Discover Top Posts Tagged with #ballet technique

In the air, her legs write poetry. Crossed, synchronized, defiant.

i feel like with the rise of ballet content on the internet we’ve normalised training more on pointe shoes rather than flat shoes and it’s so weird. being able to perform well on pointe is important, yes, but the base of all of your skills comes from having the ability to perfect your moves on flat shoes— and ballet on flats isn’t nearly appreciated enough on the internet, or in real life anymore

#alex talks #ballet #salt tag #balletcore #ballet technique #pointe shoes #barre

can you explain renata shakirova's "technical shortcomings" as you mention? i dont follow mariinsky but she has a pretty big fanbase and is beloved on here from what ive seen so i was surprised to read that!!

Hello! I think the most significant issues I noticed in her Swan Lake debut are these:

Lack of engagement in the supporting leg affected the quality and suspension of her extensions. Some developpe's looked thrown rather than held. This weakness was prominent in a ballet that is so dependent on adagio.

Arabesques that were in some cases completely turned in with closed hips. It was essentially unflattering, distorted a la second and the lack of strength in the upper thigh/hip was evident. These turnout issues weren't limited to pique arabesques but also pirouettes and even poses a terre.

She made port de bras choices that were simultaneously unflattering and inefficient. I honestly wondered how this happened? Is this what her coach Tatyana Terekhova was advising her to do? Terekhova had similar strengths to Shakirova so I've always considered this a good combination. Although Terekhova did dance O/O, she was more renowned in powerhouse roles. Is she the best coach for Shakirova in this role? I don't have an answer, it's hard to balance the extreme differences in outcomes between Shakirova's Nikiya and O/O

#renata shakirova #ballet #ballerina #ballet technique #mariinsky theatre #odette odile

Some more thoughts on Ballet Conrad comments

Following on from this post.

I'm a latecomer in life to ballet, and so lack some technical knowledge that I'm now building. The Ballet Conrad channel has been immensely informative. His post on Khoreva really got me thinking. If her technique is relatively poor, and her acting ability is unremarkable (which I think most people, including her, are aware of), why does she get so much hype? Those are pretty much the only two components of ballet: technique and artistry. Myself, I believe Bulanova is the standout 2018 graduate.

I don’t think Maria’s technique is poor. Rather, there are certain aspects of her technique which are problematic and can cause major health issues later down the road. It’s also been suggested that her technique was better when she was at VBA, being coached by Professor Kovaleva, and she may not be getting the same quality of coaching at the Mariinsky. As for her acting skills – I think that’s something that will improve with experience. Don’t forget, Maria is still, technically, a recent graduate. That’s on of the problems with young dances being promoted to such a high rank so soon... There’s an expectation that they will perform at the level of seasoned soloists, which almost impossible. I don’t think the hype around Khoreva is unjustified – she really is quite remarkable in many ways – but she should’ve been given more time to progress and mature before being promoted.

Ballet Conrad is right about cross training. It has nothing to do with ballet and develops habits and muscle memory that contradict the purity of classical form. I'm very surprised that this has caught on in Russia, where the ballet institution purports to be all about preserving classical tradition. Knowing the veneration the students and dancers have for, and the deference they show to, their teachers and elders, I'm surprised this trend hasn't been nipped in the bud by the latter contingent.

I don’t know how to answer this question. I have no idea how teachers at Vaganova and coaches at the Mariinsky view cross-training. There are some interesting point (and counterpoints) in the comment below though.

@everythingplusthekitchensink: So, not Russian, or Russian trained per-se, but I have had Russian teachers, I know my technical stuff.Anyways, I like a lot of what he is saying, the bent knees, and the moving hip - totally fair. I think the Russian training overlooks a lot about hyper-extension and what needs to be done in regards to training (see Alina Somova), so yes, Maria is lacking in that. Also, the way they hold their hips in order to be perfectly turned out really ignores basic anatomy on anyone who isn’t naturally super turned out. You need to roll the hip backward in its socket (basic way of putting it but yeah), in order to achieve true turnout, and that would stop the hip from lifting.In regards to the foot clenched in battement glisse, that is also a very Russian trait - no one rolls through their feet at any point. It’s not something I like, I find it very ‘bumpy’ especially on pointe in variations. Its also a technique used by Balanchine for very fast movements (I was taught to use this on occasion, when you are going too fast to roll through the foot). This should not apply at any other time unless choreographed. Roll through your feet dammit!I have to disagree with his comments about strength training. I think it is completely necessary for dancers. A ballet class does not always give you the strength and endurance you need for a ballet, especially modern ballet. However, I would caution dancers on making sure they are doing the RIGHT type of cross training, and to consult professionals on the right exercises and to make sure you are doing them correctly. I’m really not a fan of dancers sharing their routines with everyone, unless its clips to show their personal exercises. This can be really harmful to young dancers watching for a multitude of reasons.Also, when he is correcting her variation and rehearsal, I think it would have been important to note that the performance was filmed before that rehearsal. Also, I think her rib movements are less about a looseness, and more about a dancer’s perceived idea of adding to the movement. She is adding arms and back movements to her dancing that she has seen other dancers do. I think coached properly, she would be not be moving like that. Anywho, would love to chat more about this with anyone! (Original Post).

d i s c l a i m e r

#qa #maria khoreva #khoreva #ballet conrad #ballet technique

Discipline speaks through tendon and time, where thought sculpts motion into prayer. At the pointe of pain, she smiles— for the mind has already risen there.

General/ Misc Asks - Technique, Style, Training

This is sort of incoherent but quick question- In Ali’s variation, when they can choose to land and go all the way down. How???

Ahahaha, so you’re referring to when the dancer does a big assemble jump, lands in all the way down in grand plie, and then does a big explosive sissone out of it. Landing in that position requires a lot of quad and glue strength, which, you guessed it, is built over years of practice: grand plies in ballet class, working out in the gym, pilates and calisthenics etc

Hi! I am 25 and want to become a great ballerina. Not professionally or anything, but just for me. I danced from age 2-11 and then stopped so I have a fairly decent grasp on the concept of ballet. I was wondering if you have any tips for someone starting from scratch? I’m not overweight but I have virtually no strength or stamina. I’m not terribly flexible and my hips are weak. Basically, I’m wondering what routine of classes/exercises/stretches you would recommend and how often. Thanks!!

My first and most important piece of advice: GO TO CLASS. Find a good studio or school that has quality teachers, ideally someone who has experienced life as a professional and has credentials or a good body of work as a teacher. Do your research!

If you can make it to class around 3 times a week, that’s a great start as an adult beginner.

In addition, I recommend incorporating daily yoga/stretching, balancing with pilates and some lightweight training a few times a week, and your preferred form of cardio.

Hi Ale! I have a question: are some styles of executing movements (Vaganova, Balanchine etc) harder than others? Or are they all similarly difficult but just different?

I tend to argue the latter, I personally find the Balanchine technique more difficult but that’s because I didn’t train in a Balanchine school. A lot depends on a dancer's education as well as what kind of company they end up dancing in and the repertoire performed there.

you at some point commented on how a ballerina (i don't remember her name) struggled with keeping her heels down in plies. i used to dance - amateur, but i did love it - and had difficulty with that as well. are there any stretches/exercises that can help, or is it just that some people are born with a better ankle configuration than i have?

Some people definitely have more flexible ankles and Achilles tendons. However, improvement is totally possible and honestly a good idea for people in general. Look up ankle mobility drills as well as Achilles and calf stretches.

Hi Ale! I don't know if this is going to be a very unpopular ask, but do you think the tall ballerina era ruined some things forever in ballet, or at least in Russian ballet? Watching Ulanova, Plisetskaya, Makarova, Bessmertnova etc, in SL is so perfect. With their puffy tutu and small limbs, they look like a perfect, fragile swan, due to their small figures. Nowdays, super tall ballerinas, with giagantic flat tutus can't look like a Odette at all (I take Lopatkina off this list). Maybe a Odile.

I’m not going to say ‘ruined’ but the tall aesthetic, especially the super skinny body type promoted by Balanchine that then extended worldwide, has absolutely and irrevocably changed ballet. Different physical traits and skills are treated as valuable as are different tempos and styles of choreography. I also think its important to note that the dancers you listed have quite different body types, I wouldn't say Plisetskaya and Markarova have similar physiques

#ballet #ballet ask #ballet training #injury prevention #cross training #ballet technique

What is the correction you get given the most? Mine used to be to keep my elbow up, then it became to keep my knees straight, then it became to pull up. It has been to pull up since september. I can't obviously pull up :(( BUT i'm trying. My teacher is italian, so actually what I hear all lesson long is: non ti sedere, stai seduta, ma perchè stai seduta?! And I'm like: I don't know either pliz god help me not sit

Ahahahahahaha,

I personally don't find 'pull up' all that helpful of a correction, mostly because it's not super specific to me. Thinking of lengthening the front of the hips, keeping my hips under my shoulders and my shoulders over my ribs are all more helpful cues for me.

I think some of the oldest corrections still stick because these are your body's natural tendencies. Mine have always shoulders down, knees straight, and turnout. Always a battle but currently only the middle one genuinely plagues me often nowadays.

#ale talks #ballet ask #ballet technique