Jump to content

Buddy

Members
  • Content Count

    364
  • Joined

  • Last visited

Community Reputation

182 Excellent

About Buddy

  • Birthday 19/03/1943

Profile Information

  • Gender
    Male
  • Location:
    California, Switzerland
  • Interests
    Beauty, nature, childhood, dance

Recent Profile Visitors

1,386 profile views
  1. Some straight Acting lessons, maybe. Have I said this before? 😊 And, yes, body expression is very important, along with audience connection, along with inner or self expression. A balance of all these would seem best to me, but body expression, after pure dance motion might be the most important. It can't be forgotten that the face is the most expressive part of a person, I believe. Thanks very much for your clarification of "game face." Now I understand it better. I'm often amazed how dancers/actors can leave their daily life aside and become artistic giants when the curtain goes up. And thanks for your entertaining response.
  2. Thank you very much for your response and clarification, Leotardmum. If you have one more free moment, could you please define 'game face. ' This one confuses me a little from the definitions on the internet. Thanks, again.
  3. Sounds like some good ideas, leotardmum, although I'm not familiar with details here. I'm glad that your daughter's confidence has grown. Would you recommend one in particular? If you have a moment, what's a Comp? And as you say, it's probably best not to overdo it and everything should be as enjoyable as possible, even the "serious" stuff. And as you imply it's probably good to monitor new activity as much as possible to make sure that it's pleasant and doing good. Straight acting lessons also still seem like a good idea to me. They give a chance to step away from dance completely and get a different but hopefully very helpful perspective. In case some folks like myself weren’t sure what Demi Character is here’s a quick definition. “Demi Character ballet is found in all famous ballets....This is because Demi Character is telling a story through dance, usually ballet.” Here’s a rather cute example. https://www.youtube.com/watch?v=ewpQBf5EiYk Thank you, Pixiwoo, for your response. I’m glad that your daughter is doing so well with dance expression and acting. My granddaughter loves acting and sings beautifully, as does my grandson whose always in one rock band or another, but her real love is acting for the moment. My daughter and son-in-law encourage them as much as possible.
  4. Hi. Do acting lessons seem to have helped your daughter's dance 'expression' ? Added thought: I do feel that you have to concentrate on and express something from within (how you feel), otherwise there might not be anything there for the audience to feel. But I do agree with the importance of connecting with the audience. It's all a matter of degree, perhaps.
  5. DD Driver, your comments just arrived as I was getting ready to post another response so I might not completely respond to some of your possibly new thinking. Could I please once again say that straight acting lessons might be a very good idea. Of perhaps primary importance to you is that you might get immediate results, especially if your daughter is not dancing at the moment because of her unfortunate injury. Many good ideas have been expressed here by others. I’ve tried to look at them more carefully, but there is still more that I could do to give them justice. Patience and maturity are definitely important. So is youthful joy, love, enthusiasm and spontaneity which is immediately available. Could I please elaborate on my general ‘philosophy,’ which might not be as important to your situation at the moment. When you say “Characterisation” I think of ‘Acting.’ I also often use the term ‘Expression’ which is a broader idea. I didn’t intend to demean dancers by saying that they aren’t particularly good actors. They have a great deal of territory to cover in their art and I feel that acting is not a primary focus. Expression on the other hand does get a lot of attention, but could mean completely different things to different dancers. Personally, I go to dance performances, mostly ballet at the moment, primarily for the beauty, joy and enchantment of pure motion, which your daughter may be further developing through her very understandable focus on technique. Her new focus on port de bras also sounds just fine. Along with this comes Expression which can be interpreted as an extension and can add considerably to the quality and meaning of a performance. I see pure Acting as an underdeveloped area of dance that could also add a great deal to a dance performance, but is not necessarily a primary concern. Expression is. It’s integral with pure motion, ranging from responding to the music, to relating a story or a truth, to expressing one’s inner ’soul.’ And, yes, as you say, it "is about your whole body and the quality of movement" as well as facial expression and the mind. Acting lessons are possibly a very good tool for entering into dance Expression. They could also give a very supportive different point of view and an added sense of confidence.
  6. As a quick followup, some straight acting lessons might be a good divergence from straight dancing lessons. It could take her mind off all the details of dancing for awhile which might be a good thing in itself. She can maybe try to fit it all together later. All this, of course, depends on what your daughter really wants and enjoys, which is what really matters.
  7. That might be the answer. You could even consider straight acting lessons if time and budget allow. Dancers are not generally particularly good actors, from my viewing experience. My acting/theater granddaughter at thirteen is a much better actress than most of the famous ballerinas that I've seen. I haven't had a chance to read in detail all that's been written here, but there seems to be some very good suggestions that I'd like to look at more carefully.
  8. I posted an interview at "Doing Dance" with Tatiana Legat that I found very interesting. She comes from one of the most famous families in ballet history and recalls some of its most famous names. https://www.balletcoforum.com/topic/21090-performers-and-viewers/page/2/?tab=comments#comment-297658 (thanks to Katharine Kanter at Dansomanie for finding this)
  9. Thanks, Angela. I saw the current Mariinsky production several times in St. Petersburg. I have a tendency to minimalize the plots in many of these classics. I do go for the excellence of the performances, expression of some of the more timeless themes, such as Love and the over-all sensation. In this respect I thought that the production and the performances were fine. Thanks very much for your comprehensive overview. I’m not familiar with these facts contained, but it's certainly an interesting and a pleasantly sympathetic point of view.
  10. This is from an interview with a famous Russian ballerina, now instructor, from a famous ballet family, that goes way beyond my limited knowledge of ballet history. I think that it’s a lovely quote. “I think our corps de ballet [Mikhailovsky Ballet Company] is just about beginning to come into its own. The girls are so lithe, graceful, and energetic! Our girls have good form. I work hard on them, but without shouting. I go up to them, talk, and explain how I used to do it. And I feel that bit by bit I am winning them over. Being strict is all well and good, but you have to love them.” https://mikhailovsky.ru/en/press/media/interview/tatiana_legat_interview/
  11. Please allow me one more quick followup to good teaching ideas expressed in the Suzanne Farrell interview. The author of the interview begins by saying. Suzanne Farrell’s classes have a transcendent yet collaborative atmosphere. She has a perceptive yet affectionate style of teaching. She’s kind, respectful and reassuring. In a way her classes are like a big experimental lab. Suzanne Farrell has this to say. That first of all, you should be kind. She likes it when students are willing to explore.They shouldn’t be afraid of making mistakes. That if you don’t try, you won’t succeed. She likes to use analogies to illustrate a lesson, rather than just making technical corrections or telling a student that she or he is wrong. She encourages them to go beyond just dancing correctly, to be interesting as well. That sometimes she has her students create their own dances. She likes to take them to an art museum so that they can think creatively beyond the classroom. She likes small size classes for individual attention. And could I please add a personal point of view. Dancing should be made as healthy as possible.
  12. As a quick followup to the Suzanne Farrell interview, my previous post, the George Balanchine style can be physically extreme and his classes were considered the same, very demanding on the body. Suzanne Farrell seems to accept this, even encourage it. As a parent, I personally would have to disagree with this approach. But the interview does imply that as a teacher she does have many fine qualities and ideas that could be a fine example for others.
  13. I once mentioned that, for folks who are interested, and there do seem to be a fair number here, interviews of dancers found at Balletco.’s “Dance Links - reviews, news & features” might be a nice way to get a further glimpse into these dancers, often being very fine and interesting individuals, and the profession. DanceTabs is somewhat related to Balletco. and also has interviews. The 20th century choreographer, George Balanchine, was one of the greatest. Suzanne Farrell was one of his greatest dancers. This DanceTabs interview goes back a few years, but might be of interest, as Suzanne Farrell talks about teaching and her students. What qualities do you look for in your students when they audition for this program? I look for their willingness to explore. The dancers always want to dance correctly, but you can be correct but be not interesting, so I want my students to find different facets of movement.….I want them to see how artists use color and texture and perspective in different ways to make paintings come alive. https://dancetabs.com/2015/10/interview-suzanne-farrell-artistic-director-2/
  14. Thanks very much for your comments, Anna C. I certainly will keep them in mind and try to give them all the consideration possible. I am a grandparent of a MT performer and I very much care about our children/grandchildren. I hope that I can learn from and share with this forum. By the way, here's something that my daughter sent me that you might enjoy. I changed it slightly. A little ballet student told her instructor that she was cold. The instructor told her to stand in the corner. "Why,?" asked the little ballet student. "Because it's 90 degrees," said the instructor.
  15. As a followup to my previous post mentioning George Balanchine’s “A Midsummer Night's Dream” here’s a video of the duet that I consider to be one of the most sublimely beautiful performances that I’ve ever seen. It’s performed by Allegra Kent and Jacques d'Amboise. The video quality is not very good at all, but it’s still worth hanging in there. It’s posted by a former Balanchine star dancer whose posts have always been allowed to remain on the internet so I assume it’s okay to post here. If you’re really not interested in this sort of thing or can't handle the visual quality -- at least fast forward to the ending at 5:35. https://www.youtube.com/watch?v=p7lAnKm3S-Y
×
×
  • Create New...