I tried to slowly read through Meredith Daneman's 580 page biography, but I ended up devouring the entire tome way too quickly, and now I'm in a tailspin. Knowing I only had 60 pages left before work this morning, I wore my ballet leotard under a sweater and skirt (because I have to hurry to a lesson immediately after work, and I want to finish the biography before my lesson because I like to talk to my instructor about books), but the more I read, the more it felt like I was being taken along on a death march. I tried to bounce around campus to put off the end somewhat, carry all these giant bags around to different sunny, glass rooms, to the library with the big windows. but I finally ended back round to this tiny dark space, to finish it all up, and read about Fonteyn's death, and that sad dancing bear story she wrote for her mother's birthday, so the Black Queen would have something to read to the grand kids.
In 1981, when Fonteyn was 62, she danced Le Spectre de la Rose with a 43 year old Nureyev, his body already in accelerated decline (due to AIDS), and hers wrecked with cancer, one of her feet completely paralyzed. Daneman writes: "Her performance with him is a miracle of deception: even through the eyes of an ungovernable camera, she remains utterly in control of where she wants our eye to be-- not on her lax, decrepit feet, but on the still-taunt glory of her upper body, her speaking port de bras, and lovely face" (532).
The spirit is such a fascinating thing.
A few weeks ago, when we were practicing our routine for the performance, our instructor said that no matter how hard we work on our feet, it is of no mind to the audience, because they are only watching our faces and our port de bras. I've been thinking about that a lot lately, even though I've learned some interesting points about jumps this week. And yesterday, one of the women in my class sent me a video of our routine. From the beginning, my eyes were completely focused on one woman on the screen. Even in the simplest movements, she seems to fill the entire space, and as soon as she tapers off, the entire thing falls apart (which isn't saying much for me because though she and I share the front row, I'm the last to leave).
Anyway, including Margot Fonteyn, this is the study so far, everything I've invested in since mid-December, 185 parts long.
The spirit is such a fascinating thing.
A few weeks ago, when we were practicing our routine for the performance, our instructor said that no matter how hard we work on our feet, it is of no mind to the audience, because they are only watching our faces and our port de bras. I've been thinking about that a lot lately, even though I've learned some interesting points about jumps this week. And yesterday, one of the women in my class sent me a video of our routine. From the beginning, my eyes were completely focused on one woman on the screen. Even in the simplest movements, she seems to fill the entire space, and as soon as she tapers off, the entire thing falls apart (which isn't saying much for me because though she and I share the front row, I'm the last to leave).
Anyway, including Margot Fonteyn, this is the study so far, everything I've invested in since mid-December, 185 parts long.
High / Low Study of Dance and
Movement
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