balletla

I'm not sure either of these statements are true PdQ. There are lots of outstanding students who decide not to go to vocational school in yr7 for lots of reasons but may choose to audition in later years. There are equally good teachers outside of vocational schools as within them and there will always be children who progress and those who don't and it is not always the fault of the teacher - sometimes it is down to other things. The reasons are not always immediately obvious and sometimes it takes several months of working with a student for some things to become apparent. Regarding knowing the children's names, my DD was a RBS associate and Ms Stock knew her name and always smiled at her in auditions and said hello, using her name and had a little chat with her. Never made the slightest bit of difference

2dancersmum - did you mean to post here? Your post seems more relevant to the 'appraisal' thread? mimi66 - sorry, I'm not sure what your post is saying? The schools are recruiting students from abroad at 16/17/18 through Prix de Lausanne etc. and they do end up in RB company etc. My point is that their training from a young age is much more advanced than in this country so they look far more advanced at the school auditions and at company auditions than children who are trained in this country. Nobody is thinking 'oh but this student has been British trained since the age of 8 so will take longer to mature - therefore I'll hire her and not the amazingly advanced Japanese girl who was doing double pirouettes on point at the age of 11, unlike the poor British girl who didnt do this until age 15'

I think the schools have recognised the 'disconnect' and their solution is to 'recruit' all the international whizz kids into their 6th forms first, before they go on to get contracts with the companies. Here's a quote from an interview with Gailene Stock, talking about Shiori Kase in 2009: "Shiori was born in Japan. Aged 14, she auditioned for Gailene and was the youngest dancer to come to the Royal Upper School but Gailene said that even at that age she was technically as strong or stronger than the others" Full article can be read here: http://www.ballet.co.uk/magazines/yr_09/mar09/interview_gailene%20_stock_and_students.htm

I am not sure students on crutches is an indicator of suitability for clasical training Celb. It is a common sight at all the ballet schools due to common injuries such as sprains and stressed joints - sometimes the crutches are just to give it a complete rest. I guess the reality is that if the school no longer thinks a student is suitable, why prolong the agony so to speak. In my experience, the students generally get assessed out for lack of flexibility, change of physique due to puberty (which can come a lot earlier than year 9) or just a general lack of progress. But different schools work to different levels of acceptance in each of these areas.

Agree with all of the points above. The thing is, there are very set points in time when UK students are competing against these more advanced students i.e. Upper School auditions at 16 and Company auditions 3 years later. They are being judged at that moment in time against their peers. I don't think the selectors are thinking much about 'maturing fine wine' at that point sadly

I have just been watching a clip of a 10 year old Korean girl performing in a ballet competition on pointe, at a level that is way beyond anything I would expect to see in the UK. I know everyone will go on about the dangers of going on pointe at a young age but I think it is more than that. These kids are obviously being pushed in all areas. With a significant proportion of RBS Upper School and both the Royal Ballet and Birmingham Royal Ballet made up of dancers from China, Japan and other Asian countries, should we be asking whether our training institutions are still fit for purpose. I know we provide 'safe' training in this country but our students are obviously significantly behind when selections for ballet companies are being made.

So annoyed with this. As if the only thing stopping people from becoming ballet dancers is their size? They wouldn't do a programme about fat athletes would they.....people who had always wanted to run a marathon but weren't selected for training because they were too big. Wayne Sleep says he wants to walk back into ROH with his head held high? Somehow I don't think so. I don't think anyone has done more to perpetuate the myth that female ballet dancers are half-starved anorexics. Somebody I work with asked me today "do they all starve themselves at your daughter's ballet school? Are they allowed to eat much?". Well done Wayne!

I wonder what the terms and conditions are for the junior company? I'm not sure why junior companies are needed? It just seems like an extension of training. I know people say it gives them performing experience but surely that's something that should be done in the 3 years of training that is paid for previously? I worry that we are following the American path of 'junior companies' prior to audition for the main company - often these positions don't pay a living wage and just postpone the start of one's career for another two years with no guarantees.

This is the link to the film I watched:

Oh no - I didn't know they've been discontinued? I watched a whole film today about the man who invented the amazing liquid to hard shock-absorbing material and how he collaborated with a pointe shoe maker and I thought what a brilliant idea. What a shame! They obviously haven't taken off in the same way as GMs but I don't think they've had the marketing budget as I have only recently become aware of them.

Has anyone tried the Capulet pointe shoes with D3o material in them? Any views or tips on sizing? What kind of feet do they suit? Do they stock them at the Sansha store on Drury Lane?

Not anymore. RBS has stopped doing RAD altogether so no more PB (or Genee) entries for them. Oh well - at least it gives everyone else a chance as I think it has been won by someone from RBS for all the years it has been going! My DD did it last year and loved it, but I found it slightly unsatisfactory in that there was just the one prize awarded - no runner up and not even any commendations. I thought the winner was fabulous but there were a couple of others who definitely deserved a mention.

Looks like there may have been a few of us at the performance last night. Absolutely loved it but agree with a couple of posters about Alina not being as strong technically as I expected. This is the first time i have seen her dance so not sure if this is a recent development. Yonah Acosta was super - definitely needs promoting!

Just a word of warning about this site for finding a physio. I went to somebody listed here and they honestly had no idea about ballet, so I don't think they check before they list them.

Sorry Capybara but I have to say I think she is a bit 'marmite'. Technically brilliant but lacking emotional connection for me, particularly in some key principal roles.

I wholly support this. I have read this thread with interest and it seems to mostly consist of people giving Michelle advice which she clearly doesn't want. I know it's difficult to resist giving advice if someone is training in a way that causes concern but perhaps it is time to stop and let Michelle get on with it. She is after all an adult and as she says herself, makes her own decisions.

"Not sure what RBS do at the full time school but notices at associate classes before auditions have suggested the children may prefer to wear satin flats rather than the leather shoes they normally wear for weekly classes but have specified that if they do so, then these should be left shiny and not calamined. I am therefore assuming this is what RBS prefer to see." Re: above quote: there is a difference between satin ballet flats and pointe shoes. RBS don't do anything to satin ballet flats but would always expect pointe shoes to be roisined to take the shine off them.

What is the 'rose fairy'? I thought the rose fairy was in Sleeping Beauty, not Nutcracker?

I don't think most dance schools wait until 12 for the students with the most aptitude for ballet, which is what RBS is looking for for both full time school and summer school. My DD was an RBS Associate and in my experience, virtually all of them started pointe with RAD Inter-Foundation at age 10 at their local dance schools. My advice would be to do the photos in soft-blocks as you can't tell the difference in a photo and they are a lot easier to stand in (obviously not for the one where you have to balance on pointe). I agree with tutoo2much though - don't get too hung up on it. I have known students get in with all sorts of photos that don't conform in some way e.g. foot or hand chopped off in the printing/sizing process!

Has anyone seen the advert for Elmhurst in the latest Dancing Times? I find it puzzling and am not sure what it trying to say. It shows a girl on pointe (one hand supported by a boy) with a hyper extended arabesque. However she clearly hasn't got the strength to hold it so is holding up herself with her hand. I interpret it as an advert for flexibility above all else.

Maybe it's just me but I really don't understand Matthew Bourne. The story seems reengineered for the sake of it and the choreography is limited. It seems like a very watered-down version of the real thing. The dancing wasn't really very good either. I was really surprised that this was on prime time Christmas Day and hope it doesn't put off anyone who is not too familiar with ballet from going to see the real thing.

Interesting that over 50% of the women's finalists are Japanese or Chinese. It does feel like Japanese/Chinese women are claiming a disproportionate share of success in the world of ballet these days.

I find McGregor's choreography exactly as described by the title of the thread and most of the comments in it. As well as this, it is fairly boring and repetitive after a while. This is compounded by the fact that there is little in the way of narrative, but more so by the ugly costumes. Why do all contemporary pieces have to be performed in dishrags that look the colour of old undies that have gone grey after finding a rogue coloured sock in the whites wash? I do think shorts would help to preserve the modesty of these dancers as well.

It's not that there is anything wrong with nudity but it is usually gratuitous, doesn't add anything to the dancing and can be a distraction or even add unintentional comedy value. Sadly I think we will be seeing more nudity and more spatchcocking in the future to try to capture audiences through shock value. Some of the Facebook comments I have read today were in praise of Stuttgart Ballet's 'tricks' with splits etc at Sadlers Wells last night.

Bella Figura is a beautiful ballet but in my opinion there is absolutely no need for it to be performed topless. It just detracts and distracts from the overall performance.