Pas de Quatre

Does anyone know what Cathy Marston is doing after she leaves Bern?

Thanks AliKat. I didn't know they were still available in UK. DD wore Gambas for many years, but then the London shop went, and our local stockists couldn't get new supplies. She will be glad to hear this.

Not yet.

It is easier to get off at Leicester Square and walk through to Covent Garden - unless it is pouring with rain!

Another thing which may also be playing a part in all this is the modern trend for "short-termism", i.e. instant results/gratification. You see it in all walks of life, including politics and financial institutions. Perhaps even RB finds it easier to import ready made dancers than to slowly nurture those coming up through the school.

I think that a double pirouette was a perfectly good way to make the first cut. What amused me was that in one of the newspaper reports they said it was a step rarely taught these days - DD & I had a good laugh!

Sorry to hear your news afab. But remember that is only one establishment, there are many others out there and other opportunities will arise.

I agree it is the lack of hours that holds children back. When I taught at a Conservatoire in Spain (many years ago - but I don't think much has changed) they only accepted children at age 7, but they went straight into three one hour classical classes a week. The rate of progress was excellent!

I saw them last year with their previous programme - a fine company of top notch dancers. You should have a good time.

Excellent explanation. I would also emphasise that as Anjuli says, the foot presses into the floor like an isometric exercise. This is how you work the foot, against the floor, not against the sole of the shoe, which can lead to curling the foot. For this reason working in socks or split soles is just as effective, I am still to be convinced that there is any value in full soles or soft blocks.

The "clone" observation has been made about many schools & companies. As in most places where there is a school attached to the company, only a few contracts are available in the company for the graduates each year, so the rest do go elsewhere.

Merde!!!

I think we all agree that today's dancers do not dance in the same way as those who originally performed the Ashton ballets. I have never thought "English style" was a product of nationality, but rather of what was the "ideal" at that time in that place. Ballet like everything else evolves. The Royal Danish Ballet have a similar problem, how to keep the Bournonville repertoire alive and accurate, whilst at the same time embracing new choreographers and their works.

I am not sure that it is just that nuances of the English Style have been lost, I think it is that the type of dancers and technical demands that have changed. In Wayne Sleep's autobiography he says (I can't remember exactly which chapter) that it was considered vulgar to lift the legs higher than the shoulders - this was for circus performers. The type of dancers in demand then were often more tightly knit physiques good for jumps & turns - and the famous changes of direction. Epaulement & upper body use comes from training and is not so determined by physique but I do think dancers are often "flat" to the audience and I put this down to over-use of mirrors in training! These days it is the high extension and ever longer lines that are sought after. I have noticed that in many of the classics the music is play much slower to the point where sometimes it loses the musical phrasing! So certainly I would agree that many of the nuances of "English training" have been lost, but technique has advanced. The same debate is common in music circles, technique is more brilliant than it used to be, but the soul has been lost. Was writing at the same time as you Dischuffed - would you husband agree with my last sentence?

I think Ribbons has a point - it is the way the ties between the company and the school seemed to be fading that worried many people. Happily it seems the tide may be turning over the last couple of years.

I think you may have missed the point Dischuffed. The Royal Ballet used to be considered part of the British establishment, and an ambassador for all things British when touring abroad. Official Embassy receptions would be part of the package and dancers were expected to be beautifully groomed and presentable - none of the trackies and trainers that are the norm these days. Times have changed, but have we thrown out the baby with the bathwater?

LinMM - I think that "recreational swimming" wouldn't hurt, even being on a school team is not too bad, although how you would find time for that while getting in enough dance hours could be difficult. Serious competitive swimmers train for hours, probably more and at a younger age then dancers. So it is not surprising that their shoulders develop. There is also the possibility that it is those with the strongest/biggest shoulders naturally who do well at swimming, so the training only enhances their natural physique. Another point is that ballet training doesn't actually give much upper body strength. In today's world where every classical company includes contemporary works in their repertoire extra strength in the arms and shoulders is really necessary. Margot Fonteyn was a very strong recreational swimmer, she loved the water, and I don't think she had any problems!

I have a pupil who is thinking of applying next year, i.e. for entry in September 2014. Can you fill us in a bit on what happened to last year's graduates ballet0? Did they get classical jobs, contemporary, or go into more commercial work?

I agree that increasing aerobic capacity can be good for dancers, but I would be careful with too much running. As Anjuli says, different muscle groups are used. Problems I have seen with teenage pupils who also run seriously include general tightening of turnout - particularly the hip flexors, and also the calves and achilles tendons. Another danger is shin splints. Dancers sometimes have problems with this anyway, even though they are dancing on a sprung floor. Running on hard surfaces can provoke it even more. A traditional way to increase aerobic capacity is skipping with a rope, at different speeds and alternating between using two feet and one foot (think boxers!!!). Swimming is also generally recommended.

Certainly looks interesting, but on a week day in term time, who can go?

Tulip - I hope you put lots of malt vinegar on them too. When I was growing up it was the end of night treat in my local pub after darts matches in the local league. They would bring out trays of chips and piles of buttered bread, you made your own!

I've started a new topic about a summer school in Christchurch, Hants which I recommend.

If anyone is still looking for a non-audition summer school, I can thoroughly recommend this one. I have no direct connection with it, just that some of my pupils (including dd) have attended regularly over the years and I have often gone to watch the show at the end. The standard is excellent and the kids have a ball. It runs from 29th July to 3rd August. There is no accommodation, but with the New Forest close by as well as the beaches on the South coast, it could make a great family holiday. The course "Sleeping Beauty from Scratch runs every day 11.am - 3.30pm Mon - Fri with the performance at 2.30pm on the Saturday. It all takes place at the Regent Centre, a proper small theatre. Running alongside this, there is a more concentrated "Professional Experience" course, which has longer hours, but they also take part in the performance. Participants on the two courses range from once-a-week recreational dancers to pupils from Associate schemes and Vocational schools. Tina Marsh who runs this was a Professional dancer herself. I have included her contact details below. Or feel free to pm me if you want to. For more information please call Tina Marsh on 07903 753167 or email tina.marsh@hotmail.co.uk

Tamara Rojo has spoken about this problem several times and emphasised that she will not choose dancers for their weight.

Excellent response Janet!