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  1. It wasn't very well promoted but there was a nice segment from Teatro alla Scala presented by Frédéric Olivieri including interviews in English with Nicoletta Manni, Marco Agostino, Martina Arduino, Nicola Del Freo and Claudio Coviello. We also get to watch Roberto Bolle and Marianela Nunez in rehearsal. https://www.youtube.com/watch?v=V9-hGDgXMu0
  2. Oscar Frame graduated 2 years ago. Loved watching his final exam class but this one was absolutely nervewracking! Seeing the boys practise and make mistakes in the days leading up to the exam really had me on the edge of my seat wondering if they were going to pull it off on the day or not. Really felt for Kirill, I think we all knows what it feels like to push through an illness like that but can't imagine what it must have been like to push through something with that level of physical intensity when there was so much at stake. I was very impressed with his attitude and he did not give me the impression he was generally lazy but of course we only see a snapshot here. I admire his independant spirit. These films gave a fascinating insight into the preparations, exams and auditioning process. I'm sure I'll be watching them again many times! Agree with you about Tsiskaridze, I thought his dramatic response on discovering Kirill's illness was hilarious and loved the reaction of the nurses too!
  3. I've only ever heard RAD referred to by the initials and RADA and LAMDA as words. "Central" depends on the context. Usually Central School of Ballet because I'm in the dance field but obviously it's clear that when an actor is talking about where they trained that they mean Central School of Speech and Drama. I've never heard anyone refer to central London in general as "central" and I've lived in London. I've only every heard it referred to as "town."
  4. Your 10 year old son dances on pointe?
  5. Have the school issued a list of graduate destinations?
  6. Definitely. I have also seen some shocking practices from trained teachers too though. Regarding the OP, there are some dance teachers who are funny about this. First and foremost, it is important that whatever you put your DC forward for is appropriate for him or her and that safe practices are adhered to. Your local dance teacher can be helpful in descerning whether an opportunity is suitable and could benefit your child. If the activity is going to be regular, it is courteous to speak to your current teacher if you're already involved in rehearsals for a show to ensure schedules won't clash. I do think that some teachers go over the top with this though. For many years, I have been involved with Youth dance groups and projects, predominantly contemporary based. I have had parents call me saying their child would like to audition but they first need permission from their local teacher. Fine. As far as I'm aware, no local teachers said no, so we go on with auditions and rehearsals. Then, when it came to the performance, the student tells me that the local teacher is insisting to be credited in the programme against the dancer's name. This is unreasonable in my opinion. Pictures mentioned vocational school, which is of course a different story. The schools are supposedly providing all the training a dancer needs, so it is reasonable to ensure any activity outside of that does not deter from the training they are providing. I'm afraid I have seen situations where external activities have been granted to "star" pupils and not to weaker ones who would also have benefitted because the school wanted to promote themselves by sending a top student.
  7. I find it interesting that things have developed in this way. As mentioned above, Upper School courses used to be 2 years, then a third year was introduced as a way of giving students more performance experience. More recently, we have seen the introduction of several "pre-professional" courses, as students are graduating from the 3 years courses and still not being deemed ready to join companies. In other countries (where students often graduate upper schools at a younger age than in the UK), we have seen a shift towards "junior companies" which new graduates join before being given contracts (or not) in the main company.
  8. In recent years, if the Royal have been interested in a dancer they have waited until they have completed the 3rd year at Upper School and not recruited from the second year. There have been a couple of occasions where a student has decided to leave after the second year to take up a contract at a different company. The third year of US was originally introduced to provide the students with valuable performance opportunites so they should be technically ready to perform after 2 years, and as you have seen, many of the young prize winners from the PDL look pretty much company ready at 15/16!
  9. My understanding is that he was offered a full contract with ENB following the PDL, not a one year contract.
  10. Students who don't get into the third year are not considered to have graduated from the RBS upper school. They may seek a place at a different upper school for the third year or persue another avenue. They would certainly be eligible to look for work in a company after 2 years at upper school but the RBS course is paced over 3 years so you wouldn't usually be considered company ready after just 2 years and for sure if someone is not being offered a third year they are unlikely to be successful at getting into a company given how much competition there is for contracts. That said, there have been a couple of students in recent years who have got company contracts after just 2 years, but I'm assuming they would have been offered a third year of training. Surely most students who are offered a third year, stay on. The only exceptions would be if they were offered a contract somewhere (rare), they wish to continue their training at a different school (again, quite unusual for students who are offered a third year) or they don't wish to continue in dance.
  11. Thanks for posting! Are these all the students who graduated from this year? I'd be even more interested to know what happened to the students who didn't progress to the third year.
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