flaunt a French ballet term or two. That's not only dishonest but a severe dis-service to the dancers. So, yes, if a knowledgable critic writes a review, I will read it. However, it won't stop me from attending a performance. Actually, if I intend on going - I'll read the critique afterward. And, if I intend to review the performance - I will never read someone else's review before I go and until AFTER I've written my own.

The article posted in by JaneL is interesting and I enjoyed reading it. Thank you for posting. It reminded me that throughout history the shape of the female body has been at the mercy of what is considered beautiful and/or desireable at any given time. Thus, it is subject to alteration: hems go up and down (which changes what is seen), from floor length (heaven forfend an ankle might be in view) to the minimalist skirt (too short to sit down) which shows as much leg as possible. Waistlines go from the voluptuous (we see it in old art) to the wasplike ideal seen in "Gone with the Wind." From the huge bustle to the no-bum-at-all flapper. The hipped skirts of Queen Elizabeth the First to the huge heavy gowns of the 1800's - so large that some particular body functions were not possible. And then there was the corseting: pull the center in and push up the stuff above. Women's clothes have virtually nothing to do with function or climate (remember the bare midriff even in winter of a few years ago). Women's clothes are also affected by religion sometimes to hide her entirely (almost a non-person)- this is both self imposed as well as culturally imposed. What I am saying here is - the female form has always been considered in need of alteration; seldom has it been accepted as itself - just itself as the ideal. Why? Is it gender based? Is it an attempt to control her? I don't know. Men seem to find women desireable no matter what the fashion is. I can't imagine a man saying "I don't find her beautiful because her bustle is too small." Is it part of a competition among females? Men compete with one another - maybe women do too - in this way.

If you watch a video of Margot Fonteyn - one sees a gorgeous dancer - while certainly slender - also is shapely. Her legs have a shape - the curve of the thigh and the calf add to the beauty of her line. She looks normal. One doesn't gasp in horror at a stringy body - one gasps in appreciation of the beauty of her shapely line. Same is true for Maya Plisetskaya and Galina Ulanova. No one would call those ladies in any way large - but they look normal and DANCE large. I also don't like this trend of not wearing tights for ballet. Somehow that idea of angular, stringy, ropelike legs is being put forward as beautiful. Frankly, I don't understand it. Although humans use food for a number of purposes - like celebrations, holidays, rewards, etc., - it is bsically fuel. The body needs fuel to dance. If for no other reason the dance student has to realize - garbage in - garbage out - likewise llittle in - little out.

So, it seems that the vocational schools for the most part are aware and trying to deal with this problem. But, it still leaves the companies as possible problem areas. I'm still seeing a lot of very skinny dancers. Another thought...for the girls after puberty - when (at what point during their cycle) they are weighed could make quite a difference. As I understand it, someone with a true eating disorder its not just a physical problem but also a psychological one - which has to be monitored lifelong. It's like a reverse addiction.

I have seen Eifman a number of times and reviewed it for this site. At first I was quite taken away with the superb dancers and the dynamism of the entire concept in all of his ballets. However, the pace is relentless and he makes one (me, anyway) long for a breather - a contrast of tone and intent. There are usually a number of gasping circus type daredevil "oh my gosh - are they really going to do that? moments of derring do. I come away having said lots of "oh's" but not many "ah's." And having gasped in surprise once, I can't imagine returning to see it a second time. I believe it is choreography and concept which will die once its creator is no longer on the scene since it's most probably not transportable - another company taking it up. I wouldn't discourage going, however, it is something one should see - if only for the wonderful (and courageous) dancers.

Usually, but not always, a well planned evening of several ballets is set up in the following manner: The first is like an overture - an introduction - setting the mood - taking the observer away from the world outside. The next is the "heart" of the evening - what the company wants to show you - a new work - or a new work for them - or or or The last piece is often about sending you off either with something to think about - or something rousing - something that hopefully will stay with you as you re-emerge into the world of reality. People who are unfamilar with ballet will often say "I don't go because I don't think I'll understand it." To which I usually reply - you don't have to "understand" it- you just watch the dancing and listen to the music. There's nothing hidden. (If there is a hidden intent and you "get" it - it's not hidden and if you don't "get" it - you don't miss getting it.) Just as people say 'Oh, I could never be a ballet dancer because I am not graceful - well, guess what? One goes to ballet class to learn that grace. Or "I could never play the piano because I don't read music - well, guess what? One takes piano lessons to learn how to read music. As for getting someone to go for the first time...hmmmm....depends upon that person's personality. Some might get really caught up in a well known story such as Romeo and Juliet - others might find that heavy. If I was to ask a newbie to a triple bill it would probably include something like Carmen - which has an easily understood story with very familiar and beloved music. I probably wouldn't take a newbie to a triple bill of abstract ballets in which the dancer spends the first ten minutes studying his/her hand to either silence or "music" that sounds like trash can (dust bin) lids crashing about. And I wouldn't discuss the intricacies of the performance - that tends to put the newbie off.

BritHotelSpeak (as spoken in NZ - on the way to Oz) landed me in a lot of trouble when I called ahead and asked for a cot to be added to our room arrangements and we found a infant crib waiting for us. My ten yr.old son was not amused. And, I do have to say that you lot (y'all) have ruined my spelling. So I'm going to get that sorted during the spring hols. But first I need to put in a supply of bisquits and crisps so when I go to the ballet and sit in the gods, I can munch with the best, pon my honour.

It's a given that the quality of the teaching is absolutely necessary. That being said the schedule posted by Elly - seems to be ideal. At that level - two ballet classes a day - hopefully one in the morning and one in the afternoon. Academics, lunch, a rest for the body in the hours between. It's a tough but good schedule for someone hoping to make it up to a professional level. Quantity matters, too, because we are asking the entire conformation of the body to change - muscles, tendons, spine - and this won't happen without constant application. The ballet has to come from the inside - and that takes approximately 8-10 years of dedicated work. Along with that change of physical structure, the dancer has to learn how to use that body intelligently, how to respond to music, directions, the other dancers who share the space, as well as the historical "book of ballet" in which the student dancer hopes to take her/his place. Nothing easy in any of it.

Have a wonderful and safe journey, Primrose - that is certainly exciting!

Well, he can certainly jump and turn. I'd like to see some adagio. Interesting that all his turrns both sur la place and moving are to the left -- so, I'd like to see some to the right, too.

Yes, Alison - windshield wiper it is. However, I've been studying "Brit speak" for a while now. My American friends sometimes think I'm a bit strange, but nothing new there.

Thank you, Don Q Fan - it was a fun painting to do.

I got as close as New Zealand before I had to go home....my head hurt. (But I loved the country and the people - though things seemed a bit topsy-turvy) Thanks for the laughter.

This is a very special day. It is the one day on which I am not the only fool.

One can never lose by auditioning. Auditioning by itself is a learning experience. If the audition is sucessful then the choice is in your hands. If it is not, then the decision is made. If one does not audition - then one has no choce at all.

Very enjoyable! Can you tell us something about the dance? Does it have a folk basis?

I think for the most part Paul N is correct. However, though Vaganova did choreograph to an extent, she was known mostly for her teaching and for establishing a set of teaching principles which has guided the school. So, that might be an exception.

Thank you Spanner. Although I painted it - credit must be given to a kind and loving husband who uses his technical skills to photograph all my paintings (over 90 of them) and put them on the computer. Thank you, Leonard.

Yes, I do physically feel it When I was still dancing and in the audience, I could definitely feel as if I was physically participating. It was often distracting and interfered with simply being an observer. I was using my core muscles along with the dancers on stage. Since retirement this doesn't happen except sometimes I find myself "mourning" for my lost abilities and sometimes I almost can't watch. Other times - I do enjoy being able to watch without "participating." Other phenomena: As for dreams - well, it's been years since my last ballet class (2005) but I still dream of it often. In my dream I am in class but there is always something that prevents me from participating like suddenly there's no room at the barre for me (never happened in real life), or my hair keeps falling down (never happened), or I'm late (never happened), or or or - and I end up sobbing. Then I awake and real tears are there. A couple of years ago (post retirement) I needed a medical procedure which usually entails a sleeping pill which I couldn't take due to an allergy. I elected to go ahead anyway. In the operating room the doctor (who knew me well) put on some music and it happened to be Rodrigo's guitar concerto - to which I had danced many times. Throwing dignity to the winds, as he operated on other parts of me - I used my arms and "danced" to Rodrigo's beautiful music. It got me through the ordeal. I also have to say the operating room staff told me they enjoyed the "performance!" There also was a time ballet saved my life as I grand jete'd a split second before I would have been struck by an oncoming commuter train - he had run a red light. And another time when I did have major surgery I refused post operative pain medication except for Tylenol - I figured the pain couldn't be any worse than a particular ballet teacher's Monday morning pointe class. The nurses were VERY skeptical - but it worked like a charm. Well, I won't go on - except to say that those of us who have danced intensely find that it informs almost everything we do long after the pointe shoes are put in the back of the drawer (never throw out that last pair....just in case.......)