Swan Lake Ballet Quotes

Peter smiled as Concheetah sashayed across the ballroom floor Concheetah sashayed towards him, wriggling her hips, full lips in a pout, followed obediently by the tentative, Tapping Ted dressed in tight shorts and singlet. Tapping? Tapping because he always wore conspicuous, tap-dancing shoes in the club. Was Ted going to rip up the stage as a mincing Irish dancer or maybe perform a Gene Kelly routine or the Swan Lake ballet in taps? It was terrible to imagine. Peter bit his lip at that thought, hoping he wouldn’t burst into howls of laughter. He had noted after coming to several shows, that Ted usually stood at the side of the stage ready with a drink of champagne and an encouraging word and a dry towel to mop Her Highness’s face. And he always cried during the show’s finale, Abba’s Dancing Queen. Poor Tapping Ted.

The impulse to laugh at healthy people who nonetheless fall down is by no means universal, however, was brought to my attention unpleasantly at a performance of Swan Lake by the Royal Ballet in London, England. I was in the audience with my daughter Nanny, who was about sixteen then. She is forty-one now, in the summer of 1996. That must have been twenty-five years ago now! A ballerina, dancing on her toes, went deedly-deedly-deedly into the wings as she was supposed to do. But then there was a sound backstage as though she had put her foot in a bucket and then gone down an iron stairway with her foot still in the bucket. I instantly laughed like hell. I was the only person to do so.

That day and night, the bleeding and the screaming, had knocked something askew for Esme, like a picture swinging crooked on a wall. She loved the life she lived with her mother. It was beautiful. It was, she sometimes thought, a sweet emulation of the fairy tales they cherished in their lovely, gold-edged books. They sewed their own clothes from bolts of velvet and silk, ate all their meals as picnics, indoors or out, and danced on the rooftop, cutting passageways through the fog with their bodies. They embroidered tapestries of their own design, wove endless melodies on their violins, charted the course of the moon each month, and went to the theater and the ballet as often as they liked--every night last week to see Swan Lake again and again. Esme herself could dance like a faerie, climb trees like a squirrel, and sit so still in the park that birds would come to perch on her. Her mother had taught her all that, and for years it had been enough. But she wasn't a little girl anymore, and she had begun to catch hints and glints of another world outside her pretty little life, one filled with spice and poetry and strangers.

On days her spirits are low, like now, or between ballet seasons, when she has time to think about herself outside of the roles she plays, when she is not Odette in Swan Lake or Clara in The Nutcracker, she finds her feet reason enough to doubt the grace for which she is applauded when she spins on the tips of her toes.

An hour later we were pulling into the hospital parking lot. Sparkly and shiny from my hair and makeup job, I had to stop and bend over six times between the car and the front door of the hospital. I literally couldn’t take a step until each contraction ended. Within an hour after checking in, I was writhing on a hospital bed in all-encompassing pain and wishing once again that I’d gone ahead and moved to Chicago. It had become my default response when things got rough in my life: morning sickness? I should have moved to Chicago. Cow manure in my yard? Chicago would have been a better choice. Contractions less than a minute apart? Windy City, come and get me. Finally, I reached my breaking point. It’s an indescribable feeling, the throes of hard labor--that mind-numbing total body cramp whose origin you can’t even begin to wrap your head around. After trying to be strong and tough in front of Marlboro Man, I finally gave up and gripped the bedsheet and clenched my teeth. I groaned and moaned and pushed the nurse button and whimpered to Marlboro Man, “I can’t do this anymore.” When the nurse came into the room moments later, I begged her to put me out of my misery. My salvation arrived five minutes later in the form of an eight-inch needle, and when the medicine hit I nearly began to cry. The relief was indescribably sweet. I was so blissfully pain-free, I fell asleep. And when I woke up confused and disoriented an hour later, a nurse named Heidi was telling me it was time to push. Almost immediately, Dr. Oliver entered the room, fully scrubbed and wearing a mask. “Are you ready, Mama?” Marlboro Man asked, standing near my shoulders as the nurse draped my legs and adjusted the fetal monitor, which was strapped around my middle. I felt like I’d woken up in the middle of a party. But the weirdest party ever--one where the hostess was putting my feet in stirrups. I ordered Marlboro Man to remain north of my belly button as nurses scurried into place. I’d made it clear beforehand: I didn’t want him down there. I wanted him to continue to get to know me the old-fashioned way--and besides, that’s what we were paying the doctor for. “Go ahead and push once for me,” Dr. Oliver said. I did, but only hard enough to ensure that nothing accidental or embarrassing would slip out. I could think of no greater humiliation. “Okay, that’s not going to work at all,” Dr. Oliver scolded. I pushed again. “Ree,” Dr. Oliver said, looking up at me through the space between my legs. “You can do way better than that.” He’d watched me grow up in the ballet company in our town. He’d watched me contort and leap and spin in everything from The Nutcracker to Swan Lake to A Midsummer Night’s Dream. He knew I had the fortitude to will a baby from my loins. That’s when Marlboro Man grabbed my hand, as if to impart to me, his sweaty and slightly weary wife, a measure of his strength and endurance. “Come on, honey,” he said. “You can do it.” A few tense moments later, our baby was born. Except it wasn’t a baby boy. It was a seven-pound, twenty-one-inch baby girl. It was the most important moment of my life. And more ways than one, it was a pivotal moment for Marlboro Man.

The impulse to laugh at healthy people who nonetheless fall down is by no means universal, however, was brought to my attention unpleasantly at a performance of Swan Lake by the Royal Ballet in London, England. I was in the audience with my daughter Nanny, who was about sixteen then. She is forty-one now, in the summer of 1996. That must have been twenty-five years ago now! A ballerina, dancing on her toes, went deedly-deedly-deedly into the wings as she was supposed to do. But then there was a sound backstage as though she had put her foot in a bucket and then gone down an iron stairway with her foot still in the bucket. I instantly laughed like hell. I was the only person to do so.

A pseudo ideology is a petulant, infantile demand that you should have the right to put my life at risk because of your gender. Dwarfs don’t make good netball players; six-foot-six guys who weigh eighteen stone are not good for dancing the part of Princess Odette in Swan Lake. They also make crap jockeys. So maybe the lifelong dream of the dwarf was to be a netball player, and maybe the muscle-bound giant always wanted to be a ballet dancer, or a jockey. That’s tough shit. It’s life. It doesn’t make society anti-dwarf or anti-giant, and a campaign to force netball teams to accept a percentage of dwarfs, and ballet companies to accept a percentage of giant men to dance women’s roles, would be stupid. That would be a pseudo ideology.

A Nagyszínház bejárata előtt várakozó hintók egy része, miután felvették az utasaikat, egyesével a Borinszkij-rezidencia felé vették az irányt. Körülbelül húszfogatnyi úriember és hölgy kapott meghívót a mulatságra, melynek vendéglistáján a Hattyúk tava balett-táncosai is szerepeltek.