7 Odd Thoughts Bunheads Have…

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Image by KCBalletMedia. Licensed under Creative Commons Attribution 2.0 Generic.

Why aren’t all floors sprung?

(Via Giphy)

I’m already missing this performance and it’s not over yet…

(Via Giphy)

Why isn’t there a Ready-to-Wear version of this tutu?

(Via Giphy)

The scent of a musty, dusty, old theater can be kind of magical…

(Via Tumblr: Pactressia)

It’s a very Swan Lake-ish night…

(Via Giphy)

Where’s a good doorframe to stretch my leg against?

(Via Tumblr: Maschaxd)

The weekend is for…rehearsal!

ekaterina kondaurova mariinsky theatre gif

(Via WiffleGif)

Video Break…

Love this performance by Sara Mearns! ❤

“In “Walpurgisnacht,” Ms. Mearns gives the single greatest ballerina performance of our era —hurling out fantastically bold, amazingly precise, rivetingly complex dance coloratura with musical blaze and rich colors. I say “hurling out” — this is exultant, space-filling dancing, with a strong element of swagger — but I don’t underestimate the twinkling wit of Ms. Mearns’s delivery, the driving impulsiveness of her self-contradictory turns to right and left, the subtleties of her unexpected pauses.”

– Sara Mearns, in Her Prime at City Ballet, Inspires Debate and Awe, Alastair Macaulay, The New York Times, June 25, 2015

 

Scary Beautiful

Interesting observation about the Wilis

“Skeaping’s production is not necessarily less scary than others, but it conveys terror through beauty: the implacability of the Wilis is all the creepier when they are so soft and sylph-like.”

– Hanna Weibye, Giselle, English National Ballet, London Coliseum,

Paris Opera Ballet (another beauty-is-creepier version)

The Impact of the Color of Costumes on Balanchine’s Waltz of the Flowers…

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Wikimedia Commons Public Domain Image.

Balanchine’s Waltz of the Flowers is my favorite version of this dance I’ve seen thus far. In my 2015 artsBHAM review of Alabama Ballet‘s production I wrote:

“The “Waltz of the Flowers” is the choreographic highlight of the ballet — a continual folding and unfolding, circling and whirling, drawing together and drifting apart. […] In Dewdrop, Balanchine may well have created the most choreographically memorable character in the ballet with her springing, gliding, at-home-in-the-air movements.”

Beyond the masterful choreography, the color of the costumes and the warmth or coolness or exuberance or reserve or anything in between that their palette evokes unavoidably plays a role in the overall impact of the dance.

Here are videos of different wardrobe interpretations of the Waltz of the Flowers from six productions of Balanchine’s Nutcracker. (Not among these videos are Alabama Ballet since their costumes are based on the Karinska designs used by New York City Ballet and Royal Danish Ballet because I couldn’t find a clip of their Waltz of Flowers, but here’s a photo.)

What do these hues suggest to you? What do they help highlight in the music and choreography? Which do you like best? Or least? Are there colors that you think would work better? Let me know your thoughts in the comments…

New York City Ballet

Pacific Northwest Ballet

Miami City Ballet

Oregon Ballet Theatre

Pennsylvania Ballet

Central Pennsylvania Youth Ballet