Pas de Quatre

http://www.huffingtonpost.com/iain-hunter/running-technique-footstrike_b_2050161.html Just found this fascinating article with videos about foot strike when running. I would suggest that one of the main dangers to dancers is when turnout means they over pronate - see head on view of the runners, although hard heel strikes can also be a problem. I seem to remember reading somewhere that dancers naturally run with a forefoot strike.

I have generally observed that it is those pupils with supportive parents who have most chance of succeeding regardless of background. These parents have taught good basic values to their children which will serve them in all walks of life - respect, work ethic, self discipline etc. etc.

You might also try contacting Danish Dance Theatre. The Artistic Director is Tim Rushton (British). I saw him at a post show talk a couple of years ago and he seemed a very nice approachable person. He is making quite a name for himself as an international choreographer - his work Monolith is currently being danced by Rambert.

I haven't had them to my school yet, but I do know several teachers who have, and they have been very satisfied.

Yes I've noticed there does seem to be more ballet/contemporary dance in the press the last few weeks. Even when there isn't a story, there have been good photos on several days!

Interesting question, there don't seem to be many ballerinas who are left handed or at least left turners. However with male principals there do seem to be many who prefer turning to the left - more than one would expect as a proportion of left handedness in the general population.

Haven't seen a print copy of the Telegraph today, but the Times article which says much the same is nearly a whole page - huge headline, big photo and then the text. Incidentally in our household the word "passion" generally gives rise to a wry smile as it is such an overworked word. Contestants on t.v. dance/talent shows always seem to say "It's my passion" as though that entitles them to succeed!

Yes I saw the Times article too. How can they publish such sloppy journalism. Unless Acosta is jumping ship too and let it slip by mistake!

Yes I was watching it too Tulip. It was good on the whole, but certain bits were irritating. My main gripe is that we got such short snippets of dance so you would just be getting into it when they cut to other shots. Even the final show suffered from switching between cameras every few bars and a roving camera. It was very hard to appreciate the full impact of the choreography. I also really dislike the way they build up the drama before cutting numbers of people. I know it is the fashion in tv these days but I makes me feel like a voyeur. Having said that, Michael and Billy are an amazingly talented pair and amassed a company of very talented dancers. Keep an eye on their website. DD did a day long workshop with them last year and loved it. She was also going to do a week's summer school but it was cancelled (they were very prompt with returning payment). In general. these days very few companies want only classical technique, most want dancers who are strong in contemporary too. Just look at the dancers in Prix de Lausanne.

Sorry Trog can't agree with you over Suspiria. I have to admit I couldn't watch it all the way through as I thought it was sick (in the true meaning of the word not the modern kids way of approval). In fact I thought it had the same merits as Black Swan, i.e. none!

You are right, it will first be examined in 2015. Dates for Vocational exam sessions will be published a few months ahead - as they are currently.

Excellent news. Congratulations - it seems a perfect fit!

No there is definitely no overlap. All exams in 2014 will be the current AF and Adv 1. The new versions were launched this autumn so teachers can already use this in their teaching, but it will not be examined until 2015.

Something you might like to consider Ellie is the changeover dates for the RAD Syllabus. The current AF and Adv 1 will only be examined until December 2014. The new Syllabii will be examined from January 2015. So it rather depends on when your school is going to change its classes. The new exam content is rather complicated, with each exercise being very "choreographed" so they will take a long time to learn.

I don't think it will really make any difference to her chances in the audition if she does a summer school elsewhere. Also, as it is so different from normal life at WL it might even put her off the idea of going there.

Didn't anyone at the Bolshoi see "The House" about ROH, or the documentary about ENB (can't remember the title offhand), both of which exposed more than perhaps the organisations were expecting!

Exactly - you have to be pretty special just to get into PdL. I have watched Lauretta grow and mature over several years and think she is lovely, I saw her dance Gulnare in Southampton. Although she is a little older than my dd, they were on summer courses together & she was already remarkable as a student. It may be that people entering from a partner school are not wishing to change schools, but just hope to win a scholarship to pay the fees where they are. The schools then benefit from the exposure and may see the number of applicants rise. When Bruce Sansom was Director of Central School and also on the Prix jury, they had many overseas applicants for the school. There still are, but I don't think as many.

Things have changed a lot since Darcey's day. The prizes are scholarships for the younger dancers and apprenticeships for the older ones. It is fairly comprehensively explained on PdL's own website. However, it is an amazing opportunity for all participants to train and rehearse with world class teachers and choreographers. It really is a case of taking part being nearly as important as winning. ENB's Lauretta Summerscales didn't make it through to the finals - but look how well she is doing now!

I know a very talented young lady aged 18 who has just started in Yr 1.

Pour it over ice cream!

I don't think the "unspoken threat" is fanciful. Sylvie Guillaume earned the nickname "Mademoiselle Non" because she dared to say no to the powers that be. If she didn't want to do a role for whatever reason she would refuse. This was totally unheard of, dancers are supposed to do what they are told, even Principals, and be grateful for any roles. She could do it because she was so strong minded, famous and very much in control of her own career. She knew she could go anywhere in the world. For lesser mortals this isn't the case.

Actually in the photo of "Sous Apparence" the girls are wearing flesh coloured leotards on top. The girl with pink rope is wearing is fairly opaque one, whereas the other girl's seems semi transparent.

I have no problem with nudity if it is entirely voluntary. The audience can then decide whether or not they wish to buy a ticket. However, can you picture the pressure on young dancers if they are uneasy about stripping off? I can imagine they would be anxious about future casting or career prospects if they refused.

No it isn't. In fact there is a film of it with NDT (possibly on Youtube) where from a long shot the dancers look splendid with their red bottom halves, but as the camera comes in closer you realise that even the slimmest dancers can't get rid of the jiggle factor and to my mind it looks silly. In the 1960/70s NDT produced a nude ballet and John Percival a major critic at the time damned it by saying men shouldn't dance nude unless they had control of every part of their anatomy.

Response to music is certainly marked, not just timing, but interpretation and dynamics too.