Pas de Quatre

1 hour ago, Jamesrhblack said:

... the Wili’s travelling arabesque hops and looking towards the ground as they apparently did originally

 

I don't know when or why this was changed.  It was actually known as a "Giselle" arabesque, the upper body leans forward so that it is the same level as the lifted leg, with the head beside the upper leading arm and eye line down.   It is meant to re-create the idea of drifting mist in the forest.  Too often the line of Wilis with upright backs looks like a row of ducks in a shooting gallery.

With regard Giselle & Albrecht's lifts, the impression for the audience should be that he is catching her before she floats away rather than he is lifting her. 

They are two different steps.  The corps de ballet crossing the stage in arabesque, are what I know as "shunts".  They are moving on bent knee travelling forward not up, the aim being to keep the body and arabesque leg level as if on a conveyor belt.  Rarely achieved. The same step is used for the diagonals of 4 swans in Act 2 of Swan Lake. 

The step Giselle is doing is a temps levé (hop) in arabesque, straightening the leg as she become airborne, gently supported/lifted by Albrecht.  In some versions this is a series of supported small grand jetés.

Please elaborate Jamesrhblack, I thought I knew all the terminology,  both correct and 'ballet slang', but cow hop step is a new one to me!

They are divided into two age groups, with a different list of solos they can chose from which are age appropriate. Winners from the younger group are offered scholarships  by renowned schools for further Vocational training, whereas older winners are offered an apprenticeship year in companies. 

No I disagree, a new company should be employing their own dancers. There are few enough full time job opportunities as it is.

I have seen the different versions of Swan Song and prefer 3 men.

I have fond memories of the original London City Ballet and will definitely go to see them - hopefully they will tour widely to smaller venues. 

I found in the end I could go back to my laptop and start again from  beginning or anywhere. But using their test video I could not get any device to connect to my smart TV. It is so much easier when you can access from a website online simply by logging in to your own account!

That's young these days!  Although looking back didn't Marie Rambert and Ninette de Valois both continue running their companies until much older? 

Is it something to do with the cinema relay?

It is sad, but to be honest, now that Woolwich Works has become so high profile, I was half expecting it.

On 22/09/2023 at 21:46, oncnp said:

Apologies if already mentioned

 

BBC 4 

24 Sept 20:00

 

Mozart's Requiem

 

Witness an epic, heart-rending journey of the soul, as Opera North, Phoenix Dance Theatre, Jazzart Dance Theatre and Cape Town Opera combine for a powerful performance.

 

Filmed at Leeds Grand Theatre, this unforgettable contemporary dance staging of Mozart’s great choral lament is choreographed by Dane Hurst and conducted by Garry Walker.

 

Featuring soloists Ellie Laugharne, Ann Taylor, Mongezi Mosoaka and Simon Shibambu alongside the Chorus and Orchestra of Opera North.

I just caught up with this and urge everyone to watch it. An amazing performance. Congratulations to Dane Hurst and all involved. It follows on nicely from the Diaghilev programme in that it works like his productions so all aspects, music, dance, voices, decor and lighting come together to make a whole that is so much more than the sum of its parts! I have posted on the Performances Seen thread too, but don't know if that is read so much.

18 hours ago, Dawnstar said:

I don't see the point in paying for a token to then use a vending machine. Surely it'd be quicker to just pay for a drink directly. Also is it good for a champagne bottle to fall from a height like items do when coming out of a vending machine? There could be a danger of bottles breaking.

It's easier to up the cost of buying a token rather than programming a machine to accept cash or cards. Plus they save on bar staff wages. Just the way it is going today. No staff on supermarket checkouts, they try to make customers use self service machines, and the same at rail stations.

I have just caught up with the Mozart Requiem on iPlayer.  It is one of the best Contemporary dance pieces I have ever seen, although with such equal input from the Solo singers and chorus should it even be categorised as Dance?  I urge everyone to watch it while still available!  Congratulations to all involved but particularly Dane HUrst for his vision and choreography. 

I fear it may backfire on audience numbers evetually.  They have been doing the same in Cinemas for ages and most people I know don't go anymore, they just watch films when they become available online.

Yes, as I said upthread, I have watched the first one, The Years Abroad, and am frustrated that The Years in Exile isn't available. Maybe BBC will add it at some point.

I have also watched the first two of the Moulin Rouge programmes which are interesting and will watch the rest.

Dance and Drama UCAS points are not always accepted for Dance courses either!

Thanks Ondine and Bruce. BFI looks a more likely bet. I won't be going to New York in the foreseeable future. It is odd that iPlayer doesn't have it available as it was  BBC programme. Maybe it is something to do with copyright of some of the content.

I have watched the Omnibus Diaghilev - The Years Abroad and thought it wonderful.  So much important ballet history presented in a straightforward manner.  Does anyone know where to find the second episode, The Years in Exile.  It is not on iplayer and an internet search has not found any film.

A good illustration of body types is to look at runners. Sprinters have a totally different physique to long distance runners. I am not saying that there aren't exceptions to the observations I posted, but they do still hold good in general terms. Now that ever higher extensions are looked for in both male and female dancers, overstretching can also cause problems.

No, there is a difference in physique between tall and short dancers because of the length and elasticity of the soft tissue supporting their skeleton.  It has been known about for centuries! Noverre classified dancers' legs into jarretté and arqué. Loosely translated the former is knock or sway back knees, long tendons, feet roll in, overall flexible so high extensions but inclined to injury. Usually a tall dancer. The second is bow legged. Shorter, tighter tendons with more 'ping' in their elastic. Really good at jumps. 

These "sad/comic" figures are part of a long theatrical tradition, going back to the Commedia del Arte and beyond, such as Pierrot.  There are others in Shakespeare such as Feste. Others are rich but stupid - think Tim Nice but Dim!

Thanks for the Finnish stream, I have created an account. I also bought the Australian Swan Lake, which I am watching Act by Act. You can only watch once. 

They have a weird system as the link is sent in an email and then you are supposed to start watching and cast or connect by wire to your Smart TV. Couldn't get any of my devices to do that so I am watching on a laptop. Is anyone else having this problem? Every other stream I have bought from different companies put the watch tab on your account, so you only need to log onto the website and then log into your own account.

What has your dc been doing for this year, both for academics and for training? Are they half way through A levels or other qualifications? It might be better to continue on the same route for another year and then re-evaluate. 

The other great advantage of wool is that it absorbes moisture so your feet don't get sweaty. Silicon and gel inserts only  became  a thing after I had retired from performing so I have never used them, but I imagine they hold the sweat which leads to softened skin, blisters, cracks and athlete foot.