TYR

Sublungual: a blood blister under a nail. Sublingual is something else entirely (in the throat and life threatening).

I wonder if they're getting too much feedback from someone?

"Do you know Dolce & Gabbana? Not my favourite designer - I worship Tom Ford - but imagine you're trying to squeeze into one of their dresses. Boys, you're, eh, wearing a dress too." Also: "Make it a quarter turn, a half turn, a single, whatever. but whatever you do, I want it to be perfect!"

Also, unless this is a minority of one it will have to be a really big corps to include the whole ethnic minority. I suspect the character is meant to be a person?

RichieN: my modern class last year did a recital piece to "Elastic Heart" - the boss is a big Sia fan (I get the impression a *lot* of dancers are) although I'm...not.

Speaking of Ennio Morricone, this would be just incredible for a really complicated, extension-cranking adage: Note the weird counter-rhythmic bits during the verses...

Morricone? That has some possibilities.

*Use* the music. https://soundcloud.com/gregwilson/imagination-missy-elliot-gotta

After we'd done it a couple of times, waiting the whole of that intro got to be utter torture...

Quite possibly. IIRC a bit out of the Sanguine variation from 4Ts. Actually how could I forget? It worked on the Sunday, I was back on the Friday and couldn't stop screwing up...

Sure everyone would love this...

There is someone at Central who likes the piano arrangements of Adele songs far too much. Nein danke. Mind you, I've had a pianist on intensive week who kept playing Leonard Cohen songs for adage and "who's got the last laugh now" for barre.

Music you actually like in class. Nina Thilas-Mohs threw this one at us the other day:

Henriette at Central on Sunday: Sounds like a futuristic protest campaign. Occupy Space! It did seem to help with those attitude turns though!

Heading up there for my regular dose in a few minutes, having skipped a week post-Forsythe to let that thing in my left foot get over itself.

Well you'd hope so, but that was rumouredly part of why Renato Paroni went off in a huff.

Guinea pig sounds better in French: cobaye

I do hope the rumour that open classes at Central will end with the move south of the river is nonsense.

No, I didn't do the 'Cracker workshop. I was in the group with the young guy (Bharat? he is damn impressive, especially when you've got to chase him around the studio. "F*ck Forsythe" was his idea), though, so that's officially made my week. Your lot were really tight, though. I'd have liked to do both - do the extra time to really get the variation down, and have a go at re-casting it.

LinMM, I think I might have asked you if you were Kate_N...anyway, which group were you in?

So some of us (self, Kate_N, and I believe at least one other) did the ENB's workshop day on IN THE MIDDLE, SOMEWHAT ELEVATED on Sunday. This consisted of: Me showing up uncharacteristically early! Which meant a side trip to the greasy sandwich bar in Kensington High St. Hanging out at Markova House, with scary names' travelling cases piled in the corridors and an orchestra rehearsing in one of the other studios. One of the musos walked into the gents' (artists') changing room while I was in there and asked what I was doing. OK...dancing? This seemed to worry him somehow and he shot off. One of those floor barre/pilates/yoga hybrid classes - first time I did one of those, just seemed like an extended modern class warmup. A pretty thorough technique class with Lucy Lowndes: https://www.city-academy.com/tutor/lucy-lowndes Walking into the studio I remember overhearing her saying she expected us to be "kind of intermediate", which thoroughly scared me, but it wasn't that terrifying once it got going. There were a few people from LAB and LPC in class who definitely were pretty terrifying. A detail that sticks in my mind: piqué onto first arabesque, balance, and hop backwards holding the 1stA. I didn't know you could do that - or at least I didn't know I could do that! Towards the end the orchestra (over our heads in the upper studio) got stuck into the Black Swan music; but stopped before we could get organised to dance any of it. Went out foraging (aka back to the greasy spoon - we had the canteen but they won't feed you) after an unscheduled extra 15 minutes in class. Rubbed a comical amount of Voltarol into sore left plantar. Rep class in the afternoon was with Begona Cao: http://www.ballet.org.uk/the-company/dancers/begona-cao/ who performed the Forsythe piece on the 2015 tour, but who's taking this one off to have a baby! We learned the opening variation and then broke up into groups of five to restage it; IIRC two groups decided to do it roughly as the original, one brought the improv bit to the beginning and kind of converged on the original, and ours decided to remix it fairly thoroughly (this thanks to LPC guy who said his goal for the day was "F*ck Forsythe"). That went down...better than I expected? Anyway what with having flown back from San Francisco the day before and having a splitting pain in my left foot on every relévé I was pretty pleased to make it through the whole thing without breaking down or humiliating myself too badly, especially after Kathy Mata totally bust my chops in class on the Thursday night.

Trog - Dance like a horse?

Could also be "I only made my mind up about what the variation would be yesterday" or "I only added that last bit this morning"!

Who's going to dance the new role of the Flying Portaloo? Lots of turning jumps - obviously a 70s bravura bloke's variation...

I noticed someone up thread talking about "araldite (super glue)". It's not the same thing. Superglue or any of the many knockoffs are all the same chemical, cyanoacrylate. The great thing about it is that it sets very quick on contact with the air. You won't have a second chance to adjust. Araldite is two different chemicals, that you mix immediately before you apply them. The setting happens as a result of the reaction between them. So does a nasty pong that tells you that you mixed them thoroughly. It takes several hours to finish setting, and you'll have some opportunity to fiddle before you're committed. Once done, though, it will outlive the shoes and probably you. Scrape the bits you don't want off with a very sharp blade.