Grace, I'm having no luck with your blog so thought I would post it on mine, it's just a little comment for your descriptive piece of writing.
Hi Grace,
You've got a great piece of descriptive writing here! I thought that it was a really interesting and original idea to describe not only aspects of the show itself but also of the anticipatory excitement that so often comes before it.
The inclusion of the little girl provides not only the contrast that you were able to describe in her behaviour before and then during the show, but also gives the essay structure, acting as a little theme that connects the beginning and the end of your writing. As a good piece of descriptive writing should, you have included a huge variety of exciting descriptive vocabulary creating a vivid picture in the mind of the reader.
You really drew me in with your writing and it was enjoyable to read!
Thanks,
Laura
Wednesday, December 30, 2009
Thursday, December 10, 2009
A Note for Grace!
Hi Grace,
Just to let you know that I've tried a couple of times to write a comment on your blog over the last couple of days but I seem unable to post it. I really liked one of your pieces and very much wanted to comment on it so am not sure what to do. Do you know if anyone else is having problems on your blog or just me, because if it's just me, does anyone know what i'm doing wrong or is it just that my computer is being annoying. I'm a little puzzled as yours is the only one I've had trouble with as yet.
Sorry!
Laura
Just to let you know that I've tried a couple of times to write a comment on your blog over the last couple of days but I seem unable to post it. I really liked one of your pieces and very much wanted to comment on it so am not sure what to do. Do you know if anyone else is having problems on your blog or just me, because if it's just me, does anyone know what i'm doing wrong or is it just that my computer is being annoying. I'm a little puzzled as yours is the only one I've had trouble with as yet.
Sorry!
Laura
Tuesday, December 8, 2009
Descriptive style writing
Leading up to the premiere of Andrew Lloyd Webber’s ‘Evita ‘it has been very exciting to see the show coming together, merging all the components to make the final spectacle.
The first scene begins on a terracotta coloured stage with a crescent of tall mirrored double doors and decorative balconies as the back drop. In the midst of a sensual tango dance, couples on stage are suddenly interrupted by the morbid voice of a man, his figure flooded in bright white light, highlighted on the balcony from those below him. He announces the death of ‘Eva Peron’ and the crowd collapse and crumple, clinging on to each other in despair. The choir break into a heart wrenching and solemn song as Evita’s coffin, draped in the Argentinean white and blue flag is slowly pushed to centre stage. The crowd, transfixed by the object, part to either side falling to their knees as it enters.
From this first sombre setting depicting the end of Eva Peron’s life, the cast then shed their black veils and solemn faces, trading them for smiles and brightly coloured suits and dresses as they go back to the beginning of Evita’s story. As the rhythm section of the band livens up and jumps in to replace the yearning grief of the violins, the performers dash across the stage as the uplifting melody of ‘Buenos Aires’ brings the exciting and colourful aspect of Argentina to the audience. The dancers energetically flit over the floor from position to position, gesturing to Evita with outstretched arms, inviting to her to dance with them, to sway her hips and ruffle her skirt to the new emphatic beat.
Gradually as Eva Duarte progresses to become Eva Peron, shedding her peasant clothing for luxurious dresses and jewels, the cast of Evita transform into yet another persona. The women, adorned in a variety of long black evening dresses with their arms coated in long red velvet gloves take on a snooty stance and expression as disapproving aristocrats, whilst the men look smart and stern in dull green military uniforms, posing as dissatisfied members of the army.
Whilst the well rehearsed choreography and characters are presented on stage, hidden from the audience is the frantic hurry the cast are thrown into as they leave through the wings, calmly exiting until the point they become invisible backstage before scurrying around like mice. Scenery clunks and creaks worryingly as the back stage crew push it to and fro and people desperately run up and down the balcony stairs diving on stage to make their next cue. Dancers and choir scurry into the quick change rooms flinging various bits of clothing here and there, whilst the costume ladies simultaneously zip up costumes and shovel up the mess into organised piles. Props are scattered around in any spare nook or cranny, and often cast members will be draped upon them grabbing at any chance to rest, exhausted from several days’ rehearsal.
The orchestra, through a fantastic variety of rhythms and tempos provide the performers on stage with an exciting and electric atmosphere resulting in a wonderful team effort and a show not to be missed!
The first scene begins on a terracotta coloured stage with a crescent of tall mirrored double doors and decorative balconies as the back drop. In the midst of a sensual tango dance, couples on stage are suddenly interrupted by the morbid voice of a man, his figure flooded in bright white light, highlighted on the balcony from those below him. He announces the death of ‘Eva Peron’ and the crowd collapse and crumple, clinging on to each other in despair. The choir break into a heart wrenching and solemn song as Evita’s coffin, draped in the Argentinean white and blue flag is slowly pushed to centre stage. The crowd, transfixed by the object, part to either side falling to their knees as it enters.
From this first sombre setting depicting the end of Eva Peron’s life, the cast then shed their black veils and solemn faces, trading them for smiles and brightly coloured suits and dresses as they go back to the beginning of Evita’s story. As the rhythm section of the band livens up and jumps in to replace the yearning grief of the violins, the performers dash across the stage as the uplifting melody of ‘Buenos Aires’ brings the exciting and colourful aspect of Argentina to the audience. The dancers energetically flit over the floor from position to position, gesturing to Evita with outstretched arms, inviting to her to dance with them, to sway her hips and ruffle her skirt to the new emphatic beat.
Gradually as Eva Duarte progresses to become Eva Peron, shedding her peasant clothing for luxurious dresses and jewels, the cast of Evita transform into yet another persona. The women, adorned in a variety of long black evening dresses with their arms coated in long red velvet gloves take on a snooty stance and expression as disapproving aristocrats, whilst the men look smart and stern in dull green military uniforms, posing as dissatisfied members of the army.
Whilst the well rehearsed choreography and characters are presented on stage, hidden from the audience is the frantic hurry the cast are thrown into as they leave through the wings, calmly exiting until the point they become invisible backstage before scurrying around like mice. Scenery clunks and creaks worryingly as the back stage crew push it to and fro and people desperately run up and down the balcony stairs diving on stage to make their next cue. Dancers and choir scurry into the quick change rooms flinging various bits of clothing here and there, whilst the costume ladies simultaneously zip up costumes and shovel up the mess into organised piles. Props are scattered around in any spare nook or cranny, and often cast members will be draped upon them grabbing at any chance to rest, exhausted from several days’ rehearsal.
The orchestra, through a fantastic variety of rhythms and tempos provide the performers on stage with an exciting and electric atmosphere resulting in a wonderful team effort and a show not to be missed!
Monday, December 7, 2009
Marketing style writing Draft 2
The State Theatre Vanemuine welcomes you to the 2009/2010 season of dance and music productions celebrating its 140th anniversary as the oldest theatre in Estonia.
We would like you to celebrate with us and join us in the exciting national premiere of Andrew Lloyd Webber and Tim Rice’s renowned musical ‘Evita’, premiering at the Nokia Concert Hall, Tallin, Estonia on November 27th 2009 through to 12th June 2010.
Bringing Argentina’s national heroine to the heart of Estonia’s capital city, ‘Evita’ is a musical about the life of Eva Peron, second wife of the Argentine president Juan Peron. The story, told through the eyes of the famous revolutionary Che Guevara, reveals the sensational life of Eva Duarte, beginning with her poor and illegitimate childhood through to her struggles and success as a young actress and finally to her overwhelming influence over the Argentine people as wife of the President and her tragic death aged just 33.
Originally published in 1976 as a musical album, the amazing popularity and success of ‘Evita’ lead to Andrew Lloyd Webber and Tim Rice’s collaboration with director Harold Prince for the London West End production which premiered in 1978 and then in Broadway in 1979. Since then the show has been running throughout the 20th and 21st centuries around the world, arriving this autumn in Estonia.
Already there has been an incredible demand for tickets, so if you want to be a part of this special occasion don’t hesitate to book now before you miss the opportunity.
Not only will you be enthralled with the music, ranging from classical ballads through saucy tangos and paso doubles to the occasional bit of rock, but you will also be thrilled by the beautiful set and costume designs by Ellen Cairns (Scotland) and the exciting and clever choreography by Igor Barberic (Croatia). The whole show will be brought together by Swedish director Georg Malvius. However, this international team of professionals want to bring this musical to you through an Estonian voice with an entire cast of Estonian singers, actors and actresses, and collaboration with translators Peter Volonski and Hannes Villemson so that the whole score can be brought to you in your national language.
There will be subtitles in English and Finnish, so don’t worry, you don’t have to miss out if you’re not fluent in Estonian!
Come and join the cast of ‘Evita’ and get a taste of Argentina and its people, from a family living in one room through to the terracotta ballrooms full of tango dancers, the garden tea parties of the rich to the inside view of the Presidential apartments. Step back in time, be a part of history and experience through the music the world of this incredible woman, the spiritual leader of Argentina, the ‘Santa Evita’.
We would like you to celebrate with us and join us in the exciting national premiere of Andrew Lloyd Webber and Tim Rice’s renowned musical ‘Evita’, premiering at the Nokia Concert Hall, Tallin, Estonia on November 27th 2009 through to 12th June 2010.
Bringing Argentina’s national heroine to the heart of Estonia’s capital city, ‘Evita’ is a musical about the life of Eva Peron, second wife of the Argentine president Juan Peron. The story, told through the eyes of the famous revolutionary Che Guevara, reveals the sensational life of Eva Duarte, beginning with her poor and illegitimate childhood through to her struggles and success as a young actress and finally to her overwhelming influence over the Argentine people as wife of the President and her tragic death aged just 33.
Originally published in 1976 as a musical album, the amazing popularity and success of ‘Evita’ lead to Andrew Lloyd Webber and Tim Rice’s collaboration with director Harold Prince for the London West End production which premiered in 1978 and then in Broadway in 1979. Since then the show has been running throughout the 20th and 21st centuries around the world, arriving this autumn in Estonia.
Already there has been an incredible demand for tickets, so if you want to be a part of this special occasion don’t hesitate to book now before you miss the opportunity.
Not only will you be enthralled with the music, ranging from classical ballads through saucy tangos and paso doubles to the occasional bit of rock, but you will also be thrilled by the beautiful set and costume designs by Ellen Cairns (Scotland) and the exciting and clever choreography by Igor Barberic (Croatia). The whole show will be brought together by Swedish director Georg Malvius. However, this international team of professionals want to bring this musical to you through an Estonian voice with an entire cast of Estonian singers, actors and actresses, and collaboration with translators Peter Volonski and Hannes Villemson so that the whole score can be brought to you in your national language.
There will be subtitles in English and Finnish, so don’t worry, you don’t have to miss out if you’re not fluent in Estonian!
Come and join the cast of ‘Evita’ and get a taste of Argentina and its people, from a family living in one room through to the terracotta ballrooms full of tango dancers, the garden tea parties of the rich to the inside view of the Presidential apartments. Step back in time, be a part of history and experience through the music the world of this incredible woman, the spiritual leader of Argentina, the ‘Santa Evita’.
Academic style writing
Throughout her life and indeed after her death, Eva Peron has been heralded by many as a heroine and saint and was even given the title of ‘Spiritual Leader of the Nation’ shortly before she died on July 26th 1952. So when in Andrew Lloyd Webber’s ‘Evita’ she is referred to more as a ‘whore’ than a ‘saint’ it leads to the question, ‘ Is the musical/opera ‘Evita’ a fair portrayal of the life of Eva Peron?'
‘Prostitute, Fascist, Profligate- Eva Peron was much maligned most unfairly’ (Thomas Eloy Martinez, ‘The Woman behind the Fantasy’- Time Magazine).
One of the most negative aspects in the portrayal of her life in the musical is almost certainly the introduction of the character ‘Che’, whose role is to narrate the story. Strongly based on Che Guevara, a very famous revolutionary of the era, he is constantly present on stage, criticising and questioning Evita and her lifestyle. From the very beginning of the show, as the other characters representing Argentinean people mourn for Evita at her funeral, he is singled out from their grief singing ‘Oh what a circus, oh what a show’, demonstrating his belief that the reaction to Eva Peron’s death is ludicrous.
Two Evita Biographers, Nicholas Fraser and Maryssa Navarro, have suspicions that Andrew Lloyd Webber and Tim Rice based their opera/musical on Mary Main’s biography ‘The Woman with the Whip’, which Tim Rice openly praised. This biography looks very negatively upon Evita with Mary Main claiming that ‘Eva did evil things’, and so it would seem that ‘Che’ is almost the embodiment of author Mary Main’s views.
Mary Main grew up in privileged Anglo-Argentine society, far from the poverty Eva experienced as an illegitimate child, struggling to make her way in the world. It is easy to see how Eva’s efforts to become an actress could be misinterpreted by someone from a privileged upper class. In the musical, during the song ‘Goodnight and Thankyou’, Eva Duarte is shown letting men in one door and out the other once she has got what she needs. The character ‘Che’ sings the lyrics
‘Goodnight and Thankyou Emilio, you’ve completed your task...............
And that will be all, if she needs you she’ll call,
But I don’t think that’s likely somehow.’
This is suggestive of a prostitute’s behaviour. But when Eva arrived in Buenos Aires she was just fifteen, with little talent and no money. As Thomas Eloy Martinez points out in his article for ‘Time Magazine’, ‘Each time Eva auditioned for a part in radio, theatre or film, she was expected to pay a sexual toll.....It was a matter of survival.’
In the song ‘And The Money Keeps Rolling In’, the character ‘Che’ also takes a very negative stance on the ‘Eva Peron Foundation’, implying that Evita was keeping some of the funds for herself. This is quite explicit in the lyrics:
‘Now cynics claim a little of the cash has gone astray,
But that’s not the point my friends.’
This aspect of the musical relates strongly to Mary Main’s opinion that the foundation was merely a way of channelling government money into private Swiss bank accounts controlled by Evita and Peron. However in their 1996 book ‘Evita: The Real Life of Eva Peron’, Fraser and Navarro counter these claims, saying that the Minister of Finance did keep records and that the foundation ‘began as the simplest response to the poverty encountered each day in her office’. They also state that the foundation was started with 10,000 pesos that Evita provided herself.
Scholars now recognise that much of Mary Main’s biography is made up of scandal and gossip and the close relationship between the book and the show suggests the musical is also prejudiced. So even though towards the end of the second act, Evita is finally given a chance to fight back in ‘Waltz for Eva and Che’, I would conclude overall that the opera/musical is great entertainment, but not a fair portrayal of Eva Peron’s life.
‘Prostitute, Fascist, Profligate- Eva Peron was much maligned most unfairly’ (Thomas Eloy Martinez, ‘The Woman behind the Fantasy’- Time Magazine).
One of the most negative aspects in the portrayal of her life in the musical is almost certainly the introduction of the character ‘Che’, whose role is to narrate the story. Strongly based on Che Guevara, a very famous revolutionary of the era, he is constantly present on stage, criticising and questioning Evita and her lifestyle. From the very beginning of the show, as the other characters representing Argentinean people mourn for Evita at her funeral, he is singled out from their grief singing ‘Oh what a circus, oh what a show’, demonstrating his belief that the reaction to Eva Peron’s death is ludicrous.
Two Evita Biographers, Nicholas Fraser and Maryssa Navarro, have suspicions that Andrew Lloyd Webber and Tim Rice based their opera/musical on Mary Main’s biography ‘The Woman with the Whip’, which Tim Rice openly praised. This biography looks very negatively upon Evita with Mary Main claiming that ‘Eva did evil things’, and so it would seem that ‘Che’ is almost the embodiment of author Mary Main’s views.
Mary Main grew up in privileged Anglo-Argentine society, far from the poverty Eva experienced as an illegitimate child, struggling to make her way in the world. It is easy to see how Eva’s efforts to become an actress could be misinterpreted by someone from a privileged upper class. In the musical, during the song ‘Goodnight and Thankyou’, Eva Duarte is shown letting men in one door and out the other once she has got what she needs. The character ‘Che’ sings the lyrics
‘Goodnight and Thankyou Emilio, you’ve completed your task...............
And that will be all, if she needs you she’ll call,
But I don’t think that’s likely somehow.’
This is suggestive of a prostitute’s behaviour. But when Eva arrived in Buenos Aires she was just fifteen, with little talent and no money. As Thomas Eloy Martinez points out in his article for ‘Time Magazine’, ‘Each time Eva auditioned for a part in radio, theatre or film, she was expected to pay a sexual toll.....It was a matter of survival.’
In the song ‘And The Money Keeps Rolling In’, the character ‘Che’ also takes a very negative stance on the ‘Eva Peron Foundation’, implying that Evita was keeping some of the funds for herself. This is quite explicit in the lyrics:
‘Now cynics claim a little of the cash has gone astray,
But that’s not the point my friends.’
This aspect of the musical relates strongly to Mary Main’s opinion that the foundation was merely a way of channelling government money into private Swiss bank accounts controlled by Evita and Peron. However in their 1996 book ‘Evita: The Real Life of Eva Peron’, Fraser and Navarro counter these claims, saying that the Minister of Finance did keep records and that the foundation ‘began as the simplest response to the poverty encountered each day in her office’. They also state that the foundation was started with 10,000 pesos that Evita provided herself.
Scholars now recognise that much of Mary Main’s biography is made up of scandal and gossip and the close relationship between the book and the show suggests the musical is also prejudiced. So even though towards the end of the second act, Evita is finally given a chance to fight back in ‘Waltz for Eva and Che’, I would conclude overall that the opera/musical is great entertainment, but not a fair portrayal of Eva Peron’s life.
Friday, November 20, 2009
Marketing style writing
The State Theatre Vanemuine welcomes you to the 2009/2010 season of dance and music productions celebrating its 140th anniversary as the oldest theatre in Estonia.
We would like you to celebrate with us and join us in the exciting national premiere of Andrew Lloyd Webber and Tim Rice’s renowned musical ‘Evita’, premiering at the Nokia Concert Hall, Tallin, Estonia on November 27th 2009 through to 12th June 2010.
Bringing Argentina’s national heroine to the heart of Estonia’s capital city, ‘Evita’ is a musical about the life of Eva Peron, second wife of the Argentine president Juan Peron. The story, told through the eyes of the famous revolutionary Che Guevara, reveals the sensational life of Eva Duarte, beginning with her poor and illegitimate childhood through to her struggles and success as a young actress and finally to her overwhelming influence over the Argentine people as wife of the President and her tragic death aged just 33.
Originally published in 1976 as a musical album, the amazing popularity and success of ‘Evita’ lead to Andrew Lloyd Webber and Tim Rice’s collaboration with director Harold Prince for the London West End production which premiered in 1978 and then in Broadway in 1979. Since then the show has been running throughout the 20th and 21st centuries around the world, arriving this autumn in Estonia.
Already there has been an incredible demand for tickets, so if you want to be a part of this special occasion don’t hesitate to book now before you miss the opportunity.
Not only will you be enthralled with the music, ranging from classical ballads through saucy tangos and paso doubles to the occasional bit of rock, but you will also be thrilled by the beautiful set and costume designs by Ellen Cairns (Scotland) and the exciting and clever choreography by Igor Barberic (Croatia). The whole show will be brought together by Swedish director Georg Malvius. However, this international team of professionals also want to bring this musical to you through an Estonian voice with an entire cast of Estonian singers, actors and actresses, and collaboration with translators Peter Volonski and Hannes Villemson so that the whole score can be brought to you in your national language.
There will also be subtitles in English and Finnish, so don’t worry, you don’t have to miss out if you’re not fluent in Estonian!
Come and join the cast of ‘Evita’ and get a taste of Argentina and its people, from the squalor of a family living in one room through to the terracotta ballrooms full of tango dancers, the garden tea parties of the rich to the inside view of the Presidential apartments. Step back in time, be a part of history and experience through the music the world of this incredible woman, the spiritual leader of Argentina, the ‘Santa Evita’.
We would like you to celebrate with us and join us in the exciting national premiere of Andrew Lloyd Webber and Tim Rice’s renowned musical ‘Evita’, premiering at the Nokia Concert Hall, Tallin, Estonia on November 27th 2009 through to 12th June 2010.
Bringing Argentina’s national heroine to the heart of Estonia’s capital city, ‘Evita’ is a musical about the life of Eva Peron, second wife of the Argentine president Juan Peron. The story, told through the eyes of the famous revolutionary Che Guevara, reveals the sensational life of Eva Duarte, beginning with her poor and illegitimate childhood through to her struggles and success as a young actress and finally to her overwhelming influence over the Argentine people as wife of the President and her tragic death aged just 33.
Originally published in 1976 as a musical album, the amazing popularity and success of ‘Evita’ lead to Andrew Lloyd Webber and Tim Rice’s collaboration with director Harold Prince for the London West End production which premiered in 1978 and then in Broadway in 1979. Since then the show has been running throughout the 20th and 21st centuries around the world, arriving this autumn in Estonia.
Already there has been an incredible demand for tickets, so if you want to be a part of this special occasion don’t hesitate to book now before you miss the opportunity.
Not only will you be enthralled with the music, ranging from classical ballads through saucy tangos and paso doubles to the occasional bit of rock, but you will also be thrilled by the beautiful set and costume designs by Ellen Cairns (Scotland) and the exciting and clever choreography by Igor Barberic (Croatia). The whole show will be brought together by Swedish director Georg Malvius. However, this international team of professionals also want to bring this musical to you through an Estonian voice with an entire cast of Estonian singers, actors and actresses, and collaboration with translators Peter Volonski and Hannes Villemson so that the whole score can be brought to you in your national language.
There will also be subtitles in English and Finnish, so don’t worry, you don’t have to miss out if you’re not fluent in Estonian!
Come and join the cast of ‘Evita’ and get a taste of Argentina and its people, from the squalor of a family living in one room through to the terracotta ballrooms full of tango dancers, the garden tea parties of the rich to the inside view of the Presidential apartments. Step back in time, be a part of history and experience through the music the world of this incredible woman, the spiritual leader of Argentina, the ‘Santa Evita’.
Thursday, November 5, 2009
Kolb's Learning Cycle
This is the very first time that I have ever had to think about analysing the way I learn and Kolb’s learning cycle has made me quite fascinated with a process that is constantly happening but that I have never taken the time to acknowledge. Kolb has set out a clear cycle consisting of four points, Concrete Experience, Reflective Observation, Abstract Conceptualisation and Active Experimentation, all of which can be applied in any order, I’ve realised, to many of my experiences. I have in fact already done this to several past experiences, and actually found it to be quite fun!
Although there are a huge number of things that I could apply Kolb’s learning cycle to, I have chosen an experience that has happened since joining the company here in Estonia.
Apart from suddenly finding yourself at the other end of Europe, coping with complete culture shock and a strange foreign language consisting of lots of double letters, as a new dancer of the Vanemuine Theatre one of the first things that you are required to do is get to grips with learning all of the company’s repertoire. The downfall of being a small country is that you have to keep performing a large variety of productions so that the same audiences will return.
To begin with, my Concrete Experience was making sure I watched the ballet that I needed to learn. I decided that at the rate I had to pick up the choreography I needed to grasp an idea of what the ballet was about, what the part was that I was playing, what the music was like and what the choreographic style was. I would ask to borrow a DVD of whatever production it was I was focusing on and watch it on my laptop at home. As I really had never been able to see much of the company in performance before, I always found it interesting to see my how my new friends appeared as dancers on stage and to see the new productions that I would be dancing in.
Reflective Observation then often managed to manifest itself in the form of panic, at first, when I thought about how much I needed to learn and the time span with which I had to learn it. But to make myself feel better, after having watched the ballet through once, I would then rewind through the DVD to the specific points at which I was dancing to review and to try and memorise the choreography, not only the steps but also where I was on the stage and how I contributed to the storyline. I would also often then retreat to the shower, somewhere where I often find it easy to think and reflect. I would then continue thinking about the steps I had to dance and what character I was playing, visualising in my mind that I was already on stage dancing that role in order to familiarise myself with the part.
Abstract Conceptualisation resulted from having watched and reviewed the DVD. Having begun not knowing anything other than the title of the production, I now had a clear idea of what the ballet was about and of the role that I played. To use examples, when I was preparing to dance in the ballet Onegin, I learnt that I had to be diverse and portray two very different persona, one character being a simple peasant and the other a rich guest at a ball. When getting ready for the Nutcracker, I was able to pick up the sharpness of the movements as a snowflake in the first act in contrast to the fluidity of the pas de deux I would be dancing in the flower waltz in the second act. I also now had an idea of the costume I would be dancing in and the tempo of the music and also if I had a prop to look after and how it should be used.
Of course, having prepared and found out what I could from watching the ballet, it was then really important for me to put all that I had learnt into Active Experimentation. For me this is probably the most exciting bit, as being a dancer I am always itching to start dancing about myself after having seen someone else do it. I also like the feeling of trying out the steps you have seen, accomplishing them and then making them better and improving on them. It is also really great to finally get hold of a partner, because despite how well you know what you are doing, you can never be absolutely sure how he is going to hold you or how high he will lift you and it is particularly this kind of thing that I have to put into action in order to understand how to do it.
Although there are a huge number of things that I could apply Kolb’s learning cycle to, I have chosen an experience that has happened since joining the company here in Estonia.
Apart from suddenly finding yourself at the other end of Europe, coping with complete culture shock and a strange foreign language consisting of lots of double letters, as a new dancer of the Vanemuine Theatre one of the first things that you are required to do is get to grips with learning all of the company’s repertoire. The downfall of being a small country is that you have to keep performing a large variety of productions so that the same audiences will return.
To begin with, my Concrete Experience was making sure I watched the ballet that I needed to learn. I decided that at the rate I had to pick up the choreography I needed to grasp an idea of what the ballet was about, what the part was that I was playing, what the music was like and what the choreographic style was. I would ask to borrow a DVD of whatever production it was I was focusing on and watch it on my laptop at home. As I really had never been able to see much of the company in performance before, I always found it interesting to see my how my new friends appeared as dancers on stage and to see the new productions that I would be dancing in.
Reflective Observation then often managed to manifest itself in the form of panic, at first, when I thought about how much I needed to learn and the time span with which I had to learn it. But to make myself feel better, after having watched the ballet through once, I would then rewind through the DVD to the specific points at which I was dancing to review and to try and memorise the choreography, not only the steps but also where I was on the stage and how I contributed to the storyline. I would also often then retreat to the shower, somewhere where I often find it easy to think and reflect. I would then continue thinking about the steps I had to dance and what character I was playing, visualising in my mind that I was already on stage dancing that role in order to familiarise myself with the part.
Abstract Conceptualisation resulted from having watched and reviewed the DVD. Having begun not knowing anything other than the title of the production, I now had a clear idea of what the ballet was about and of the role that I played. To use examples, when I was preparing to dance in the ballet Onegin, I learnt that I had to be diverse and portray two very different persona, one character being a simple peasant and the other a rich guest at a ball. When getting ready for the Nutcracker, I was able to pick up the sharpness of the movements as a snowflake in the first act in contrast to the fluidity of the pas de deux I would be dancing in the flower waltz in the second act. I also now had an idea of the costume I would be dancing in and the tempo of the music and also if I had a prop to look after and how it should be used.
Of course, having prepared and found out what I could from watching the ballet, it was then really important for me to put all that I had learnt into Active Experimentation. For me this is probably the most exciting bit, as being a dancer I am always itching to start dancing about myself after having seen someone else do it. I also like the feeling of trying out the steps you have seen, accomplishing them and then making them better and improving on them. It is also really great to finally get hold of a partner, because despite how well you know what you are doing, you can never be absolutely sure how he is going to hold you or how high he will lift you and it is particularly this kind of thing that I have to put into action in order to understand how to do it.
Tuesday, October 20, 2009
People and Organisations I admire
Anya Grinsted
Anya Grinsted has been an unwavering support so far in my career. Having once been a teacher at Elmhurst ballet school, Anya still wished to retain her connection with Elmhurst and it’s students and so advertised for her course named ‘Back to the Barre’ on the student bulletin board.Unlike any other ballet course I had been to, this one looked at how to approach ballet training from a completely different perspective. Anya taught me how to relax my strained neck and shoulders that had resulted from my intense training by simply using the weight of the limbs to make the movement rather than tensing the muscles. This technique of concentrating the weight of the body into the floor comes from the De Vos method and is the basis of Anya’s unique teaching.When I met Anya she thought she recognised a natural dance quality in me that was getting lost due to the strain that resulted from the intense focus on my ballet technique. I am so grateful to Anya for taking me under her wing and helping me so much to release the tension in my upper body, which in due course also helped me to develop as an artist as well as a ballet technician. I admire her so much for all the hard work she put in for me, all the days she gave up to give me private tutorials when she was under no obligation and often refusing any payment. To this day, now that I am working professionally she still finds the time to send me photocopies of diagrams and information that she thinks might help me and continues to work hard teaching her own students as well as those from Elmhurst. Her dedication to dance and her young students is incredible and I will always truly admire her for that.
Robert Parker
When I was working with the Birmingham Royal Ballet I became inspired by the male principal dancer Robert Parker.Robert Parker joined the company in 1994 and from the very beginning he began to prove himself as an outstanding dancer. He progressed extremely quickly and soon began to dance more prominent roles even before he was promoted to principal.Although he has been noted for his excellence in many major roles, I remember in particular when he danced’ Edward’ in Edward 2nd. The role demanded not only technical excellence but also a huge amount of stage presence and dramatic acting, and I think it was particularly Parker’s artistic abilities on stage that drew me to admire him as a dancer. His performance of this role was so whole heartedly given and so believable that it truly established him as a favourite of mine.Throughout my high school years I had various opportunities to see him dance and also to meet him whilst working with the company. I remember in my graduate year I was finding the timetable at school combined with auditioning and performing with the company very stressful, and I will never forget how kind and supportive he was. Despite his success as a dancer he remained down to earth and kind which lead me to also admire him as a person.Most recently I was able to see him dance in one of the last roles to be created for him by David Bintley. The ballet was ‘Cyrano ’in which he was cast as the title role. Requiring the dancer to convey almost every emotion from happiness to anger, love and despair, I have never seen a performance that blew me away so much as that of Robert Parker, and I will always admire his excellence in performance.
Mercia Hetherington
Mercia Hetherington was a very prominent figure throughout my time in high school and was treasured by everyone at Elmhurst having served on the staff for 22 years. Her previous notable career as a principal dancer combined with her years of experience as a teacher made her one of the most admired people I have met so far whilst in pursuit of my career.In my second year at Elmhurst I was lucky enough to have her as my main ballet tutor. I arrived in her class enthusiastic but full of many little faults and quirks when I danced, resulting in her affectionately nick- naming me ‘Ism’ or ‘Izzie’, short for ‘mannerism’.Throughout that year Mercia worked meticulously on the basis of our classical technique starting the first five minutes of class just facing the barre and standing in first position so that we could feel our turn out. She was incredibly patient and as a result we all soon began to gain strength. I personally started to become more grounded and began to lose my tendency to fidget, and benefitted greatly from her help in ironing out my faults.There were many little things that made her both special and memorable as a teacher, such as her amazingly straight back and upright posture and her long and sharp thumbnails that she used to grow especially so that she could poke our muscles if we weren’t using them. She also realised the importance of being versatile and encouraged us to do well in all our dance classes as well as her own.Mercia was both a prestigious and kind member of our school, to this day I visit her for advice which she is always willing and passionate to give and I hope to continue my visits to this inspiring lady.
David Bintley CBE
My admiration for David Bintley, the Artistic Director of Birmingham Royal Ballet first began at the age of 8 when I was accepted in to the Royal Ballet School’s Junior Associate programme in Birmingham. For 3 years I trained in the Birmingham Royal Ballet studios every Saturday and whilst I was there, I was fortunate to be given many opportunities to perform with the resident company.My first chance to work with David Bintley came when I was successfully chosen to dance in his ballet ‘Still Life at the Penguin Cafe’. Working with him at such a young age was a wonderful opportunity, he was kind and clearly very passionate, and he knew every detail of what he wanted us to do.It was an invaluable experience dancing with his company and performing in many different theatres and I never thought that an opportunity like that would come again.But at the age of 10 I was chosen to perform the child role of’ Princess Phillipa’ in David Bintley’s production of Edward 2nd. The Artistic Director’s continuing faith in me lead me to greatly admire both him and his work as I was launched into rehearsals for his intensely dramatic ballet. I feel so lucky to have worked closely with Mr Bintley so early on, and I owe the fact that I had such a wonderful introduction to my future career almost entirely to him.In my first year at Elmhurst Ballet School, I was asked to dance with the company again. And this time I would be touring with the company to Hong Kong and then later to New York City.Such an opportunity as this was very special to me and I can only feel great admiration for David Bintley and his belief in me.
Prague Masterclasses
I first attended Prague Masterclasses at the age of 16 and I enjoyed it so much that I decided to go back again for another 2 years. Out of many other summer courses I have attended, I admire this one in particular for the opportunities it presents to both inexperienced and professional dancers and also for the fact that it is a non-profit organisation.Daria Klimentova, principal dancer with English National Ballet and her husband Ian set up the ballet masterclasses in Prague in order to promote particularly Classical Ballet in Daria’s home country, the Czech Republic. The course gives dancers the opportunity to be taught by some of the best principal dancers still currently at the top of their career such as Tamara Rojo and Sofiane Sylve and also famous dancers that have retired from dancing such as Viviana Durante.Not only do the dancers get to work with the very best in their field but they also get to tackle a wide variety of repertoire. On one occasion I had a great opportunity to learn Juliet’s solo from 1st act of ‘Romeo and Juliet’ by Kenneth Macmillan. Repertoire such as this is usually reserved for those already dancing professionally at soloist or principal level and I really appreciate how Prague Masterclasses gives you the chance to learn roles like this.Despite the fact that the two week course is in the middle of the summer holiday, Daria and her staff work hard to teach class, solos, pas de deux and group repertoire in order that they can pass on their passion, experience and knowledge to those who are willing to learn. I admire very much all the effort that is put in by the organisation in order that young dancers can continue to be inspired by their art.
Anya Grinsted has been an unwavering support so far in my career. Having once been a teacher at Elmhurst ballet school, Anya still wished to retain her connection with Elmhurst and it’s students and so advertised for her course named ‘Back to the Barre’ on the student bulletin board.Unlike any other ballet course I had been to, this one looked at how to approach ballet training from a completely different perspective. Anya taught me how to relax my strained neck and shoulders that had resulted from my intense training by simply using the weight of the limbs to make the movement rather than tensing the muscles. This technique of concentrating the weight of the body into the floor comes from the De Vos method and is the basis of Anya’s unique teaching.When I met Anya she thought she recognised a natural dance quality in me that was getting lost due to the strain that resulted from the intense focus on my ballet technique. I am so grateful to Anya for taking me under her wing and helping me so much to release the tension in my upper body, which in due course also helped me to develop as an artist as well as a ballet technician. I admire her so much for all the hard work she put in for me, all the days she gave up to give me private tutorials when she was under no obligation and often refusing any payment. To this day, now that I am working professionally she still finds the time to send me photocopies of diagrams and information that she thinks might help me and continues to work hard teaching her own students as well as those from Elmhurst. Her dedication to dance and her young students is incredible and I will always truly admire her for that.
Robert Parker
When I was working with the Birmingham Royal Ballet I became inspired by the male principal dancer Robert Parker.Robert Parker joined the company in 1994 and from the very beginning he began to prove himself as an outstanding dancer. He progressed extremely quickly and soon began to dance more prominent roles even before he was promoted to principal.Although he has been noted for his excellence in many major roles, I remember in particular when he danced’ Edward’ in Edward 2nd. The role demanded not only technical excellence but also a huge amount of stage presence and dramatic acting, and I think it was particularly Parker’s artistic abilities on stage that drew me to admire him as a dancer. His performance of this role was so whole heartedly given and so believable that it truly established him as a favourite of mine.Throughout my high school years I had various opportunities to see him dance and also to meet him whilst working with the company. I remember in my graduate year I was finding the timetable at school combined with auditioning and performing with the company very stressful, and I will never forget how kind and supportive he was. Despite his success as a dancer he remained down to earth and kind which lead me to also admire him as a person.Most recently I was able to see him dance in one of the last roles to be created for him by David Bintley. The ballet was ‘Cyrano ’in which he was cast as the title role. Requiring the dancer to convey almost every emotion from happiness to anger, love and despair, I have never seen a performance that blew me away so much as that of Robert Parker, and I will always admire his excellence in performance.
Mercia Hetherington
Mercia Hetherington was a very prominent figure throughout my time in high school and was treasured by everyone at Elmhurst having served on the staff for 22 years. Her previous notable career as a principal dancer combined with her years of experience as a teacher made her one of the most admired people I have met so far whilst in pursuit of my career.In my second year at Elmhurst I was lucky enough to have her as my main ballet tutor. I arrived in her class enthusiastic but full of many little faults and quirks when I danced, resulting in her affectionately nick- naming me ‘Ism’ or ‘Izzie’, short for ‘mannerism’.Throughout that year Mercia worked meticulously on the basis of our classical technique starting the first five minutes of class just facing the barre and standing in first position so that we could feel our turn out. She was incredibly patient and as a result we all soon began to gain strength. I personally started to become more grounded and began to lose my tendency to fidget, and benefitted greatly from her help in ironing out my faults.There were many little things that made her both special and memorable as a teacher, such as her amazingly straight back and upright posture and her long and sharp thumbnails that she used to grow especially so that she could poke our muscles if we weren’t using them. She also realised the importance of being versatile and encouraged us to do well in all our dance classes as well as her own.Mercia was both a prestigious and kind member of our school, to this day I visit her for advice which she is always willing and passionate to give and I hope to continue my visits to this inspiring lady.
David Bintley CBE
My admiration for David Bintley, the Artistic Director of Birmingham Royal Ballet first began at the age of 8 when I was accepted in to the Royal Ballet School’s Junior Associate programme in Birmingham. For 3 years I trained in the Birmingham Royal Ballet studios every Saturday and whilst I was there, I was fortunate to be given many opportunities to perform with the resident company.My first chance to work with David Bintley came when I was successfully chosen to dance in his ballet ‘Still Life at the Penguin Cafe’. Working with him at such a young age was a wonderful opportunity, he was kind and clearly very passionate, and he knew every detail of what he wanted us to do.It was an invaluable experience dancing with his company and performing in many different theatres and I never thought that an opportunity like that would come again.But at the age of 10 I was chosen to perform the child role of’ Princess Phillipa’ in David Bintley’s production of Edward 2nd. The Artistic Director’s continuing faith in me lead me to greatly admire both him and his work as I was launched into rehearsals for his intensely dramatic ballet. I feel so lucky to have worked closely with Mr Bintley so early on, and I owe the fact that I had such a wonderful introduction to my future career almost entirely to him.In my first year at Elmhurst Ballet School, I was asked to dance with the company again. And this time I would be touring with the company to Hong Kong and then later to New York City.Such an opportunity as this was very special to me and I can only feel great admiration for David Bintley and his belief in me.
Prague Masterclasses
I first attended Prague Masterclasses at the age of 16 and I enjoyed it so much that I decided to go back again for another 2 years. Out of many other summer courses I have attended, I admire this one in particular for the opportunities it presents to both inexperienced and professional dancers and also for the fact that it is a non-profit organisation.Daria Klimentova, principal dancer with English National Ballet and her husband Ian set up the ballet masterclasses in Prague in order to promote particularly Classical Ballet in Daria’s home country, the Czech Republic. The course gives dancers the opportunity to be taught by some of the best principal dancers still currently at the top of their career such as Tamara Rojo and Sofiane Sylve and also famous dancers that have retired from dancing such as Viviana Durante.Not only do the dancers get to work with the very best in their field but they also get to tackle a wide variety of repertoire. On one occasion I had a great opportunity to learn Juliet’s solo from 1st act of ‘Romeo and Juliet’ by Kenneth Macmillan. Repertoire such as this is usually reserved for those already dancing professionally at soloist or principal level and I really appreciate how Prague Masterclasses gives you the chance to learn roles like this.Despite the fact that the two week course is in the middle of the summer holiday, Daria and her staff work hard to teach class, solos, pas de deux and group repertoire in order that they can pass on their passion, experience and knowledge to those who are willing to learn. I admire very much all the effort that is put in by the organisation in order that young dancers can continue to be inspired by their art.
Monday, October 19, 2009
CV
Laura Quin
lquin_87@hotmail.com
Height: 1.67m Weight: 49kg
Performance Experience
2008/2009 Sleeping Beauty, Peter Pan, Giselle, Queen, Nutcracker, Kevade, Vanemuine Theater Ballett
2007/2008 Swan Lake, Chor. Xin Peng Wang, (swan) Ballett Dortmund
2006/07 Varri Capricci, Chor. M.Corder, (soloist) Elmhurst School for Dance
2006 Romeo and Juliet, Chor.K.MacMillan (villager/ballroom) Birmingham Royal Ballet
2006 Firebird, Chor.M.Fokine (indian wife) Birmingham Royal Ballet
2006 A Midsummer Night’s Dream, Chor.I.Mukhamedov (soloist) Elmhurst School for Dance
2005 Coppelia, Chor.N.Barbara, (Prayer) Opening of Elmhurst School for Dance
2004 Romeo and Juliet, Chor.K.MacMillan (villager/ballroom) Birmingham Royal Ballet
2002 Swan Lake, Chor.D.Deane, (villager) English National Ballet
2002 Malcolm Arnold Dances, Chor.C.Hampson, (demi-soloist) Elmhurst School for Dance
2001/02 The Nutcacker, Chor.D.Deane, (party girl/mouse) English National Ballet
2000/01 The Sleeping Beauty, Chor.D.Deane, (fairy attendant) English National Ballet
2000 Edward II, New York, Chor.D.Bintley, (Princess Phillippa) Birmingham Royal Ballet
2000 Edward II, Hong Kong, Chor.D.Bintley, (Princess Phillippa) Birmingham Royal Ballet
1999 Still Life at the Penguin Café, Chor.D,Bintley,(Amazonian child) Birmingham Royal Ballet
Training
1999-2007 Elmhurst School for Dance in association with Birmingham Royal Ballet
Teachers and guest teachers include: Irek Mukhamedov, Masha Mukhamedova, Patrick Hinson, Patricia Linton, Marion Tait, Christopher Hampson, William Glassman and Cynthia Harvey.
2006 Awarded Distinction for Royal Academy of Dance Advanced II
1996-1999 Junior Associate of the Royal Ballet School
Additional Styles Studied
Contemporary, Jazz, Modern, Tap, Flamenco, Irish, Character Dance
Achievements
National Music and Ballet Scheme Award
National Dance and Drama Award
Prize for Most Promising Dancer, Elmhurst School For Dance
Finalist in Gillian Lynne Choreographic Competition
Citizenship: British
lquin_87@hotmail.com
Height: 1.67m Weight: 49kg
Performance Experience
2008/2009 Sleeping Beauty, Peter Pan, Giselle, Queen, Nutcracker, Kevade, Vanemuine Theater Ballett
2007/2008 Swan Lake, Chor. Xin Peng Wang, (swan) Ballett Dortmund
2006/07 Varri Capricci, Chor. M.Corder, (soloist) Elmhurst School for Dance
2006 Romeo and Juliet, Chor.K.MacMillan (villager/ballroom) Birmingham Royal Ballet
2006 Firebird, Chor.M.Fokine (indian wife) Birmingham Royal Ballet
2006 A Midsummer Night’s Dream, Chor.I.Mukhamedov (soloist) Elmhurst School for Dance
2005 Coppelia, Chor.N.Barbara, (Prayer) Opening of Elmhurst School for Dance
2004 Romeo and Juliet, Chor.K.MacMillan (villager/ballroom) Birmingham Royal Ballet
2002 Swan Lake, Chor.D.Deane, (villager) English National Ballet
2002 Malcolm Arnold Dances, Chor.C.Hampson, (demi-soloist) Elmhurst School for Dance
2001/02 The Nutcacker, Chor.D.Deane, (party girl/mouse) English National Ballet
2000/01 The Sleeping Beauty, Chor.D.Deane, (fairy attendant) English National Ballet
2000 Edward II, New York, Chor.D.Bintley, (Princess Phillippa) Birmingham Royal Ballet
2000 Edward II, Hong Kong, Chor.D.Bintley, (Princess Phillippa) Birmingham Royal Ballet
1999 Still Life at the Penguin Café, Chor.D,Bintley,(Amazonian child) Birmingham Royal Ballet
Training
1999-2007 Elmhurst School for Dance in association with Birmingham Royal Ballet
Teachers and guest teachers include: Irek Mukhamedov, Masha Mukhamedova, Patrick Hinson, Patricia Linton, Marion Tait, Christopher Hampson, William Glassman and Cynthia Harvey.
2006 Awarded Distinction for Royal Academy of Dance Advanced II
1996-1999 Junior Associate of the Royal Ballet School
Additional Styles Studied
Contemporary, Jazz, Modern, Tap, Flamenco, Irish, Character Dance
Achievements
National Music and Ballet Scheme Award
National Dance and Drama Award
Prize for Most Promising Dancer, Elmhurst School For Dance
Finalist in Gillian Lynne Choreographic Competition
Citizenship: British
My Five Resources
Dance Europe http://www.danceeurope.net/
Dance Europe magazine and website has information about many different types of dance companies around the world. I have used it mostly for audition information when I have been looking for a job, and continue to keep track of this information in the event that I wish to change companies or move to specialise in a different area of dance.
Pilates DVDs
I keep a small collection of 2 or 3 DVDs that specialise in Pilates exercises for dancers. I find these very helpful as they clearly show how specific muscles can be worked on and I often refer to them when I am concentrating on strengthening a particular muscle group or just to help build my general strength and to promote muscle tone.
Vanemuine Theatre Websites http://www.vanemuine.ee/
The Vanemuine Theatre is my current place of work and I often visit the website for general theatre news as well as for that of the ballet company. I find this website most useful for being able to check my daily timetable and dates of performances that I am in and of those I would like to see.
The Dancing Times http://www.dancing-times.co.uk/
The Dancing Times magazine concentrates on news and events happening in dance in the UK. It includes articles such as one to one interviews with selected dancers of the month to reviews of the latest productions. Other interesting articles can also be found that are related to dance, looking at topics such as dance psychology and healthy eating. I like to read this magazine as it often inspires me to read and look at pictures of up and coming dancers and I am always interested in the latest dance productions. The reviews often give me an idea of what I would like to go and watch myself. I also pick up other information that is useful for me in my day to day lifestyle as a dancer.
Dance Photographer Simon Richardson http://www.simonrichardson.org/
It is very useful for me to keep in contact with a photographer that specialises in Dance. I have already visited Simon Richardson’s studios a couple of times for intense photographing sessions lasting up to 4 or 5 hours in order to prepare a portfolio for potential employers to look at. The nature of auditioning means that it is easier for companies to select those dancers that look like they are suitable for the company to go and audition to keep the number that turns up to a minimum. Therefore pictures need to be good quality and need to present the dancer and their assets in the best light. I keep in contact with my photographer in case I might need any more copies of photos, or new photos taking if I make the decision to move from my current company to another.
Dance Europe magazine and website has information about many different types of dance companies around the world. I have used it mostly for audition information when I have been looking for a job, and continue to keep track of this information in the event that I wish to change companies or move to specialise in a different area of dance.
Pilates DVDs
I keep a small collection of 2 or 3 DVDs that specialise in Pilates exercises for dancers. I find these very helpful as they clearly show how specific muscles can be worked on and I often refer to them when I am concentrating on strengthening a particular muscle group or just to help build my general strength and to promote muscle tone.
Vanemuine Theatre Websites http://www.vanemuine.ee/
The Vanemuine Theatre is my current place of work and I often visit the website for general theatre news as well as for that of the ballet company. I find this website most useful for being able to check my daily timetable and dates of performances that I am in and of those I would like to see.
The Dancing Times http://www.dancing-times.co.uk/
The Dancing Times magazine concentrates on news and events happening in dance in the UK. It includes articles such as one to one interviews with selected dancers of the month to reviews of the latest productions. Other interesting articles can also be found that are related to dance, looking at topics such as dance psychology and healthy eating. I like to read this magazine as it often inspires me to read and look at pictures of up and coming dancers and I am always interested in the latest dance productions. The reviews often give me an idea of what I would like to go and watch myself. I also pick up other information that is useful for me in my day to day lifestyle as a dancer.
Dance Photographer Simon Richardson http://www.simonrichardson.org/
It is very useful for me to keep in contact with a photographer that specialises in Dance. I have already visited Simon Richardson’s studios a couple of times for intense photographing sessions lasting up to 4 or 5 hours in order to prepare a portfolio for potential employers to look at. The nature of auditioning means that it is easier for companies to select those dancers that look like they are suitable for the company to go and audition to keep the number that turns up to a minimum. Therefore pictures need to be good quality and need to present the dancer and their assets in the best light. I keep in contact with my photographer in case I might need any more copies of photos, or new photos taking if I make the decision to move from my current company to another.
Links of Interest
As a dancer, one of the most enjoyable things for me is being a part of a brand new production. Although sometimes nerve racking, it is always exciting to be on stage with a new set, choreography and costumes.
I was lucky to work with many prestigious choreographers during my time at school such as Christopher Hampson, Michael Corder and Irek Mukhamedov, and being involved in the premieres of their ballets left me wanting the same experience as a professional. It just so happened that when I joined the Vanemuine Theatre in April 2008, the ballet company had begun working with the renowned Swedish choreographer Par Isberg on his brand new production of Sleeping Beauty. This was a very exciting introduction to the company for me and was the beginning of a year in which the company would be premiering 3 new works.
This is a photo of Hayley Jean Blackburn and Steven Melendez as Aurora and the Young Man in Par Isberg's adaptation of 'The Sleeping Beauty'. Photo taken by Ranno.
It is a great feeling to have a role created for you, especially when the choreographer is able to play to your strengths, although it is also good to be challenged technically. I like the intense rehearsals and working hard on new steps, and I find the ideas and thought processes of a choreographer intriguing and very interesting to watch.
Alongside the work in the studio there is also the new lighting, set and costume design which I am always excited to see and which contributes to the feeling that I am part of something special. I always feel motivated when working on a new piece and I hope I will be able to enjoy more opportunities to work in new productions in the near future.
Here's a clip of the Folk dance from one of the new works 'Kevade' choreographed by Ruslan Stepanov.......great fun to dance! This was performed in a stadium for a ballet Gala in front of an audience of 8000 people.
I also have a passion for a particular ballet which I love to watch and which never fails to inspire me. ‘Romeo and Juliet’ has to be one of my favourite ballets because, for me, it seems to have everything.
Throughout the ballet, the principal dancers have to portray a mixture of innocence, love, happiness, hatred, anger, anxiety and complete despair making it one of the most artistically challenging and emotionally intense ballets to dance and one of the most inspiring to watch. I have seen a couple of different versions but choreographically the one that stood out to me was Kenneth Macmillan’s adaptation set to the wonderful Prokofiev score. The choreography and the music complement each other so beautifully that the story is clearly depicted and easy to follow as well as extremely moving. It is a rare occasion that I can watch this ballet without becoming tearful or crying by the end.
Here are two legenedary dancers of the Royal Ballet, Margot Fonteyn and Rudolf Nureyev dancing the balcony pas de deux in Kenneth Macmillan's 'Romeo and Juliet'.
I have to acknowledge that a lot of what makes this ballet so special is the music. Having performed in this production as a member of the corps de ballet I found that Prokofiev's score allowed me to be absorbed in the character I was playing and it was easy to feel the different emotions I had to portray. I love listening to it as I think it is one of the most beautifully crafted pieces of music for ballet that I have heard to date.
It is often the thought of getting to play Juliet that motivates and inspires me to work harder; it is definitely the one role I would love to dance.
Who am I?
I am currently a professional Classical Ballet dancer with the Vanemuine Theatre in Estonia.
What are my main skills and areas of knowledge?
My main skills are mostly in Classical Ballet but I also maintain skills in many other types of dance such as Jazz, Tap, Flamenco, Contemporary and Character Dance. My main areas of knowledge are also centred around these dance styles.
What are my professional interests?
As I am already working as a member of the ‘corps de ballet’, my professional interests are now centred around improving as a dancer and becoming more experienced on stage so that I can pursue dancing more solo and principal roles.
I am currently a professional Classical Ballet dancer with the Vanemuine Theatre in Estonia.
What are my main skills and areas of knowledge?
My main skills are mostly in Classical Ballet but I also maintain skills in many other types of dance such as Jazz, Tap, Flamenco, Contemporary and Character Dance. My main areas of knowledge are also centred around these dance styles.
What are my professional interests?
As I am already working as a member of the ‘corps de ballet’, my professional interests are now centred around improving as a dancer and becoming more experienced on stage so that I can pursue dancing more solo and principal roles.
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