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  1. I've never done that class, but most Advanced classes at Danceworks are at professional level - full knowledge of steps, ability to pivck up combinations at speed, and in the centre ability to pick things up after a cursory mark. And then go again and again, and keep going. However, 1) this one says children from 13 are permitted 2) I often see people in classes that are a tad too difficult for them. I've done it myself, as I've wanted to step up a level. If this is your concern, I think the main thing is to stay at the back in the centre, always go in a 2nd or 3rd group, and try not to bump into anyone. Be really respectful of the more advanced dancers, and keep out of their way! I find it helps to explain to the teacher beforehand if I"m attempting a class a bit above my level. I know I'll be fine at the barre, and in adage & tendus and pirouettes at the centre. It's petit allegro where I wear the dunce's cap! I just focus on keeping out of people's way. Of course, if you're a comfortable Advanced level dancer, I apologise for teaching my grandmother how to suck eggs ... <grin>
  2. It's interesting the different experiences we all have. I've studied both Cecchetti & RAD syllabi (Elementary/ Intermediate/Advanced in the old scale) and I always found the Cecchetti work to be more "dancey." And in the class I did today at Steps on Broadway, the teacher specifically noted Cecchetti when talking to me about setting an adage in a 'neo-classical' style (she used to dance with NY City Ballet, I think).
  3. Amen to that! My undergrads tell me that they worked soooo hard and are exhausted. I respond that they need to work smart, not long, and that an hour's focused rehearsal time with a specific goal is far better than 12 hours of them all getting tired and crotchety with each other. One hour of focused work is exhausting - in the right way.
  4. Oh - that's sad - I remember he used to come to very occasionally to one of the classes I used to do at DanceXchange (I think when particular teachers were teaching class), and he was always really quiet & lovely, and took his place alongside all us amateur adults.
  5. I was watching on television, and in tears at that point. I do hope they release it in full, AND include the shots from back stage, when Ms Bussell collapsed in tears, and Monica Mason was there to hold her.
  6. Oh, it's a small world, @Thecatsmother - Mr Payne is a wonderful teacher - so patient and helpful. I remember him once in an Advanced class very patiently breaking down fouettes for me. I can do them to the right, but my fouettes to the left are appalling. He stood in front of me with his hands supporting mine, while I got my balance and the whip all sorted out. And his petit allegro was fiendish but lovely. I miss his classes ..
  7. Yes, @Peony that's the way I learned - I was lucky, my Cecchetti teacher was very experienced, danced professionally, then did her Cecchetti Diploma (higher than Adv 2, and really only suitable for those with professional training as far as I can see!) With her, it was almost bred in the bone as the tradition she'd trained in since she was 8. I did adult open (advanced level I think) classes at Birmingham DanceXchange for several years taught by the BRB soloist, Jonathan Payne, who is a lovely teacher, a great dancer and also a wonderful teacher of the Cecchetti style - similarly trained I think, from his childhood. As far as I can see and learn from those 2 teachers, it's about having a feel for the style and its nuances, as much as the strict adherence to a textbook.
  8. I've done most of the Cecchetti syllabus up to & including Advanced level (before it was split into all the different levels as now) and this is the way we were asked to do petit battements - it trains the wrapped foot. The [old] Advanced syllabus is very beautiful to dance, with a lovely mix of very simple stuff, and quite difficult stuff (anyone for a pirouette from fifth, starting with a grand plié? But really, ballet is ballet is ballet - a properly trained dancer should be able to do whatever the choreographer (or teacher) asks for - arms kept in first or bras bas for the warmup/earlier exercises at the barre for example - that's not just a Cecchetti thing - I've had teachers ask for it in other styles & in open classes. IT keeps you focussed and also keeps you thinking of controlling your body within its kinesphere. As for contacting the Cecchetti Society: as far as I know, they are mostly volunteers or very busy - and will probably respond best through a registered teacher member. It's a membership organisation at its foundation.
  9. I'm also in awe at other posters here who recognise all the dancers individually!
  10. I loved that section. I noticed that the Bolshoi coverage was less thrilling this year - they moved between Akimov's class (worth the wHOLE of WBD in my view!) to Allash's women's class. That was really interesting - seeing how quickly & professionally and efficiently the women principals worked to do a shortish class. I particularly loved their seemingly endless petit allegro combinations. But the Akimov class seemed quite thin ... Then I had to go to w*rk (thinking of Larkin's "Toad"). So catching up now while working on a chapter about the Romantic ballet ... It's research! Yes, really
  11. A slightly different topic: I'm watching the Australian Ballet on catch up and there's a dancer who looks like DAvid Hallberg - I know he's guest artist with them - is he there now? If it is him, he can turn like a top!
  12. I'm watching the Bolshoi live via the website, which takes you to YouTube. It's wonderful!
  13. I think sometimes it can be quite difficult to learn if the "click" as you say, isn't there. And young people can get quite emotionally invested in having this connection or "click." Maybe part of the learning, is learning how to work with & learn from all sorts of people, is quite important. But it's a tough lesson at 14! (I'm thinking out loud because I'm trying to find a "fix" for my own student, who's quite distressed by the adjustment they're going through! But actually, I'm not sure there's a fix - it's all about growing up ...)
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