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 pirouettes. Show all posts
Showing posts with label pirouettes. Show all posts
Thursday, March 15, 2012
Tuesday, March 13, 2012
Mary, Ilona
Tendus: Mary said that the tendus initiate with the foot. Amazingly, I thought of lifting the instep, and it made a huge difference in my tendus. Mary even noticed.
Petit allegro, Mary said that the gesture leg should only go as high as you can jump, and the position should assemble in the air above it.
Retiré: I have been unable to balance my pelvis laterally. Ilona told me I needed to release a muscle (maybe it was the glut. med.s or something), but when she fixed it, I felt a definite release on the outside of my hips. (Lateral as opposed to medial.)
Closing fifth: Now that I have a decent enough fifth to be corrected, but Mary and Ilona corrected my fifth, as in I need to close it and rotate it more.
Chassé: remaining turned out. we worked on that with Ilona.
tendu, cou-de-pied en tournant: turn in fifth, then move the gesture leg.
En dedans turns: Ilona was pushing me to go for two, but I couldn't do it. I need to generate the force correctly, so that I don't distort my alignment. Needs more work.
Petit allegro, Mary said that the gesture leg should only go as high as you can jump, and the position should assemble in the air above it.
Retiré: I have been unable to balance my pelvis laterally. Ilona told me I needed to release a muscle (maybe it was the glut. med.s or something), but when she fixed it, I felt a definite release on the outside of my hips. (Lateral as opposed to medial.)
Closing fifth: Now that I have a decent enough fifth to be corrected, but Mary and Ilona corrected my fifth, as in I need to close it and rotate it more.
Chassé: remaining turned out. we worked on that with Ilona.
tendu, cou-de-pied en tournant: turn in fifth, then move the gesture leg.
En dedans turns: Ilona was pushing me to go for two, but I couldn't do it. I need to generate the force correctly, so that I don't distort my alignment. Needs more work.
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
Port de bras
Cambre side: upper arm reaches its position and then the ribs tilt. As the ribs tilt, then the allongé upper arm rotates to the "regular" position.
My shoulders need to be a bit more back than where I think they need to.
Glissade pushes from the second leg. Likewise with assemblé.
The écarté head is a turn and a look up. Not a tilt.
From before, don't nose dive into a port de core forward. lead with the sternum.
Working on the ribs: keep lifted, back and up (a la Alexander Technique). This will help avoid the anterior pelvic tilt.
Image for the head and arms: present to the audience. Don't look down, look out.
My pirouettes to the left are falling out in the very beginning.
Addition: Forgot to mention tour jeté. With the left leg leading, I tend to fall toward the left (supporting) leg. Keep the ribs lifted. On the right, the left side tends to let go and cause me to over rotate. Keep strong in spite of the force!
My shoulders need to be a bit more back than where I think they need to.
Glissade pushes from the second leg. Likewise with assemblé.
The écarté head is a turn and a look up. Not a tilt.
From before, don't nose dive into a port de core forward. lead with the sternum.
Working on the ribs: keep lifted, back and up (a la Alexander Technique). This will help avoid the anterior pelvic tilt.
Image for the head and arms: present to the audience. Don't look down, look out.
My pirouettes to the left are falling out in the very beginning.
Addition: Forgot to mention tour jeté. With the left leg leading, I tend to fall toward the left (supporting) leg. Keep the ribs lifted. On the right, the left side tends to let go and cause me to over rotate. Keep strong in spite of the force!
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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