petipa

Swan Lake: Combining Storytelling With Stamina

October 28, 2014 by 4dancers

Fernando Bufala w Joseph Gatti in Corella Ballet — Ashley Ellis and Joseph Gatti in Swan Lake, photo by Fernando Bufala

Today Boston Ballet‘s Ashley Ellis joins us to talk about how she gets ready to dance the classic ballet Swan Lake. Read more from her in the coming months as she authors posts for us as a contributing writer to the site…

Dancing the role of Odette/Odile is an incredible challenge for any dancer. What steps do you take to prepare your body for this role?

Dancing the dual role of Odette/Odile is a challenge in various ways. There is the obvious technical challenge that most full-length classical ballets demand. However, Swan Lake is different in that to dance this ballet the ballerina is required to portray two characters that are completely opposite of one another.

When preparing to dance either Odile or Odette I like to start with my arms. The style of the upper body is quintessential to becoming a swan. Like with dancing any role, but especially Odette/Odile, I like to spend a bit of time before rehearsal or a show just to gear my body up for the specific style it will have to feel. I go through the movements so that when I have to dance it feels more organic. When I enter in the second act I don’t want to have to think about if my arms are making the right lines, I want to think about how I feel at that moment with my partner and the music.

So until I feel that I have these extreme and sometimes contorted positions feeling more organic in my own body I am constantly checking in the mirror to see what line the public will see. For me this comes with time as I’m working on the role. Each day my muscles remember more and I have to think less about the positions.

Then it is important to build stamina, so as we approach the shows, I like to run each act to build strength.

Black Swan Pas with Joseph Gatti — Ashley Ellis and Joesph Gatti dance the Black Swan pas de deux, photo by Fernando Bufala

What do you do to make each character (Odette and Odile) unique?

Each swan, the white and the black, the good and the evil, represents a completely opposite identity from the other. I try to embody the characteristics of each and do my best not to let them bleed together. I take on each role and try to let them shine through my movements. For example, Odette is a kind spirit, embodying love. However she is not weak, she is still a proud swan queen.

Odile on the other hand shows up in the 3^rd act with Von Rothbart and carries out her actions under his command. Her mission is to trick the prince into swearing his love for her. To bring this role to life I try to use my eyes and more commanding movement to show strength and lure the prince in.

It does require a moment though to calm down going into 4^th act after running off stage from the high of dancing the black swan–especially because in this act Odette is heartbroken.

When getting coached by the incredible, Larissa Ponomarenko, she constantly reminds me as I execute my steps that although I may be creating an esthetically pleasing classical line with my arms, that I look human, and “at this moment you are a swan.”

What is your rehearsal schedule like for this ballet?

Well, at Boston Ballet we are often working on various ballets at the same time. We just finished putting together Lady of the Camellias as well as various shorter pieces for later in the season. So things can get a little bit crazy, and some days going from contemporary into classical makes it especially challenging. The most important thing is to go into each rehearsal focused on the role to be mastered. So much of dance is about being mentally prepared.

As we get closer to the performances I like to run the ballet in order, beginning with second act and going to black and then back to white. It is so important to build stamina. It’s funny because I find that I tend to stress about not having stamina, but I know in the end I will get there. The feeling of not being able to get through a variation, ballet, or whatever is so daunting. It’s never easy, but it can get easIER.

Ashley Ellis as Odette, photo by Fernando Bufala

You have danced Swan Lake before, but Petipa’s version. How is Mikko Nissinen’s version different?

Like the version I danced previously, Mikko’s has the same classical base, with variations in the steps that he has chosen to apply to make it his own. I do find it interesting to see how the ending changes from version to version; if they die, or live happily after, or in some, they even die and then rise up into the clouds. I don’t think I’m supposed to reveal the ending of this version because it is NEW, and he probably wouldn’t like it if I spilled the beans. Haha!

There are many beautiful, interesting, and original touches in Robert Perdziola’s design and it is sure to be stunning. I can’t wait to see the production on stage; I know it will definitely be worth coming to see.

Swan Lake has such beautiful music. Is there a particular section of the score that you find you gravitate toward?

One of my favorite moments is the introduction to the Black Swan Pas de deux. The music begins while we are still off stage and then we fly on from the wing together. From the very beginning it gives me such a feeling of strength and command.

In terms of your pointe shoes – how do you prepare them for Swan Lake, and how many pairs will you use in a performance?

I definitely want good shoes, and will most likely wear a different pair for each act. Not a new pair for each act, because they will be broken in and worn just enough that they are ready to provide what I need. They have to have good support because there is so much technical dancing throughout the whole ballet.

As Odette I like to have supportive shoes but they should be well broken in. There is a lot of running around as well as movement that is very controlled so I need to be able to really feel the floor. As Odile I can wear a slightly harder pair. There are a lot of turns throughout the pas, variation, and coda and I need to know they will support me until the end.

sitting swan by Hoggerandco — Ashley Ellis in costume for Boston Ballet’s Swan Lake, photo by Hogger & Co.

What do you find to be the most difficult part of dancing this ballet, and what do you do to cope with it?

The stamina is quite hard, but it is more than just doing the steps and getting through to the end. It is so important to make everything seamless, while maintaining your portrayal of a swan, and on top of that telling a story. So the hardest part is doing all of this at once. I find that the best way to achieve this is to spend time on it.

It sounds simple, but spending time moving like a swan and listening to the music, and thinking of how the character feels at that moment within the ballet is the best way for me to prepare.

What is the thing that you enjoy most about dancing this ballet?

I love dancing both Odette and Odile so much, the challenge to becoming both is quite exciting. I love various aspects of becoming each character. On a physical level, although the dancing is very classical, the style feels quite freeing. Also, for me the music really brings both characters to life. You can really hear the emotions through each composition; from the tranquil feeling of Odette when she is all alone in her entrance to how frantic she is when the prince startles her, to the second act pas where she is falling in love, but is torn because of the spell cast on her. Tchaikovsky carries you through all of these emotions. Then for Odile, I feel thrown at a high speed onto the stage with the entrance of the 3^rd act pas; the music screams grandeur and power.

Boston Ballet will be performing Mikko Nissinen’s Swan Lake from October 30th through November 16th. See Ashley Ellis bring Odette and Odile to life on stage. View the rest of the company’s offerings for the season here.

Boston Ballet's Ashley Ellis — Boston Ballet’s Ashley Ellis

Contributing writer Ashley Ellis is a principal dancer at Boston Ballet. Ellis hails from Torrance, California and she received her dance training at the South Bay Ballet under the direction of Diane Lauridsen. Other instruction included Alicia Head, Mario Nugara, Charles Maple, and Kimberly Olmos.

She began her professional career with American Ballet Theatre’s Studio Company and later joined American Ballet Theatre as a company dancer. In 1999, Ellis won the first prize at the Los Angeles Music Center Spotlight Award, and went on to become the recipient of the Coca Cola scholarship award in 2000 and 2001. She has performed in Spain with Angel Corella’s touring group and joined Corella Ballet in 2008 as a soloist. In 2011, Ellis joined Boston Ballet as a second soloist. She was promoted to soloist in 2012 and principal dancer in 2013.

Her repertoire includes Marius Petipa’s The Sleeping Beauty; Mikko Nissinen’s The Nutcracker; Natalia Makarova’s La Bayadère; Marius Petipa’s Swan Lake; Christopher Wheeldon’s DGV: Danse à Grande Vitesse, VIII and Polyphonia; Harald Lander’s Études; Michel Fokine’s Les Sylphides; Rudolf Nureyev’s Don Quixote; Christopher Bruce’s Rooster; George Balanchine’s Serenade, Coppélia, Symphony in Three Movements, Symphony in C, and Tchaikovsky Pas de Deux; Clark Tippet’s Bruch Violin Concerto; Twyla Tharp’s In the Upper Room; Stanton Welch’s Clear; Angel Corella’s String Sextet; Wayne McGregor’s Chroma; Jorma Elo’s Awake Only; Jerome Robbins’ Fancy Free; Jiří Kylián’s Wings of Wax, Symphony of Psalms, and Petite Mort.

Choreography: When is My Dance Done?

February 12, 2013 by 4dancers

double edge theatre — “The Grand Parade” by the Double Edge Theatre, Photo by Maria Baranova

by Lauren Warnecke, MS

So you’ve managed to make a dance. How do you know when it’s really finished? When your music runs out? After about 20 minutes? When you run out of “moves”?

Rule number one in finishing a dance is a narrative arch. This doesn’t necessarily mean you have to tell a linear story, but each dance must have a clear beginning, middle, and end. Where you choose to place arches within these sections is largely up to you, but they are important for guiding your audience along the journey.

Once your journey is up, so is your dance, but choreographers often find themselves dissatisfied and wondering if the dance is, in fact, finished. The Grand Parade, created and performed by Double Edge Theatre at The Dance Center of Columbia College last Saturday is a piece with a strong narrative and massive production elements that include a fury of projections, mannequins, rigging for aerial circus arts, and perhaps a few hundred props. Yet, even with all these things going on, Double Edge’s history of the 20^th Century in 55 minutes is a work they insist is not yet done. Seeing The Grand Parade reinforced my view that no work is ever, really, done.

A colleague of mine once said of her work, “It’s not done, but I’m done with it.” She viewed a performance as a slightly more formal Works-in-Progress showing… with fancier lights.

I think her point speaks to the idea that dance is a living, evolving art form. Dances have a transient nature that is unlike, say, visual art. The Sistine Chapel will always be the Sistine Chapel, but Peptipa’s choreography will be ever changing to a certain degree based on the venue, the dancers, tempo choices, costume, etc.

On a more contemporary note, sometimes it is only through live performance that you truly learn about a piece and see what it needs. You might figure out that your ending is really awkward and the audience doesn’t know when to clap. Or you might discover that you want the whole thing to be presented in reverse order to what it is. The stage is a beautiful place to discover these things, but that’s not to say that everything is stage-worthy…

Ultimately, you’re asking patrons to pay money to watch your product. Most people wouldn’t fork over $12 to see an unfinished movie, and besides, that’s what free or inexpensive WIPs are for. But given the inevitable stages of development a dance undergoes, it may need to be presented multiple times, in multiple iterations. Each iteration that takes to the stage, however, should a finished quality that is worth paying for. These are a few things I look for in a “finished” dance: [Read more…]

DVD Review: The Bolshoi Ballet HD Collection – The Sleeping Beauty

January 16, 2013 by 4dancers

by Vicki Crain

American Ballet Theater principal dancer David Hallberg made international news in the fall of 2011 when he was asked to join the illustrious Bolshoi Ballet as a premiere danseur, the first American ever invited to join the company. One of his first performances in Russia’s newly renovated Moscow Theatre was also filmed for live cinema simulcasts around the globe. This updated version of Petipa’s The Sleeping Beauty features new choreography by Yuri Grigorovich with The Bolshoi Theatre Orchestra playing Tchaikovsky’s famous score.

According to Sergei L. Loiko of The Los Angeles Times, who covered the performance from Moscow, seven cameras filmed the Sunday performance that had the estimated audience of 1,750 in the theater giving a rousing standing ovation. Gorgeous shots of the ornate theater and behind-the-scenes takes from conductor’s view in the orchestra pit create the sense that you are there. Nobody does grandeur quite like the Bolshoi and the lavish sets and costumes, as well as the enormous cast of dancers, are on full golden display here. Even the dramatic tension of the story was heightened by the ultra-slow tempo of the music.

Prima ballerina Svetlana Zakharova (Princess Aurora) handpicked Hallberg to be her Prince Désiré. With long, lean limbs, high-arched feet and exquisite lines and extensions, these two are a match made in ballet heaven. Zakharova’s beautiful, relaxed upper body port de bras are at times defied by the sheer height of her extensions. Her full-split developé a la secondé makes The Rose Adage, albeit extremely slow, inherently more exciting to watch. Hallberg’s entrance solo in Act II is exciting and brilliantly executed. As he finishes, there is a millisecond pause/glitch in the dvd before the audience erupts in applause, as if even the film crew knew they were witnessing history. Bravura solos and effortless partnering make this pair irresistible to watch.

Classic storytelling with technically dazzling dancing make this dvd a must-see. Standouts in the stellar cast are Nina Kaptosova and Artem Ovcharenko as Princess Florine and the Bluebird, Maria Allash and her liquid bourrees as the Lilac Fairy and Alexey Loparevich (in drag) as the evil fairy Carabosse.

Run time: 138 minutes

BIO: Reviewer Vicki Crain is the voice behind Rogue Ballerina, an excellent blog that covers the Chicago-area dance scene. Check out her site for interviews, previews, reviews and more, and follow her on Twitter at @rogueballerina

DVD Review: The Bolshoi Ballet’s Giselle

October 29, 2012 by Ashley David

by Emily Kate Long

Filmed in 2011, this Giselle is Yuri Grigorovich’s version after choreography by Coralli, Perrot, and Petipa. Simon Virsaladze’s set and costume designs are gloriously light and airy, and the staging in both acts is full but polished.

Svetlana Lunkina’s Giselle is playful and modest in Act 1. Her sweetness is well complemented by Dimitry Gudanov’s casual confidence as Albrecht. Lunkina is closeup-ready; every expression is genuine and effective down to the ends of her eyelashes. It’s easy to fall in love with her, and easy to mourn her madness and heartbreak. This Giselle’s believably tragic and deeply personal mad scene is, unfortunately, somewhat cheapened by the villagers’ over-the-top reactions of distress at the close of the act.

The Giselle that appears in Act 2 is, appropriately, the emotionally spent young woman whose world collapsed around her in Act 1. Her innocence has been darkened, her joy dampened. Lunkina is completely at the mercy of a cruel and somber Myrtha (Maria Allash) until her true love and forgiveness of Albrecht break Myrtha’s spell and to save him at sunrise. The dancing of the wilis is pure magic—the suspension of one woman from a rocking mechanism to drop lilies on Albrecht is pure distraction.

The huge scale of a Bolshoi production is something that simply doesn’t exist in the West. For most of us, video is the only way we’ll ever see something so enormous. Watching that magnificence, as well as seeing Lunkina close up, is absolutely a treat, but here video simultaneously detracts where it enhances. The humanity of her Giselle, so wonderfully highlighted in close-ups, seems out of context amid the exaggerated grandness traditional on the Bolshoi stage.

The Bolshoi Ballet and Bolshoi Theatre Orchestra in Giselle. 109 minutes. Pathe Live, Bel Aire Media, and the State Academic Bolshoi Theatre, 2012.

Assistant Editor Emily Kate Long began her dance education in South Bend, Indiana, with Kimmary Williams and Jacob Rice, and graduated in 2007 from Pittsburgh Ballet Theatre School’s Schenley Program. She has spent summers studying at Ballet Chicago, Pittsburgh Youth Ballet, Pittsburgh Ballet Theatre School, Miami City Ballet, and Saratoga Summer Dance Intensive/Vail Valley Dance Intensive, where she served as Program Assistant. Ms Long attended Milwaukee Ballet School’s Summer Intensive on scholarship before being invited to join Milwaukee Ballet II in 2007.

Ms Long has been a member of Ballet Quad Cities since 2009. She has danced featured roles in Deanna Carter’s Ash to Glass and Dracula, participated in the company’s 2010 tour to New York City, and most recently performed principal roles in Courtney Lyon’s Sleeping Beauty, The Nutcracker, and Cinderella. She is also on the faculty of Ballet Quad Cities School of Dance, where she teaches ballet, pointe, and repertoire classes.

A Studio Director’s Change Of Heart: Why Ballet Exams Work

June 7, 2012 by 4dancers

by Risa Gary Kaplowitz

I would have never thought that I would one day espouse the idea of examinations for the ballet students at my school. Certainly the studio in which I grew up, Maryland Youth Ballet, has produced dozens of professional dancers, and they never presented their students for exams. And weren’t the students at my own studio thriving and going on to pursue their own careers without ever having taken an exam?

I am far from the only studio director to have disregarded exams. Even as ballet exams are relatively common in Europe, especially at the world’s major ballet schools with their own training systems in Russia (Vaganova), France (Paris Opera Ballet), Italy (Cecchetti), England (Royal Academy of Dance, also known as RAD), and Denmark (Royal Danish Ballet), most American ballet schools, which generally offer a potpourri of the above curriculums, do not offer graded evaluations to their students.

An example of a typical American ballet teacher’s reaction to exams can be found in my thoughts several years ago, when I witnessed Paris Opera Ballet School students prepare for their exams (a perk of being a former famous ballerina’s business partner at the time). The students were going from one combination to another, which they had memorized.

At the time, my thoughts were thus: Didn’t we American ballet instructors need to keep our impatient students happy and their aversion to boredom at bay? And didn’t American ballet students need more diversity in their ballet classes than simple preparation for an exam in order to be prepared for an American ballet company where they could be dancing a Petipa variation one minute and a Nacho Duato piece the next?

This video shows young Vaganova Ballet Academy students’ incredible clarity. Surely this type of regimented single-curriculum training system couldn’t be possible in an American studio with varying body types and skill levels.

Or could it?

Enter American Ballet Theatre’s National Training Curriculum, which offered it’s inaugural training sessions to ABT alumni dancers in 2007. For the simple reason that ABT was my favorite company, I was curious enough to start to nibble on the ballet curriculum bullet. However, I never gave serious thought to presenting my students for exams, which were an optional part of the ABT training system. [Read more…]

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