Principals workload vs. everyone else

[MissMonk]

Just a curious question that I've been wondering lately. The principals usually only get a few performances out of a shows run because of how demanding the roles are (Kristen McNally said that on World Ballet Day 2014) but it seems (to me anyways) that everyone below that are in almost every show and seems to work more which to me sounds a lot more demanding. Is this just a case of quality vs quantity? Principals are quality everyone else is quantity?

 

Hope I made sense, sorry if I didn't.

[Shya100]

There are a number of issues.

 

1. Many have engagements elsewhere.

2. Some are learning complex dances for first time.

3. Lower ranks may dance more often but the workload is probably not as hard on their bodies as principals.

[bridiem]

Principals also 'carry' a show, which must be incredibly demanding psychologically in addition to the physical demands. Their performance is crucial to the success of the show. And every eye is on them and they can't afford the tiniest mistake. Although of course the best performances are those where every single person on stage is at their best.

[Jan McNulty]

It varies by the company.  In companies smaller than the Royal the principals carry a higher workload.  Quite often in Northern Ballet where there is more than one substantial role the leading dancers alternate in them and therefore could be in several, if not all, the performances in a scheduled week or more.

 

Some years ago, ex-BRB dancers Victoria Marr and Chris Rodgers-Wilson (to name but 2) danced every single performance of Grosse Fugue and I have known many dancers who danced in every single performance of In the Upper Room.

 

Also, compared to the Royal Ballet, the touring companies in the UK perform in weekly blocks.

[RHowarth]

I’ve often wondered to what extent, if any, it’s a chicken and egg situation for principals in companies like the RB where stage time is limited. Do principals guest with other companies  because they don’t feel they’re getting enough stage time at, for example, the ROH - and they know that their career is short? Would they do as much guesting if the RB - for example - didn’t share the ROH with the Royal Opera?

[Nina G.]

A principal dancing a full-length ballet is on stage for most of the time, the mental and physical demands and pressure are enormous; the sheer physical demands and stamina needed to get through a full-length ballet is beyond what is demanded of a soloist or a corps de ballet dancer. A corps dancer can "hide" within the group of dancers and a mistake or weakness in technic is less often visible and "forgiven", they are also on and off the stage and have time to recover from their short performances .  A soloist will perform a 3 or 4 minute solo (they often do not (yet) have the stamina to perform continuously at the highest level), nor may they have the exceptional technic and artistry required of a principal. A principal must have it all: formidable stamina, an exceptional technic, great artistry, mental and physical strength of the highest level; after all they are continuously in the spotlight, often dancing all alone (or with their dance partner), numerous spotlights and 2500 (ROH) pairs of eyes on them. Indeed it is all about quality over quantity for a principal dancer.

[Shya100]

1 hour ago, RHowarth said:

I’ve often wondered to what extent, if any, it’s a chicken and egg situation for principals in companies like the RB where stage time is limited. Do principals guest with other companies  because they don’t feel they’re getting enough stage time at, for example, the ROH - and they know that their career is short? Would they do as much guesting if the RB - for example - didn’t share the ROH with the Royal Opera?

I would say in many ways its increasing reputation and earning more money.

[capybara]

Please see my post on the News from Germany etc thread about what Laurretta Summerscales and Yonah Acosta have done in the space of a few days! Phew 

 

[Nicola H]

3 hours ago, Nina G. said:

A principal dancing a full-length ballet is on stage for most of the time, the mental and physical demands and pressure are enormous; the sheer physical demands and stamina needed to get through a full-length ballet is beyond what is demanded of a soloist or a corps de ballet dancer. A corps dancer can "hide" within the group of dancers and a mistake or weakness in technic is less often visible and "forgiven", they are also on and off the stage and have time to recover from their short performances .  A soloist will perform a 3 or 4 minute solo (they often do not (yet) have the stamina to perform continuously at the highest level), nor may they have the exceptional technic and artistry required of a principal. A principal must have it all: formidable stamina, an exceptional technic, great artistry, mental and physical strength of the highest level; after all they are continuously in the spotlight, often dancing all alone (or with their dance partner), numerous spotlights and 2500 (ROH) pairs of eyes on them. Indeed it is all about quality over quantity for a principal dancer.

on that basis  some of the  'plain' soloists in the 'touring companies' are punching  well above their weight  ( or are  overdue  promotion to First  Soloist  or even Leading )

[Jan McNulty]

22 minutes ago, Nicola H said:

on that basis  some of the  'plain' soloists in the 'touring companies' are punching  well above their weight  ( or are  overdue  promotion to First  Soloist  or even Leading )

 

Couldn't agree more Nicola!

[Geoff]

Recently rewatched Tony Palmer's long and remarkable film about Margot Fonteyn. One point repeatedly stressed was her work load, from as soon as she was first a principal. Those speaking in the film say her work ethic variously (i) "carried" the company, (ii) impacted her health (iii) held back other qualified dancers for a generation. In any case this does rather suggest that Fonteyn's (at least) was a rather different work load to those elsewhere in the company.

[MissMonk]

5 hours ago, RHowarth said:

I’ve often wondered to what extent, if any, it’s a chicken and egg situation for principals in companies like the RB where stage time is limited. Do principals guest with other companies  because they don’t feel they’re getting enough stage time at, for example, the ROH - and they know that their career is short? Would they do as much guesting if the RB - for example - didn’t share the ROH with the Royal Opera?

 

I've always wondered about guesting at other companies and galas. Some people you see do it all the time like McRae and Salenko but others  don't seem to do them much if at all. And do dancers get paid for doing galas or is it considered "donating time" type thing.

 

Thanks for the replies! I've always been curious.

[Sim]

Oh yes they get paid!  That's why many of them guest;  to enhance their earnings while they can....and after all their hard work and dedication, so they should!

[Jan McNulty]

12 hours ago, Sim said:

Oh yes they get paid!  That's why many of them guest;  to enhance their earnings while they can....and after all their hard work and dedication, so they should!

 

But presumably for charity galas it would only be for expenses?

[betterankles]

The idea that principal dancers can’t ‘make mistakes’ is a fallacy...   Everyone makes mistakes.   Principals generally have the talent, presence of mind and brain, whether through experience or just instinct, not only to know how to cover up ‘mistakes’, but often to turn them into something more interesting then so called ‘perfection’

This is one of the important qualities needed for a true principal dancer....

[bridiem]

1 hour ago, betterankles said:

The idea that principal dancers can’t ‘make mistakes’ is a fallacy...   Everyone makes mistakes.   Principals generally have the talent, presence of mind and brain, whether through experience or just instinct, not only to know how to cover up ‘mistakes’, but often to turn them into something more interesting then so called ‘perfection’

This is one of the important qualities needed for a true principal dancer....

 

Of course that's true, and I don't suppose any dancer has ever given a performance that they judge to be 'perfect' (though some observers might think it so, and it might indeed be as near perfection as is possible). But for principals, any mistake/fluff/hesitation/cover-up etc is seen (at least by more knowledgeable watchers) - they're completely exposed, in a way that corps dancers rarely are.

[Sim]

6 hours ago, Jan McNulty said:

 

But presumably for charity galas it would only be for expenses?

Hmmmm.....it depends on the dancer and what the agreement is.  Some donate all their fees, some donate a proportion of their fees, and others insist on full payment (the theory being, I think, that if said dancer turns up then it would attract lots of audience and donations)....  

[John Mallinson]

2 hours ago, bridiem said:

 

Of course that's true, and I don't suppose any dancer has ever given a performance that they judge to be 'perfect' (though some observers might think it so, and it might indeed be as near perfection as is possible). But for principals, any mistake/fluff/hesitation/cover-up etc is seen (at least by more knowledgeable watchers) - they're completely exposed, in a way that corps dancers rarely are.

 

Or, as Sarah Lamb said with her usual candour in a recent interview:

 

“Now that I’m older,” says Lamb, “I feel performance is just a series of small errors, minute imperfections. It’s how you disguise them, how you create the illusion of purpose – that is what makes a performance.” She throws up her arms. “If you’re going to do the wrong steps, DO them!”

 

[meadowblythe]

 

I recently was lucky enough to watch two days of rehearsals onstage for my son's company.  Although on both days only one set of principals had been called, both sets were there on both days - marking at the side of the stage, and consulting between themselves and with the director.

 

I only can comment on my experience with his company, but I would say that the vast majority of injuries are amongst the higher ranked dancers - and this must tell its own tale.  A lot of the time, corps de ballet (and chorus in the opera) are there as much to paint the picture as to dance the steps.  

[Ian Macmillan]

MB: I'm unclear as to what precisely should be read into your concluding remark.  Whether in ballet or opera, if the picture be not painted, what is left?  Some virtuosic extracts for Galas perhaps, but hardly a masterpiece?  

[fashionista]

8 hours ago, betterankles said:

The idea that principal dancers can’t ‘make mistakes’ is a fallacy...   Everyone makes mistakes.   Principals generally have the talent, presence of mind and brain, whether through experience or just instinct, not only to know how to cover up ‘mistakes’, but often to turn them into something more interesting then so called ‘perfection’

This is one of the important qualities needed for a true principal dancer....

Although the emphasis may be on the principal dancers, I think it is the whole company that "carry" the show.  A principal may be able to mask an error, but the corps cannot and must be homogeneous - can you imagine a dancer putting a foot wrong  in , for example, the entrance of the Shades in Bayadere? - catastrophe!!!  Everyone is important and contributes to every show, from the newest member of the corps to the most senior principal.  Even if a principals's performance was superlative, it the rest of the cast danced below par, this would mar the show.  If anything, the corps have a pretty rough ride in that they are on for all shows which is not reflected in their remuneration.  I think it is invidious to make comparisons - all are important.

[penelopesimpson]

On 1/14/2018 at 08:42, bridiem said:

Principals also 'carry' a show, which must be incredibly demanding psychologically in addition to the physical demands. Their performance is crucial to the success of the show. And every eye is on them and they can't afford the tiniest mistake. Although of course the best performances are those where every single person on stage is at their best.

You are so right, Bridiem.  Think of the weight on the shoulders of the dancer doing Mayerling.  Of course the whole company is important, but people will always remember if 'the star' was off-colour.

[Nina G.]

4 hours ago, fashionista said:

 I think it is invidious to make comparisons - all are important.

 

Everyone is important yes but in a varying degree 

[betterankles]

Far more nerve wracking to be in the corps, as has been previously noted - an error in the corps de ballet can almost never be hidden, however clever the dancer is...

Principals who search for  ‘perfection’ WHILE performing (rehearsing is a different matter), will rarely be true ‘ballerinas’ or ‘danseurs nobles’

See quote from Sarah Lamb....   she knows

[LinMM]

 

Am not sure what you mean betterankles 

The reality of a live audience can inspire all sorts of things!!

 

 

[taxi4ballet]

On 15/01/2018 at 15:37, Ian Macmillan said:

MB: I'm unclear as to what precisely should be read into your concluding remark.  Whether in ballet or opera, if the picture be not painted, what is left?  Some virtuosic extracts for Galas perhaps, but hardly a masterpiece?  

I think this was in the context of workload and injuries among dancers. In some productions perhaps the corps are on stage a lot, but not dancing as much as the higher ranks. Hence injury rates being higher among more senior dancers.

[betterankles]

LinMM - I mean some dancers, even principal dancers seem to be so determined to be ‘perfect’ - that they forget that the audience has paid to see artists not perfect robots.   An audience hopes to be carried away into another world, not to notice whether the technique is ideal.   Sadly even principals dancers get caught up in the wheel of wishing to please their ballet masters and directors (and this is understandable of course as they depend on them for the next casting and or promotion, and to keep their job) - and in so doing forget about the very people all that preparatory work is done for, and the purpose of it - to be free to interpret whether role or music, but above all to be free and unfettered.   

See David Hallberg’s book...

[Nina G.]

I see what you mean Betterankles but for me a solid, great technique and artistry go hand in hand. I call a dancer great when he/she has both.  Yes some dancers do get away with less perfect technique but when I watch a ballet I want to see dancers who have a superb technique as well as artistry. Having a great technique allows a dancer to be free to interpret the role and music, especially in the great Classics.

[betterankles]

Not always Nina G, sometimes those with less strong technique are greater artists - of course it depends what you call strong technique...?

The less strong technicians tend to strive for quality of movement and artistry rather then multiple turns and super high extensions.

I prefer an Aurora who does not do multiple turns or necessarily hold rock solid balances,, but interprets the role as the slightly overwhelmed teenager at her birthday party being introduced to these men she may marry - naturally rather nervous and excited, to a ver attractive and slightly seductive act 2 vision (otherwise why would the Prince get enamoured), to a more mature Aurora on her wedding day, very much in love with her Prince.

If she balances long, looks at her Prince when she takes his hand in between, and does multiple turns but stays on the music and uses both as assistance to the interpretation, all to the good.

[Nina G.]

Sure.

& I didn't say a strong technique = multiple turns or super high extensions. A strong technique should serve a dancer to have total control over their movements, and that combined with artistry makes for me a superb dancer.

[RobR]

In other words, dancing is all very well, but a great dancer also ought to be able to act the part. 

[Melody]

I know this is a generalization, but principals tend to have longer careers than corps dancers (at least that seems to be the case from what I've been reading). I always thought it was because they had more time between performances for their bodies and minds to rest, although I'm sure their rehearsal schedule is as demanding as anyone else's. But maybe it's more because of greater job satisfaction or better pay.

[Nicola H]

On 1/18/2018 at 21:30, Melody said:

I know this is a generalization, but principals tend to have longer careers than corps dancers (at least that seems to be the case from what I've been reading). I always thought it was because they had more time between performances for their bodies and minds to rest, although I'm sure their rehearsal schedule is as demanding as anyone else's. But maybe it's more because of greater job satisfaction or better pay.

i think it's more  the career pyramid thing ,  also AIUI  most  dancers are on fixed term contracts   and there;s no obligation to reivew ,  so the however long / whatever age   corps dancer falls off that conveyor  without the  means  ( hang glider  ? ) to  jump the gap to  the soloist conveyor