Ilona:
The fillé into the chassé from arabesque. She's still getting after me for it. It's because I don't fillé through the first position the way I do balançoire.
En dedans turns: it's the connection to the second arm/side/back that's missing.
Also, don't drop the chin! Keep the focus out and lifted.
Work on the head, especially in allegro. This came up during the sissone développé, coupé, assemblé, both a la seconde. We use the "écarté derriere" heads and arms, even though the torso is en face.
Don't forget to actually jump in petit allegro! It's about the UP.
Especially in allegro, roll through the foot on the way down. Even just in the steps. or tombé.
Mary
I was trying to do fast tendus and my tendus à la seconde weren't in a straight line.
Turns from second. Yikes. Really get on the leg by pressing down into the floor, and stretching the front of the hip joint.
There's always so much in this class, yet I struggle to remember it all! Remember more corrections!
Showing posts with label arabesque. Show all posts
Showing posts with label arabesque. Show all posts
Thursday, March 15, 2012
Monday, March 12, 2012
Marcus Sunday, Ilona Monday
Marcus:
When I stand in fifth, Right foot front, I'm not grounded. Please work on that!
It's really hard to hold an extension in second. The gesture leg needs to be fully active!
Balancés should have it's own character and fluidity, not just ignored until you get to the next step.
Chassés should be much more grounded all the way through.
When I plié, I tend to lower my chin. But instead, open up. Show yourself to the audience as you prepare for the next step.
Ilona:
Standing in a very loose fifth makes it easier to find a tighter fifth later in class.
as I éleve, there's a point where I lose my ankles, but if I think of pulling up the insteps of my foot, I regain stability.
keep hips even in retiré. (Tendency was to lift the side of the gesture leg.)
Arabesque, even with tendu, needs to be on the balls of the feet of the supporting leg. Otherwise it goes into the rectus femoris.
When doing big jumps, don't lose the form of the turnout nor of the feet.
Pirouettes: keep my arms with me (instead of leaving them behind me when I turn).
When I stand in fifth, Right foot front, I'm not grounded. Please work on that!
It's really hard to hold an extension in second. The gesture leg needs to be fully active!
Balancés should have it's own character and fluidity, not just ignored until you get to the next step.
Chassés should be much more grounded all the way through.
When I plié, I tend to lower my chin. But instead, open up. Show yourself to the audience as you prepare for the next step.
Ilona:
Standing in a very loose fifth makes it easier to find a tighter fifth later in class.
as I éleve, there's a point where I lose my ankles, but if I think of pulling up the insteps of my foot, I regain stability.
keep hips even in retiré. (Tendency was to lift the side of the gesture leg.)
Arabesque, even with tendu, needs to be on the balls of the feet of the supporting leg. Otherwise it goes into the rectus femoris.
When doing big jumps, don't lose the form of the turnout nor of the feet.
Pirouettes: keep my arms with me (instead of leaving them behind me when I turn).
Saturday, January 7, 2012
Revisiting Anna's Class
Anna wants my arabesque with a more forward back.
I found the upper back in the arabesque today, by calling upon the same muscles that I feel when I do the back strengthening exercises.
Anna, similar to Molly, I suppose, asked us to use our arms in the jumps and open at the top. She even said this for fouettés in a relevé (from arabesque to a front extension).
Anna also likes the accent on the open movement for many of the petite allegro steps. Today it was a balloné.
Anna corrected my arms in high fifth during an en dehor pirouette. As soon as I corrected them I zipped around in the cleanest pirouette I've ever felt in my life.
My a la seconde on the right needs work. I need to remember to not use the hip flexor. That's why it's getting tight.
Also, reading Eric Franklin's alignment book, I found Lulu Sweigard's nine lines of the body. Many of them have already helped me. The back releasing down, the pubic symphysis coming closer to T12. the first ribs widening out into a bigger circle. the back of the pelvis widening, the front of the pelvis zippering up. The middle of the spine rising up.
I found the upper back in the arabesque today, by calling upon the same muscles that I feel when I do the back strengthening exercises.
Anna, similar to Molly, I suppose, asked us to use our arms in the jumps and open at the top. She even said this for fouettés in a relevé (from arabesque to a front extension).
Anna also likes the accent on the open movement for many of the petite allegro steps. Today it was a balloné.
Anna corrected my arms in high fifth during an en dehor pirouette. As soon as I corrected them I zipped around in the cleanest pirouette I've ever felt in my life.
My a la seconde on the right needs work. I need to remember to not use the hip flexor. That's why it's getting tight.
Also, reading Eric Franklin's alignment book, I found Lulu Sweigard's nine lines of the body. Many of them have already helped me. The back releasing down, the pubic symphysis coming closer to T12. the first ribs widening out into a bigger circle. the back of the pelvis widening, the front of the pelvis zippering up. The middle of the spine rising up.
Thursday, January 5, 2012
Working through an off day
Molly said the distance between my hip and ribs were too high on the gesture side of a balance in passé. Not sure what that meant, maybe an anterior pelvic tilt.
She said it came from the sous sous.
Left hip is sore in a new place. TFL? not sure, because it's not the IT band. Rectus femoris? not sure because it's not the normal one.
General correction to keep the foot pointed in arabesque.
Balances were off in passé on demi-pointe.
temps levé beats aren't always beating fully. beats the thighs.
Jeté beats still need to have the degagé side. aim for 45 degrees?
Molly: the turn happens from the en dehor leg.
Molly also physically corrected my shoulders. I felt much better about it afterwards. And it helps my focus.
She said it came from the sous sous.
Left hip is sore in a new place. TFL? not sure, because it's not the IT band. Rectus femoris? not sure because it's not the normal one.
General correction to keep the foot pointed in arabesque.
Balances were off in passé on demi-pointe.
temps levé beats aren't always beating fully. beats the thighs.
Jeté beats still need to have the degagé side. aim for 45 degrees?
Molly: the turn happens from the en dehor leg.
Molly also physically corrected my shoulders. I felt much better about it afterwards. And it helps my focus.
Wednesday, January 4, 2012
Arms, etc.
It should feel compact around the shoulder blades.
My low fifth is not shaped correctly. Elbows should stay away from the torso.
Allongé hands should still be in line with the arms. Don't wing it too much. Also, allongé arms should feel like a stretch across the chest.
Feel the energy from the chest out through and past the fingers, just like the legs start from the abdominals and extend out through and past the toes.
My shoulders tend to be front and down. When they are back into place (but not behind), and feel a lift from underneath, not only does it look better, it also releases tension in the lower back.
Speaking of lower back, when in arabesque, if my lower back hurts, then I need more lift in the ribs.
Pirouettes: get to passé retiré quickly and hold as if it were an extension. But when coming down, go straight to the lunch. It should be as tight as closing to fifth or sousou.
My low fifth is not shaped correctly. Elbows should stay away from the torso.
Allongé hands should still be in line with the arms. Don't wing it too much. Also, allongé arms should feel like a stretch across the chest.
Feel the energy from the chest out through and past the fingers, just like the legs start from the abdominals and extend out through and past the toes.
My shoulders tend to be front and down. When they are back into place (but not behind), and feel a lift from underneath, not only does it look better, it also releases tension in the lower back.
Speaking of lower back, when in arabesque, if my lower back hurts, then I need more lift in the ribs.
Pirouettes: get to passé retiré quickly and hold as if it were an extension. But when coming down, go straight to the lunch. It should be as tight as closing to fifth or sousou.
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