I'm sure many of you have done yoga. It's quickly becoming compulsory in summer intensives and college dance programs, and many professional dancers swear by it as a great supplement to their classes. Yoga comes easily to ballet dancers, as the flexibility, discipline and core strength required is often already there. But while I've heard so many dancers talk about the physical benefits of yoga (increased flexibility, strength, and balance), I don't often hear many talk about the mental benefits.
Thanks to the popularity of Black Swan, featuring Natalie Portman as the tortured ballerina Nina Sayers, I get asked a lot of questions by non-ballet people (pedestrians), about the actual experience of being a ballet dancer. The same thing happened after Center Stage came out--all of a sudden, everyone was interested in what the world of ballet was like, and if it bore any resemblance to the worlds these movies created. Most people are disappointed when I say no, not really. Those movies exaggerate every thing, and every stereotype about ballet to such a
The Erik Bruhn Prize may be a quirky competition (participating dancers must come from one of the companies that Bruhn was associated with during his lifetime), but it has showcased many top dancers when they were just starting their careers.
Ever wish you could soar like American Ballet Theatre’s Jose Manuel Carreño? This summer, aspiring professionals can train with the soon-to-retire principal at Carreño Dance Festival in Sarasota, Florida, and can learn a few of his tips and tricks.
As Web Editor, it is my happy responsibility to go to cover shoots and edit the behind-the-scenes videos that give you a glimpse of the process. I recently edited two videos featuring two very different ballerinas, from very different places and schools. It made me realize that contrary to the opinion of many teachers and dancers, there is no one way to move beautifully. The ballerinas I'm talking about are NYCB principal Sterling Hyltin, and the Kirov's Yevgenia Obraztsova.
Although some companies have tightened their belts over the past few years, the Princess Grace Foundation has remained a reliable source of financial support for emerging artists. Each year, the judging panel chooses five or six up-and-coming dancers to receive a Princess Grace Award.
In my last few blogs, I've written about the upcoming audition season, and today, I want to address one of the most important parts of the process: Audition photos. Most summer programs, schools and companies will ask you to bring photos of yourself in certain poses; I've seen first arabesque, developpe a la seconde, attitude croise and others requested. The hard part, obviously, is not doing these poses, it's getting them to look good on film.