Pas de Quatre

In the Russian schools, such as Vaganova Academy, each group of students is allocated to one Teacher for the whole course, who becomes mentor as well. This is why whenever famous Russian dancers' training is referenced it always says "class of ...." as do many photo captions of class group pictures. If it doesn't gel the pupil can ask to move to a different class. This is a very different approach, there are pros and cons for both, but I think the continuity in the Russian method is a bonus.

I thought the main concern was related to student funding/value for money and I think all of these courses entitle students to some funding, although less for the private ones.

What about the Antony Tudor ballets? Shadowplay, Lilac Garden, Dark Elegies & Gala Performance, just to name a few. Magnificent ballets that seem to have been lost in UK.

I remember it too as Lindyloo describes. In the 1970s before mass auditions became the norm, dancers looking for jobs would do the audition tour, travelling round European theatres and joining in class as an audition. RBS dancers who weren't being taken into the company also did this - one tended to bump into each other along the way! At one point there was also the Craftsman course,two years I believe, which was one of the Upper School classes. Those dancers were being trained as future teachers, not as performers. I am not sure of the years this existed, late 1970s or 80s. My nephew is a top level swimmer, and all the way through, although there are meets and competitions which are great to win, the most important thing for progress are the times, improving your personal best is the goal.

Recently there have been reports in the press that the Government is going to do an "audit" of Universities with high drop out rates and/or graduates not getting degree level jobs. It is beginning to look as though some of the dance degrees ought to be included in this investigation.

The big difference is that the POB system is totally transparent. A jury marks the candidates. It seems that so much in UK is behind closed doors and no clear explanation given.

In business, the supply of goods and services there is the legal concept "fit for purpose". Is this applicable to RBS?

It seems that RBS is taking itself so far from its historical purpose, perhaps it should be assessed out!

I would say the cult of thinness goes all the way back to the 1960s. Lynn Seymour considered too rounded, various accounts of Balanchine's regime at NYCB e.g. biography of Gelsey Kirkland.

In the Panorama and radio broadcasts some of the students did say that they felt watched and judged by all the other students. Ellen E highlighted a moment when she returned to RBS after battling glandular fever and received a round of applause. Because she had lost more weight through the illness, at that time she took it to be approval for that, and it reinforced her resolve to lose more. Now she admits she may have misinterpreted, and it was just to welcome her back.

I don't really want to start a political debate, but I don't think state employees have any other options whether they agree or disagree with the Russian leader. They can't all just resign or move abroad.

Re mirrors. You don't have them for performances or exams, so they shouldn't be used all the time. In fact I blame everyone peering at themselves in mirrors for the loss of épaulment, head position and eyeline, together with other nuances in today's dancers. Students mishearing or misinterpreting is unfortunately quite common. Years ago I had a young teenage pupil and at the end of the exam practice, to encourage her, I said that I thought she would get a nice surprise with her exam result. This was reported to mum as "Miss X thinks I am going to fail!" Luckily said mum knew I would never say such a thing and rang me immediately, so it all ended happily. But it taught me a valuable lesson.

I saw it when first danced, and must admit I was not impressed.

Tamara Rojo was also criticised for being overweight!

It seems a good idea to start a new thread rather than hijacking the Panorama Post-transmission thread. The last few posts were about Aaron Watkins interview and I commented it was a shame ENB would not be touring the triple bill from Sadlers Wells. This sent me to search my old programme boxes, as I clearly remember the first time I saw Tamara Rojo live was on a mini tour. I have three programmes of ENB's Tour de Force, 2000, 2001 and one which strangely does not give the year, just the month and date, possibly 2002. The full company split and toured various smaller theatres rather like BRB used to do, and BRB2 is doing next year. I am still convinced that this is the way to build up a loyal audience. Below I will list the ballets, but not all the dancers as it would take too long. 2000 - Les Sylphides (Fokine); Three Preludes, (Ben Stevenson); Swan Lake Act 11 pas de deux, Le Corsaire, Who Cares? (Balanchine). This was the programme I saw Tamara Rojo. 2001 - Apollo (Balanchine); Perpetuum Mobile (Christopher Hampson); Grand pas from Paquita 2002 (?) - Square Dance (Balanchine); X.N.TRICITIES (Mauro Bigonzetti); Perpetuum Mobile (Christopher Hampson) These programmes were performed on two dates each at 5 venues in 2001 and 11 venues the other two years. I know touring is expensive, but is it really impossible to do anything similar today?

I'm afraid although I think Watkins will do well, this interview repeated the cliche "real personalities that shine on stage". This has been said by numerous ADs of various companies over the last few decades. Also I think it a shame that in the provinces we are only offered Nutcracker. I don't particularly like that production and won't be buying tickets. However if they dared to tour the triple bill I would have rallied friends and bought several tickets.

Please don't go, your posts have been so informative and enjoyable. This forum is not only about the training years. So few students become professional dancers it would be a great help if you can give us insight into what is happening in the world of employment, so we can follow their journey of your DD and friend.

It was Ofsted which lead to changes at Tring. This may be why Tring is not named in the current invitation to submit experiences/problems.

Many teachers who have Exam Board accreditation have little experience or knowledge outside their board. So not necessarily able to teach beyond the basics.

There was an unannounced Ofsted inspection a few years ago at Tring. It was in response to many parental complaints. The then Director of Dance was suspended and officially left soon after. This was after years of pupils and parents being unhappy with the school and various allegations of an undesirable culture of favouritism, negativity eating disorders etc.

When I was a student, one female friend suffered from Anorexia. As a ballet teacher I had two cases in my school a few years apart. It is very hard to understand why these particular students suffered, when others were fine, although in each case their own circumstances may have been a factor.

Central School of Ballet do various single day courses for all levels, which is separate from their Associate schemes.

I think possibly it is a French rather than English version. After all he came to the West with Ballets Russes.

The most basic hold for a lift is round the waist with the palms flat against the body, thumbs and fingers trying to meet. This squeezes the waist in, so that the female's ribs are ontop of the upper side of the male's hands. If this isn't possible then a firm grip round the ribs is next best, but has a danger of slipping. A much looser grip is used to support pirouettes as you want sliding there.

In the article it says YMCA theatre Scarborough is closed by RAAC, but this is not current A crack in the structure lead to an inspection, but it was not RAAC and they reopened. https://www.bbc.co.uk/news/uk-england-york-north-yorkshire-66718282