Ballet World

《夏康妮》

noreply@blogger.com (Ballet World) — Wed, 19 Aug 2020 04:11:00 +0000

苏珊娜·法瑞尔（Suzanne Farrell）和彼得·马丁斯（Peter Martins），G.Balanchine创作的《夏康妮》，1976年，纽约市


Max Waldman摄

Anastasia Balakhnicheva

noreply@blogger.com (Ballet World) — Wed, 19 Aug 2020 03:04:00 +0000

今天的天鹅

noreply@blogger.com (Ballet World) — Wed, 19 Aug 2020 03:00:00 +0000

Ballet Class | Parallel Sight Principle

noreply@blogger.com (Ballet World) — Wed, 19 Aug 2020 00:46:00 +0000

Dear friends:

Hello there. What I want to talk to you today is where your eyes should look when you are dancing.

When you look at your hands, the teacher often says that, but when you really look at the hands, the teacher may say that you have to look far away. Have you experienced this scene?

So, should we look at it?

I usually tell the students this way, look in the direction of the hand parallel to the distance.

The focus is in the picture:

The principle of parallel eyesight is generally used in extended movements such as seven positions along and Arabesque.

Eye follow the manual means that the line of sight corresponds to the direction of the hand. It is not fixed focus on the "hand", nor is it straight to the direction of the hand, but parallel to the path of the hand to look far away, so the whole will be more There is beauty in coordination.

The line of sight is not an accessory of the hand, and the eyes, like other parts of the body, are also participating in the dance.

Two Cognitive Deviations that Adults may Occur in Learning Ballet

noreply@blogger.com (Ballet World) — Wed, 19 Aug 2020 00:36:00 +0000

Dear friends:

A few days ago, I participated in the closing ceremony of a ballet training camp, and everyone was sharing their own ballet learning experience. One of the classmates, L, has been with her for nearly five years. Her state of learning ballet is a more appropriate way in my eyes. Combining with some recent phenomena, I want to share with you.

The following two are the ballet learning states that I am very worried about. Please take your seats. If you find that you don’t think so, then you have enough sense and open mind in the process of learning ballet. You don’t need to continue reading this article. Up~

1. Use abuse and tiredness as the only criterion for judging whether one's ballet learning is rewarding

2. Set restrictions on the choice of ballet classes based on your own ballet learning experience

Let me talk about the first point. I often hear the discussion among students, that teacher XX’s class is super torturous, teacher XX’s class is super tired, teacher XX can’t sweat so much in class...

It sounds a bit off-track. I think the study of ballet should start more with self-improvement.

There are also many perspectives for improvement, such as the improvement of ability, such as the improvement of cognition.

The premise of promotion is to fully recognize yourself. On the way to present ballet more perfectly with your body, what are your biggest shortcomings, what are your strengths, and if your ability is not enough, then which part of the ability is not enough, your next plan is to focus on which one to overcome first.

It's not that abuse and tiredness are not good, but abuse and tiredness have a purpose, but to make the body better show ballet. The discussion I would like to hear more is that teacher XX’s class took us a long time to spend our legs and was super tired, but after so many sessions, my legs lifted higher than before. (The last sentence is very important.)

Every time you experience abuse and tiredness, you must know exactly what it is for.

If there is a teacher who requires a high level of detail, he may be more realistic in the chin angle with you, neither torturing nor tired, but I hope that when you meet this teacher, you don’t feel that your clothes are not wet enough. White came, but knew that he was getting another dimension of promotion.

Yes and only, when you show up in a ballet class just for abuse and tiredness, you can take the initiative to find the most abused and tired ballet class. The only hint to be given is that after a certain period of time, there should be no complaints about why I work harder than other students, but the ballet dance is not as good as others.

The second point is to set limits on the choice of ballet classes based on my own ballet learning experience. In my opinion, it is also a cognitive bias that greatly affects the efficiency of ballet learning.

The L classmates I mentioned earlier actually come into contact with a lot of teachers. They participate in training camps every winter and summer vacation. The choice of each training camp is based on the time period, not the teacher. She always empties herself in class to accept and embrace the nourishment from different teachers.

Think about it, in the professional self-study when I was a child, the teacher was the same classmate. The circle practice was not good at that time, but it was a steady circle completed by the classmates. My classmates can help me grow, not to mention different ballet teachers.

Some students will prejudice the teacher they met for the first time because of a class. Perhaps it was because he didn't adapt to the teacher's classroom rhythm, or because he saw that the teacher was a little bit inferior to his original teacher, and blocked himself from the teacher's door.

Each teacher will have a different focus on the aesthetics of ballet, and will also have a different understanding of teaching. When we use inertia to evaluate another unfamiliar teacher, it is not objective enough.

Open yourself up, forget your own obsessions in the ballet class, and absorb the nutrition you need. This open mind will help your ballet study happier and more effective. Strict teachers, give it a try and see if you can go one step further in the persecution; teachers who explain more, slow down and carefully consider whether these words can improve your understanding...

Of course, the premise is that your ballet teacher has to be serious and responsible. If you want to help your classmates, the soy sauce teacher is not in the scope of this article.

In addition, if you are willing to appoint a teacher to study, it will be more efficient to know each other's state, which is also a great thing. But please do not apply the classroom experience that this teacher brings to you and apply it to the classroom of other teachers, otherwise your negative emotions will affect your gains.

Speaking of this, the original intention is for everyone to enjoy their love in the longer term. I hope everyone can listen to it and have some small inspirations~

Teachers are also asked to firm up their teaching ideas and believe that you know what you are doing.

I wish you a straight and steady circle today.

Costumes: Olivier Rousteing. Musique: Félix Mendelssohn

noreply@blogger.com (Ballet World) — Tue, 18 Aug 2020 23:44:00 +0000

Merci à tous ceux qui m'ont accompagné dans cette si belle aventure... Chorégraphie: Sébastien Bertaud. Costumes: Olivier Rousteing. Musique: Félix Mendelssohn

SWAN LAKE | First Act

noreply@blogger.com (Ballet World) — Tue, 18 Aug 2020 23:38:00 +0000

From our Staatsballett Berlin Online Gala “From Berlin with Love” from back in June!

Swan Lake Act 1 solo

Choreography: Patrice Bart

Piano live by Alina Pronina

Debuting in Anton Dolin’s “Variations For Four” on August 27th at the Deutsche Oper here in Berlin. Hopefully see you there!

Images of Bolshoi Ballet’s, Principal dancer: Semyon Chudin.

noreply@blogger.com (Ballet World) — Tue, 18 Aug 2020 02:04:00 +0000

Images of Bolshoi Ballet’s, Principal dancer: Semyon Chudin.

New York City Ballet’s Principal dancer: Chase Finlay.

noreply@blogger.com (Ballet World) — Tue, 18 Aug 2020 02:02:00 +0000

New York City Ballet’s Principal dancer: Chase Finlay.

Ballerina, dance tutor, choreographer: Fabiana Santiago.

noreply@blogger.com (Ballet World) — Tue, 18 Aug 2020 02:01:00 +0000

Ballerina, dance tutor, choreographer: Fabiana Santiago.

Images of Complexions Contemporary Ballet’s, Principal dancer: Ashley Mayeux.

noreply@blogger.com (Ballet World) — Tue, 18 Aug 2020 02:00:00 +0000

Images of Complexions Contemporary Ballet’s, Principal dancer:

Ashley Mayeux.

Hong Kong Ballet’s, member of the Corps de Ballet: Nana Sakai.

noreply@blogger.com (Ballet World) — Tue, 18 Aug 2020 01:59:00 +0000

Hong Kong Ballet’s, member of the Corps de Ballet: Nana Sakai.

A 16-year old, Sylvia Guillem, in a Paris Opera Ballet School demonstration.

noreply@blogger.com (Ballet World) — Tue, 18 Aug 2020 01:58:00 +0000

A 16-year old, Sylvia Guillem, in a Paris Opera Ballet School demonstration.

You can already see the presence, the aura, the natural charisma -

the making of a real International Superstar.

More images of Prima Ballerina Assoluta: The truly magnificent, Alicia Alonso.

noreply@blogger.com (Ballet World) — Tue, 18 Aug 2020 01:57:00 +0000

More images of Prima Ballerina Assoluta:

The truly magnificent, Alicia Alonso.

Images of Mexico National Dance Company’s: Yubal Morales.

noreply@blogger.com (Ballet World) — Tue, 18 Aug 2020 01:54:00 +0000

Images of Mexico National Dance Company’s: Yubal Morales.

Images of the truly great and truly magnificent: Ekaterina Maximova.

noreply@blogger.com (Ballet World) — Tue, 18 Aug 2020 01:53:00 +0000

Images of the truly great and truly magnificent: Ekaterina Maximova.

A true dance goddess.

There are very few artist’s that can lay claim to really being highly transformative, or real pioneers and trailblazers.

Especially when it comes to the amazing world of dance.

And perhaps these days ‘true greatness’ is banded about, spoken about rather cheaply? But, Yekaterina Sergeyevna Maksimova, was coached by

true greatness in the formidable shape & form of Galina Ulanova.

And Maximova was also married to one of the World’s greatest Male ballet dancers - Vladimir Vasiliev. Dancing and performing together with the Bolshoi Ballet. They both belong to the golden era of Dance & Dancers, that all went onto redefine, revolutionise, empower, a whole next generation of dancers.

Of course.

These are just images, many of which were taken in the late 1960s and 1970s, when both Vasiliev and Ekaterina were both in their peak form.

Fortunately for all of us, Ex-professional dancers and choreographers,

there are still numerous video and film footage of them dancing and performing together in some of their greatest roles:

Spartacus, Giselle, Don Quixote, Cinderella and The Nutcraker.

Footnote:

As an ex-professional dancer and choreographer, I still have a real love and passion - respect for all aspects of The Arts.

And for those of you whom have been closely following all of my various, previous posts, will also be aware that my main focus has always been on sharing images of ballet dancers, many of whom are considered to be amongst the very best (if not the greatest) in the world.

And every now and again, I will also feature the ‘True Greats’.

Please see my previous posts on Margot Fonteyn, Maria Tallchief,

Natalia Makarova, Baryshnikov, Nureyev, Erick Bruhn, Carlos Acosta...

to name but a few.

However.

I am most definitely not keen on welcoming people whom for whatever reasons, have strong and extremely negative opinions, on any of the dancers that I have chosen to feature, in any of my posts.

If you do not like a certain image or artist, you really do Not have to tell me or the rest of world about it, ok.

In fact, you have the right to just skip along, avoid all of my posts.

Because I am always going to highlight, all creeds and colours, both young and old, all nationalities of dancers whom I actually believe are really good or great dancers.

A prime example of this is Misty Copeland, Principal dancer with American Ballet Theatre. Whom I have seen several people write and leave some highly offensive, nasty and really spiteful, bordering on racist comments about. Some people have chosen to harshly criticise everything from her physique to her dancing. Obviously I am not comparing Misty to Maximova, or Fonteyn to Plisetskaya, or Baryshnikov to Fred Astaire.

As they are (or were) all great dancers in their time and era.

This is the 21st Century, and dance and dancers have all moved on, ok.

Again, if you strongly do not agree with me. Or simply do Not like any of

my posts, then, just avoid all of them, ok.

This is because I am, all about encouraging positivity.

Especially right now, when this global pandemic has (near enough) completely decimated all aspects of The Arts, globally speaking.

Thank you to all of you whom have continued to leave some very lovely, nice and wonderful comments. And apologies for the long breaks in between my previous posts. As it usually takes me several days worth of research, before I feel ready to post something new. My aim is to always present the very best for the best!

Also. I make no apologies for wanting to share my thoughts and observations here, or for the length of my posts.

As dance, the learning of, has always been a oral tradition of one dancer to the next, passing on repertory, creative and most innovative ideas, movement, performance skills, musicality, and true artistry.

For these are just some of the elements that have contributed to dance (no matter what style or genre) surviving.

Images of Dutch National Ballet’s, Principal dancer: Anna Ol.

noreply@blogger.com (Ballet World) — Tue, 18 Aug 2020 01:49:00 +0000

The Royal Ballet, Principal guest artists, David Hallberb, partnering the absolutely amazing, Prima Ballerina: Natalia Osipova.

noreply@blogger.com (Ballet World) — Tue, 18 Aug 2020 01:48:00 +0000

The Royal Ballet, Principal guest artists, David Hallberb, partnering

the absolutely amazing, Prima Ballerina: Natalia Osipova.

Images of Birmingham Royal Ballet’s, Chilean Principal dancer

noreply@blogger.com (Ballet World) — Tue, 18 Aug 2020 01:46:00 +0000

Images of Birmingham Royal Ballet’s, Chilean Principal dancer:

César Morales Anderson.

Images of Rapid City, South Dakota born, the absolutely superb

noreply@blogger.com (Ballet World) — Tue, 18 Aug 2020 01:44:00 +0000

Images of Rapid City, South Dakota born, the absolutely superb

Male dancer: David Hallberg.

Interesting to note that....

David has formerly been a Principal dancer with American Ballet Theatre,

The Australian Ballet, and also the Bolshoi Ballet.

Ulyana Lopatkina 💙

noreply@blogger.com (Ballet World) — Tue, 18 Aug 2020 01:28:00 +0000

Ulyana Lopatkina 💙
由 Ballet Arena 发布于 2020年8月17日周一

Ballet Academy- Brooke has over 20 years of experience at the international level. Her students can be found in professional dance companies around the world, in university dance departments across the country and teaching in North America and Europe.

noreply@blogger.com (Ballet World) — Tue, 18 Aug 2020 01:07:00 +0000

We're breaking into the weekend💥 Delightful Natalia Osipova😍

noreply@blogger.com (Ballet World) — Tue, 18 Aug 2020 00:55:00 +0000

❗UPD: We've just received a video from Daisy dancing with our ballerina! Look how happy she is😍

noreply@blogger.com (Ballet World) — Tue, 18 Aug 2020 00:52:00 +0000

Beautiful swans😍🦢 Swan Lake. White act👏 ⠀ Perm Opera and Ballet Theatre

noreply@blogger.com (Ballet World) — Tue, 18 Aug 2020 00:51:00 +0000

Beautiful swans😍🦢 Swan Lake. White act👏 ⠀ Perm Opera and Ballet Theatre