My thoughts while watching Prix de Lausanne:
LOL, why is Joy Womack a judge? Who owed her a favor? Who did the girl pay?
The Prix de Lausanne has become a competition to see who is the skinniest.
Nice to see some shorter dancers; look how good, on average, their petit allegro is.
Oh my, you can always spot the American and Australian-trained dancers because of their obsession with constant, teeth-jarring smiling. Please stop.
Why are people in the comments saying there’s no diversity? It seems to me there’s a huge amount of amazing Korean, Japanese, and Chinese dancers.
You can tell who’s not Vaganova-trained, LOL. I feel bad for them.
It’s obvious to me who will not be chosen for the finals, but I wonder if these dancers that we all know won’t win, know it as well. Do they know it? Are they there out of delusion, hope, or for the opportunity to be seen?
There is more emphasis on being skinny and having long limbs than on having hyperextended knees and arched feet. Interesting.
The average level of the Asian dancers is higher. However, many seem to lack artistry, but many compensate for that with good musicality and long limbs.
There’s a general lack of musicality, lack of use of the back, no use of cambré, and lack of use of the eyes.
I wonder if students actually learn something from these classes. The combinations are so fast, and there are absolutely no specific corrections—just generalized reminders.
It gives me great satisfaction when the variation coach gives them the same corrections I would give them.
Some of these variations are a disaster. There’s no way the coach has enough time to fix most of it. Pity.
If you don’t end up a finalist, I think the Prix is useless and a waste of time and money. Yet, being a finalist doesn’t necessarily mean that much either. It’s luck, I guess. But it can’t hurt to win. Obviously.
I hate how they coach the variations. I wish there were long group coaching sessions for each variation. What are they going to take away from just a few minutes? No. It gives me anxiety. This way of coaching variations just favors those who already have good teachers with them.
Myrna Kamara is the definition of a pretty dancer but a bad teacher. If I had her daily, I would go insane.
The way Élisabeth Platel gives class is so fast, but there’s logic and flow to her class. She seems like she doesn’t care, though. Hopefully, she’s different in real life.
The Prix really has some lovely costumes.
You can tell that European/American ballet schools don’t abuse their students as much as Russian/Asian schools. The level at which these Asian dancers are taking class is just so much higher.
These variations are too short. There’s no way to test stamina.
Is this stage raked? It better be.
I wish there were female and male categories. What’s the point of having junior and senior categories?
My toxic trait is skipping all the contemporary and male stuff.
ANON, you are epic. I just don’t have that many feelings about Lausanne, but happy to share yours. 🩰✨
