Ballet Technique Quotes

Dreaming at the Ballet" The truth is, goddesses are lousy in bed. They will do anything it’s true. And the skin is beautifully cared for. But they have no sense of it. They are all manner and amazing technique. I lie with them thinking of your foolish excess, of you panting and sweating, and your eyes after.

Classic Ballet, Keep away, keep building your creaky fairy castles, keep cloning clones and meaningless manners, hang on to your beanstalk ballerinas and their midget male shadows, run yourself out of business with your tons of froufrou and costly clattery toe shoes that ruin all chances for illusions of lightness, keep on crowding the minds of blind balletomanes who prefer dainty poses to the eloquent strength of momentum, who have forgotten or never known the manings of gesture, who would nod their noses to barefoot embargos ("so grab me" spelt backwards). Continue to repolish your stiff technique and to ignore a public that hungers for something other than a bag of tricks and the empty-headedness of surface patterns. Just keep it up, keep imitating yourself, and, , go grow your own dance makers. Come on, don't keep trying to filter modern ones through your so-safe extablishment. We're to be seen undiluted, undistorted, not absorbed by your hollow world like blood into a sponge. Yours truly, A Different Leaf on Our Family Tree

Tony Williams: You’ve often mentioned that Tales of Hoffmann (1951) has been a major influence on you. George Romero: It was the first film I got completely involved with. An aunt and uncle took me to see it in downtown Manhattan when it first played. And that was an event for me since I was about eleven at the time. The imagery just blew me away completely. I wanted to go and see a Tarzan movie but my aunt and uncle said, “No! Come and see a bit of culture here.” So I thought I was missing out. But I really fell in love with the film. There used to be a television show in New York called Million Dollar Movie. They would show the same film twice a day on weekdays, three times on Saturday, and three-to-four times on Sunday. Tales of Hoffmann appeared on it one week. I missed the first couple of days because I wasn’t aware that it was on. But the moment I found it was on, I watched virtually every telecast. This was before the days of video so, naturally, I couldn’t tape it. Those were the days you had to rent 16mm prints of any film. Most cities of any size had rental services and you could rent a surprising number of films. So once I started to look at Tales of Hoffmann I realized how much stuff Michael Powell did in the camera. Powell was so innovative in his technique. But it was also transparent so I could see how he achieved certain effects such as his use of an overprint in the scene of the ballet dancer on the lily ponds. I was beginning to understand how adept a director can be. But, aside from that, the imagery was superb. Robert Helpmann is the greatest Dracula that ever was. Those eyes were compelling. I was impressed by the way Powell shot Helpmann sweeping around in his cape and craning down over the balcony in the tavern. I felt the film was so unique compared to most of the things we were seeing in American cinema such as the westerns and other dreadful stuff I used to watch. Tales of Hoffmann just took me into another world in terms of its innovative cinematic technique. So it really got me going. Tony Williams: A really beautiful print exists on laserdisc with commentary by Martin Scorsese and others. George Romero: I was invited to collaborate on the commentary by Marty. Pat Buba (Tony’s brother) knew Thelma Schoonmaker and I got to meet Powell in later years. We had a wonderful dinner with him one evening. What an amazing guy! Eventually I got to see more of his movies that I’d never seen before such as I Know Where I’m Going and A Canterbury Tale. Anyway, I couldn’t do the commentary on Tales of Hoffmann with Marty. But, back in the old days in New York, Marty and I were the only two people who would rent a 16mm copy of the film. Every time I found it was out I knew that he had it and each time he wanted it he knew who had it! So that made us buddies.

Despite the dangers and discomforts, climbing is for many an all-consuming passion. They interrupt, end, or never start their careers, focusing exclusively on completing the next climb. Climber Todd Skinner said free climbing means "going right to the edge" of your capabilites. For many climbers, this closeness to death - the risk of dying - produces an adrenaline rush that most other life experiences simply can't. It is what keeps many of them married to the sport. Probably no other sport creates such a feeling of oneness with Mother Nature. Attached to a mountainside by fingertips and toes, the climber necessarily becomes part of the rock - or else. One climber says that while scaling a granite face, she felt close to God, so intense was her relationship with the natural world. Climbers speak of "floating" or "performing a ballet" over the rock, each placement of foot and each reach into a crack creating unity with the mountain. The sport is one of total engagement with the here-and-now, which frees the mind from everything else. Climbers' concentration is complete and focused. Their only thought is executing the next move... Ken Bokelund... said: "Climbing for me has always been the strength of the body over the weakness of the mind. If you train so that you are very strong physically and you have mastered the techniques, then all that's left is believing. Freeing your mind of fear is the key. This is very difficult to do, but when you can achieve it, then you are in true harmony with the rock. Fear is just one more thing to worry about and is very distracting. It can make you fall... ...when you know you are strong enough to complete any maneuver, once that level of physical confidence is achieved, then you are able to put fear out of your mind. Climbing becomes a very simple pleasure. It's just you and the rock. It's a total clarity of being, a time when nothing matters, you're moving without any thought, you're in a place where time stands still. Even when you're on a wall for days, when you get down, everything seems exactly the same, as though time never passed.

Intuitively it makes sense that difficulties that don’t strengthen the skills you will need, or the kinds of challenges you are likely to encounter in the real-world application of your learning, are not desirable. Having somebody whisper in your ear while you read the news may be essential training for a TV anchor. Being heckled by role-playing protestors while honing your campaign speech may help train up a politician. But neither of these difficulties is likely to be helpful for Rotary Club presidents or aspiring YouTube bloggers who want to improve their stage presence. A cub towboat pilot on the Mississippi might be required in training to push a string of high-riding empty barges into a lock against a strong side wind. A baseball player might practice hitting with a weight on his bat to strengthen his swing. You might teach a football player some of the principles of ballet for learning balance and movement, but you probably would not teach him the techniques for an effective golf drive or backhand tennis serve. Is there an overarching rule that determines the kinds of impediments that make learning stronger? Time and further research may yield an answer. But the kinds of difficulties we’ve just described, whose desirability is well documented, offer a large and diverse toolkit already at hand.

Barringer, Janice, and Sarah Schlesinger. The Pointe Book: Shoes, Training & Technique . Hightstown, NJ: Princeton Book Company, 1998, 2004.

A pas de deux is more than just a partnered dance. Two souls. One body. Entwining together and weaving a story--- evoking a sensation, a memory, a thought. I shut my eyes, remembering how Damien laid me upon the petals and joined his soul with mine. In the heat of summer, he vowed to love me, and we became a part of each other. We separate, taking our places across the sea. The tension pent up inside my body slips away as the darkness spills into the water. My dance was always powerful, even when I'm imperfect and fragile and completely surrendered. I know that now. I fall into my adagio, weightless. Technique no longer matters. Instead, I'm passive to the waves, allowing the current to spin me in pirouettes. The darkness fans out, blooming like a flower. As I lunge into an arabesque, my fingertips release a nebula. Stars explode across the darkness and create my own galaxy. I fall into a piqué manège, birthing stardust strokes. With quick bourrée steps, constellations sprout across the sea. The water illuminates as I leap into a grand jeté, sending shooting stars as I fly. The sirens coo, and I welcome them to join me. They spin tendrils of gold into the darkness, using their fish tails like paintbrushes. As they circle me, the ragged dress I wear transforms into a glittering gown, reflecting rainbows when hit by the light. Finally, I embrace the angel I always was. Filling the distance between me and Damien, I leap into his arms. When he catches me, his darkness feathers into the sea. We entwine, twirling in a whirlpool as the sirens hold us in a glittering lattice.

We must approach exercises as we approach the treatment of an illness. We get orders from a doctor, but the individual knows best how the orders should be carried out. Basic Principles of Classical Ballet: Russian Ballet Technique (p. 33). Dover Publications. Kindle Edition.