You have to wonder how much experience Petipa actually had with swans. They're elegant and graceful, yes--but they're also mean, hissy, scary even. The male swans of Matthew Bourne's wildly popular Swan Lake hit much closer to the mark, in that respect, than Petipa's tutu-clad flock. Bourne's beastly birds are seductive and arrogant--about as far from damsels in distress as you can get. Instead, they're symbols of freedom and empowerment. Bourne's Prince doesn't attempt to rescue his Swan--the Swan rescues the Prince.
Wondering about what your ideal post-dance dinner should be? Curious about which cross-training strategies are best for your body? Head to New York City Ballet's Dance Wellness Workshop tomorrow at the company's rehearsal studios in New York.
It is a truth universally acknolwedged among ballet students and dancers that running (or jogging) is bad, bad, bad. Many dancers will say that running is terrible because it is pretty high-impact, meaning your joints can take a beating, and it works against you because it's a turned-in activity. However, as a dancer who has been an amateur runner for the past six months, I say this is not necessarily true.
A master class can be many things: It can be a source of inspiration, a networking opportunity, the key to a new technical revelation, or simply an awesome time with an amazing dance celebrity. Manhattan Movement and Arts Center is offering a master class with the singular New York City Ballet star Wendy Whelan next Monday from 7:30 to 9 pm. She will be teaching an Intermediate/Advanced level class. The fee is $20 (or $17 professional rate). Register here.
In my last blog post, I wrote about how eagerly I was looking forward to seeing Balanchine's Serenade this past Saturday. I was itching with anticipation. Well, as always, it did more than not disappoint--it astounded and delighted me. I always notice new things and details about the ballet when I see it, and that night was no exception. But on the whole, it made me realize just how big a star the NYCB corps is in almost every Balanchine ballet, which I've mentioned before. But now, I'm pretty much convinced that they are, collectively, the star of the
There's not a single ballet dancer I know who doesn't have a love/hate affair with her pointe shoes. Her artistry depends on her shoes never letting her down. But while they can give her the strength and support to find freedom onstage, if she doesn't have the right fit or doesn't understand how to use them, her shoes will simply be an endless source of blisters, bruised toenails, Achilles tendonitis and more.
I'm going to see NYCB on Saturday, and Serenade is first on the program. I've decided recently that it's probably my favorite ballet, and here's why:
From the very first moment the beautiful "Serenade for Strings" by Tschaikovsky begins, I feel goosebumps. There's just something about those first few majestic phrases that is so moving and so pleasing. I'm thinking about it right now, and it's making me smile in delicious anticipation of that moment tomorrow night. Then the curtain rises, and it's bliss from then on.
When I daydream about Antony Tudor, I instantly picture his signature works: Leaves Are Fading, Dark Elegies and Jardin Aux Lilas. But with successful creation comes clear instruction; something I often forget when “cooing” over great choreography.