Dancers have a different relation with their body than normal people. Maybe they dont identify themselves so much with it, they use it as a tool to express themself. However, ballet education nowadays lays too much stress on the athletic aspect of it and less on the creative one. This makes dancers focus too much on the body and they loose the contact with their soul. No doubt, the classical technique has got be acquired, but this happens sooner or later. In the end the strick, army-like discipline, the endless hours of rehearsing and training, wipe out any creative impulse that the dancer may have and maybe even the wish to dance. The ones who get through this training might get rewarded when dancing in ballet companies, it seems that one minute on a big stage with a warm audience makes one forget all the hardships and difficulties that one had to go through to reach there. But even then, the creativity of the dancer is limited to the opinion of the choreographer and the artistic director of how a certain piece should be performed. Again you have to discipline and limit your creativity to the one of the group or to the one of your artistic director... Some companies do give their dancers the chance to choreograph which I find great. This doesnt happen very often though and most of the time dancers are mere clerks that have to execute tasks on stage.
I insist that the creativity of the dancer has got to be promoted and cultivated when he is still undergoing the academic training. That is the time where the mind and soul blossoms, when its much easier to dive into the depths of the human existence, and discover the limits of the body and the intensity of emotions. Actually dance and maybe any other kind of art has to do solely with the emotions. Its the expression of intense emotions sometimes magnifying them, sometimes beautifying them, that depends. Still, the main subject is emotions. Students of dance have got to be encouraged to read literature and poetry, so that they can relate to these emotions. In fact, I believe there should be a subject in ballet schools where literature and poetry is being analysed, in the same way we did that at school. There are so many librettos available, students should start with getting to know the stories behind all ballets and analyze them. I am amazed when I meet students of ballet that dont know the stories behind most important ballets of our century. It seems that theoretical analysis and knowledge of the history, technique and concept of dance is a priviledge of those who want to study as dance teachers or movement analysts. The education of a dance teacher though, is deprived with the most important priviledge that professional ballet dancers have: to really know how to dance!!! and not to merely talk about it.
8 comments:
Not much I can add to this, except it must be true. I corresponded with a ballet dancer once who said pretty much what you say here. That all the other girls were so ignorant, culturally, only caring about the physical aspects of dancing.
This is one of the reasons why I never felt completely comfortable with the ballet system. There are ways to change this situation and create a new wave in the ballet culture. But is would take a lot of effort and time.
That is actually what modern dance has been trying to do the past century, to make people think.
I love modern dance.
:) me too.. under circumstances... some times they make atrocious things in the name of modern dance... but real modern is amazing.
A ballet classmate sent me this link. I started ballet as an adult beginner. People are amazed that adults are doing ballet if they didn't do it when they were children.
I do other types of dance too because I find ballet focus too much on technique and not enough on emotion. I used to be a pianist. So, I need to express myself through art, whether it's piano or dance.
In Hong Kong, it's so strange that people always ask me what's the use of doing ballet if I am not taking ballet exam. That annoys me very much. I do it because I enjoy the time I indulge myself in the world of ballet. I know I won't be a professional ballerina but that doesn't matter. I don't need to do everything for money. I can do something for myself.
Thanks for your very interesting comment Ruth! I have seen many adults practicing ballet and I have to say that I am very happy when I meet such people. It takes twice as much courage to go through this difficult training even if it is just a few hours a week, merely as a hobby.
The problem with ballet and the artistic expression is that the technique has to be conquered before one can express himself through ballet. The training is pretty dry and focuses on technique. Also, we need to remember that the training is there to support the appearance on the stage, so if the stage appearances are not there, naturally one misses that for which one actually prepares ones self; the performance.
Maybe ballet teachers of adults should organize small shows and teach more choreographies and repertoire to transmit the dancing feeling and give a chance to people to express themself. This is something you can also suggest to your teachers.
I can imagine that its annoying when people ask you why you are practicing ballet. You are quite right that art is there for our soul and not to prove anything to anyone. What is the use of a dozen of certificates if you are unable to enjoy what you are doing and really use dance as a means of self-expression and joy? Because ballet is for everyone.
Hi, I know this is an old thread but the topic never gets old. The thing about ballet training, like opera singing, is that to master ballet technique in any meaningful way takes years of intense discipline to just execute the vocabulary. I'm convince from my own 20 years of ballet dancing that few people can be particularly expressive when the technical requirements get tough. It's just the nature of the thing. Also, people get so focussed on "getting the steps right" that they forget what the point (no pun intended but I'll take credit) of the dancing is. As to why people dance or choreograph... that's a separate discussion altogether. :) - Marcos
Hi Marcos!
Unfortunately, and as you describe it, these problems arise in all kinds of arts that require extensive training for a virtuoso technique. Somehow I think that this is a problem of the "classical arts". In classical arts the expression is subtle whereas in modern arts it is more gross and thus maybe more visible. In the classical arts technique is extremely difficult while in the modern ones, there is much improvisation. Sometimes a perfect technique has a personality of its own just as its total absense has.
The interesting thing is that there are actually techniques related to the use of the upper part of the body that gift the dancer with more expression. This makes expression through technique. This is called acting. The problem is... should a dancer act or be?
Another hardship that I as a former dancer faced was that I could not possibly invest my emotions daily on the training, it was something I was saving for the performances. And yet the teachers do require the daily training to be done as if you are on stage. That was very tiring from a psychological point of view.
The dancing of Galina Ulanova in Chopiniana is to me a dream state which none of the greatest dancers of our time can achieve. She would not raise her legs more than 90 degrees but that was not important because she really and actually "danced".
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