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BALLET

Fitness & Wellness Tips From Ballet Trainers

August 25, 2016 By Respiro E Movimento · Follow us: Facebook · Twitter · Instagram · YouTube

Fitness and Wellness Tips

“Stretch, Stretch, STRETCH! Stretching is key. Almost everyone either forgets or doesn’t take time to stretch pre workout when your body needs to be warmed up and post workout when your body needs to repair the muscles from your workout. Stretching can help prevent injuries and it can be very calming after an intense session.” – Nicholas

“Keep your core strong: it will help with everything that you do, in and out of class. Having a strong center will also help relieve you from back pain!” – Lucy

“I truly believe in moderation and listening to my body. In regards to my diet, I practice an 80/20 principle (80% healthy, 20% free). I never try to be extreme with my workouts either because that can lead to burnout and injury. I believe in sustainability for long term results.” – Danielle

“Never forget to breathe!  During the workouts, so many people forget to think about their breathing patterns and can make the exercises much harder on themselves.” -Brittney

“Keep the body in motion and make exercise, no matter what kind, a part of your routine. Persistence is key. Walk as much as possible and avoid the elevator where there are stairs.” – Dioni

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Filed Under: BALLET, BALLET DANCERS, FITNESS TIPS, WELLNESS

New York Theater Ballet to Open Fall Season With a Work Inspired by Danspace

August 24, 2016 By Respiro E Movimento · Follow us: Facebook · Twitter · Instagram · YouTube

New York Theatre Ballet Opening

 

The New York Theater Ballet will open the coming season with a world premiere by the former New York City Ballet dancer Antonia Franceschi. Set to original music by Claire van Kampen, the currently untitled piece is inspired by the 40-year history of the Danspace Project.

Photograph by Andrea Mohin.

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Filed Under: BALLET, BALLET DANCERS, DANCE, DANCERS, NEWS, THE NEW YORK THEATER BALLET

Interview ~Vladimir Shklyarov (Principal Dancer Mariinsky Ballet)

August 10, 2016 By Respiro E Movimento · Follow us: Facebook · Twitter · Instagram · YouTube

Vladimir Shklyarov-06

 

When did you start dancing?
I’ve suffered since childhood — my Mum wanted me to do it.

Why did you start dancing?
Because I was forced to… I didn’t want to!

Which performers inspired you most as a child?
Soviet cinema performers Yuri Nikulin and Andrei Mironov.

Which dancer do you most admire?
Vladimir Varnava.

What’s your favourite role?
Romeo.

What role have you never played but would like to?
Des Grieux in Manon.

What’s your favourite ballet to watch?
Don Quixote with Mikhail Baryshnikov.

Who is your favourite choreographer?
Yuri Smekalov.

Who is your favourite writer?
Fyodor Dostoyevsky.

Who is your favourite theatre or cinema director?
For movies, Tarantino — for the theatre, Lev Dodin.

Who is your favourite actor?
Danila Kozlovsky.

Who is your favourite singer?
Zemfira.

What is your favourite book?
The one I’m reading.

What is your favourite film?
Django Unchained.

Which is your favourite city?
St Petersburg.

What do you like most about yourself?
I’ll leave that for others to say…

What do you dislike about yourself?
I am very impulsive.

What was your proudest moment?
Creating my family!

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Filed Under: BALLET, BALLET DANCERS, INTERVIEW, VLADIMIR SHKLYAROV

Break The Status Quo When Teaching Dance

August 8, 2016 By Respiro E Movimento · Follow us: Facebook · Twitter · Instagram · YouTube

Wise Moves: deviating from the standard– the usual, the status quo– to ensure impact

Wise Move #1: Know your strengths and stick to them

I don’t yet know her instructor, but I admire her efforts to honestly communicate where her strengths  (or interests) are and knowing where to send students searching for something else.

Wise Move #2: Get specific

We can’t please everyone all of the time and we can sure make ourselves miserable in the process of trying. One example of choosing wisdom is being honest about with whom you do your best work and focusing on that.

Wise Move #3: Seize the opportunity

When I first met with this dancer, within minutes I knew I had a choice. We could spend our time on vocabulary and terminology (which had been the initial request), or I could help her understand her body. There is a lot going on there…lordosis, knock-knees, hyper-extension, rolling ankles, etc.

Wise Move #4: Keep them moving

For this dancer, with this body, I suspect there are instructors out there that would tell her she shouldn’t dance. No one has done that. I have opted to gain the knowledge needed to help such dancers. Her other instructor opted to know where to send her to gain that help.

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Filed Under: BALLET, BALLET DANCERS, CHOREOGRAPHER, CHOREOGRAPHY, DANCE, DANCERS

Women’s Offstage Role in Ballet

August 3, 2016 By Respiro E Movimento · Follow us: Facebook · Twitter · Instagram · YouTube

Ballet is woman

George Balanchine is often quoted as saying, “Ballet is woman.” Though a simple statement, his ballets illustrate a deep love and appreciation of women. Even as his ballets age, audiences are drawn to the way he flawlessly highlighted the beauty of the females who interpret his steps. He is known to offer moments of such simplicity that all the audience can do is admire a ballerina’s beauty.

This is a topic I tackle with fellow Miami City Ballet dancer, Michael Sean Breeden, in this week’s installment of our new podcast, “Conversations on Dance”: why are women are not as prominent in the world of choreography? The professional ballet world tends to be more competitive for women. With most repertoire requiring larger numbers of women, men often find themselves with spare time which some often use to dabble in choreography. Perhaps this explains the larger number of men interested in creating dance.

But it seems to me that the real truth is starting a career in choreography is extremely difficult. Finding the time and opportunity to put your talent to the test is almost impossible. In order to create, a choreographer needs good, willing dancers, studio space, and a venue to showcase the work. A lot of things need to fall into place just for a first big break. That’s why it is often up to teachers or school/company directors, to offer the opportunity. Hopefully in the future this is something the field will work to cultivate.

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Filed Under: BALLET, BALLET DANCERS, CHOREOGRAPHER, CHOREOGRAPHY

What’s It Like To Take a Ballet Class When You’re Blind?

August 2, 2016 By Respiro E Movimento · Follow us: Facebook · Twitter · Instagram · YouTube

blind

For most, ballet is a visual art form. The corps de ballet move together as if they are one body, reacting to each other to synchronize their movements and complement their positions on stage. So how can such an art form be accessible to blind and partially sighted people?

For over 25 years, the Royal Opera House’s Monday Moves project has been challenging that very presumption of the art form’s visual nature, with weekly ballet classes specifically for adults with sight impairment.

‘It was an experiment to see if visually impaired people could do ballet,’ explains Maggie, one of the founding members of Monday Moves.

Many of the participants had tried other dance classes in the past, but found them difficult to follow as they couldn’t see what the teacher was doing. At Monday Moves participants have a shared movement language in the form of ballet’s French terminology, enabling faster and more accurate responses to vocal instruction.

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Filed Under: BALLET, BALLET DANCERS, BLIND

How does the Bolshoi’s diverse ballet repertory inspire its identity?

July 29, 2016 By Respiro E Movimento · Follow us: Facebook · Twitter · Instagram · YouTube

bolshoi

Every ballet company has its own history, its own set of traditions and stagings that shape its identity. For The Royal Ballet, works by 20th century choreographers Frederick Ashton and Kenneth MacMillan – both closely linked to the Company – form a key part of its history. But so do the Company’s own productions of the Russian classics.

It was with Ninette de Valois and Nicholas Sergeyev’s production of Marius Petipa’s The Sleeping Beauty that The Royal Ballet established itself at the Royal Opera House in 1946, and with which it first won international acclaim at its groundbreaking US tour in 1949. This production, alongside more recent productions of 19th-century works such asPeter Wright’s Nutcracker and Giselle, remains a key part of the Company’s identity.

Something similar is true for the Bolshoi. As its 2016 London season demonstrates, the Moscow-based troupe’s wide repertory is drawn from right across its history. Le Corsaire, for instance, was first performed at the Bolshoi Theatre in 1858, two years after the ballet’s premiere in Paris. The version performed by the Bolshoi today was re-created byAlexei Ratmansky for the company in 2007, and is mostly modelled on the 1899 staging by Petipa. For this quintessentially grand Russian ballet, the lavish sets and costumes combine with Ratmansky’s staging to give more than a flavour of the exotic original.

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Filed Under: BALLET, BALLET DANCERS, BOLSHOI

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