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DD Driver

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Everything posted by DD Driver

  1. Sure, however Yuan Yuan Tan has made her side of the story quite clear by reposting this criticism on her own Instagram Story - that measn it is there for all to see for 24 hours. https://www.instagram.com/tanyuanyuansf/ Original post: https://www.instagram.com/reel/C3ejBv6gEMW/?igsh=dmZpanR6cHQyZmk3
  2. ...sometimes a dancer makes the assessment that this is the moment to show what they can do.
  3. No,it is not unexpected for coaches to ask for less turns. In Australia, dancers that I know, have been drilled to be responsive to the coaching at PdL. Show that they can adapt to new coaches, rather than perform their solo in the way they have practised for months with their own teachers. Their teachers are often ex-principal dancers. I have seen, however, some dancers - ok I'm thinking of some Americans - who opt to continue their practised version e.g. no. of turns, when they perform their solo on stage. They are assuming that they will not be judged badly for this, so long as they 'pull it off'. I don't know if any of the judges notice this decision anyway as they are not present for the individual coaching sessions. I'm not saying the choices are right or wrong as for example, people turn at different speeds and ADs also have different artistic interpretations. All dancers who did the same variation as my DD, when she did PdL, were told to reduce the turns down to doubles. My DD is a skilled but 'slow turner'. There are however fast turners who can, on their good days, fit more into the music.
  4. I do think the increased volume of combined classes (junior with seniors) made it less interesting to watch. Also harder for dancers to show their individual strengths or to get seen doing so. The Paris Opera coaches ask for musicality, which in my experience at PdL, means triples become doubles. Not all dancers follow this coaching. I don't know if judges are aware of/agree with these choices. Probably individual judge's preferences at that stage.
  5. It seemed to me that this year there were more combined classes e.g. A & B girls all together. I think this makes it harder for individuals to be seen. I would hope it changes back next year.
  6. In our experience, of the Australian YGP semi-finals, every moment counts, as a moment to show yourself. Getting to the YAGP NY Finals is just one opportunity. Larissa and/or her team are watching, talking to some entrants and taking lots of videos that may be sent directly to AD's. If a dancer knows the schools or companies that they are targeting then they can communicate this in their entry & at the event, if asked. Good matches can be made, such as an offer or scholarship for: a place, short term visit or summer intensive. Yes, YAGP like who they like - as do all AD's. Yes, it also helps if you are already known to them e.g. attended in previous years.
  7. Well....I saw Danil & Sharni together in Swan Lake & Don Q this year. I agree that he is a bit short for her however I loved the pyrotechnics! I think the occassional guest artist is a good thing but too much of it caused problems for ABT, I believe.
  8. This is wonderful news for QB & the ballet scene in Australia!. So happy!
  9. I saw Marcus Morelli as Puck in The Dream a few weeks ago. He is such an asset to the company. Although he is short, there seems many ballets where he is an essential player and elevates the whole show.
  10. Oh were the protesters also fighting for the return of sex-based rights? I don't think so. Anyway the ends justifies ANY means is a not a great argument.
  11. The Intl Convention Centre is in Darling Harbour. A very large venue but it is a wide theatre. The Joan Sutherland theatre in the Sydney Opera House, is narrower and deeper so if your seat is at the back...then you are very very far from the stage. It's hard to see IMHO.
  12. As to the Sydney venues.... The Sydney, Ballet International Gala (BIG) event was held in Sydney yesterday. I enjoyed the International Convention Centre (ICC) as a venue very much! I particularly enjoyed Alina Cojocaru dancing the Manon bedroom Pas de Deux scene with Victor Estevez (Queensland Ballet) and Roberto Bolle/Melissa Hamilton, Caravaggio.
  13. I'm sure it will be a great event! Not so many Australians this year I expect. The cost of travel and accommodation is so high. Also the Entry fee was 500 pounds plus a year's RAD membership (even though the students have now completed training unless going for Solo Seal). These costs surprised me as I would have thought more effort would be made to encourage participation, given these students have gone through so many years of RAD training & fees.
  14. I think they all get 1 week's holiday after the London run so probably happy to get a moment to holiday in the UK and Europe
  15. Benedicte Bemet and Joseph Caley are in my opinion a great partnership based on their Romeo & Juliet and Diamonds
  16. My personal experience is with a DD who trains privately but has had short term visits at top vocational schools. If you are at a vocational school from a young age then you will have experienced a type of training that is quite different from those in private studios. My DD has had a LOT of performance experience from small local stages through to the big venues. She has performed solos & group work for many years. Often this is dancing in a competitive situation, with feedback. She has done many master classes under audition conditions. She has been expected to pick up choreo from 1 demonstration & perform it. Sometimes these situations have an audience or a camera. That is tremendous pressure with many hard knocks & reality checks. The more you do the better you get at handling it. Her peers at vocational schools do less hours and there is an emphasis on going back to the basics - for longer. Even through to 16 years old! These students operate in a class of students on the same journey. There is an expectation or hope of still being together next year. The training pathway is given to them and they are asked not to see other coaches or do more. In contrast, my DD works in a class but has more individual responsibility & opportunities to work out her own schedule & next steps. There are pro's & cons to all of this but it is certainly a different approach. PS The Ballet world is crazy.
  17. We saw Benedicte Bemet & Joe Caley in Diamonds at the Sydney Opera House a couple of months ago. Loved it! Also, Dana Stephenson in Rubies was one of my favourites.
  18. https://www.royalballetschool.org.uk/2023/07/06/graduate-contracts-2023/
  19. Yes my DD's physio exercises include 2 or 3 kg weights e. a weighted cuff for the ankle. She did this type of exercise from 14 years old when she had a problem but not as part of an ongoing regime. She also now does gym with weight machines. She has not bulked up. (That happens more with very heavy weights and low repetitions.)
  20. I think that is a well written response from The Australian Ballet. A very challenging situation for all & yes, further financial strain to come.
  21. Our experience is that ballet training requires significantly more hours of strength training than can be found in most ballet school timetables. I wish we had reduced ballet hours and increased time in the gym (weight bearing exercises) before an injury finally forced this change. Sports training has changed dramatically over the last 2 decades but ballet is slow to embrace these learnings for young dancers. Strength is critical for peak performance & injury prevention.
  22. The cost of living is not likely to get any easier in Melbourne. People may cut back on luxuries. Victoria's state's debt is a very very large problem. The 2 year renovation of the Arts Centre is budgeted at $241 million. A cunning plan is required. Maybe more shows at The Sydney Opera House and billet out the dancers to friends of the ballet for accommodation. Joking (not joking).😐
  23. If you want it to go in cargo, an option is to get a big TV screen box from a Removalist or Storage facility e.g. Kennards Storage in Australia for $9. You place the tutu in a wide tutu bag and then into the box. This way the box is used for the plane but not to and from the studio/theatre at your destination. The depth of the tv screen box allows the tutu to be wider than the box i.e. sit it on styro-foam at the centre and the skirt falls from there. Secure it with tape in the box so it doesn't move in transit. Tape up the box, put fragile stickers on, write ballet tutu all over it and your name/contact details. This method protects the tutu and you don't have to worry about how full the plane is or rely on the kindness of airline stewards. If luggage gets lost these days it will invariably turn up within 24 hours so long as you put your contact info on. Beware: the box sure is cumbersome getting in and out of airports🤣
  24. It was probably a smoother run when comp winners were invited to join ABS in the Final year e.g. Ako Kondo ex YAGP & Guo Chengwu ex PdL - now principal artists
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