Great dancers are not great because of their technique, they are great because of their passion.
In a ballet performance there are typically no words spoken from the stage. The dancers must tell the audience the story (if there is a story) using only their body movements and gestures , which they execute to the accompaniment of music . Often mime is used to relay specific elements of the story.
Those who present directly and immediately the new forms and symbols are the artists the dramatists, the musicians, the painters, the dancers, the poets, and those poets of the religious sphere we call saints. They portray the new symbols in the form of images poetic, aural, plastic, or dramatic, as the case may be. They live out their imaginations.rollo may
To me, boxing is like a ballet, except there's no music, no choreography and the dancers hit each other.
All night has the casement jessamine stirred To the dancers dancing in tune; Till a silence fell with the waking bird, And a hush with the setting moon.Tennyson
By the way, dancers are not human beings. How can you be human and do what they do?alesha dixon
Thou hast thy calling to some palace-floor, Most gracious singer of high poems! where The dancers will break footing, from the care Of watching up thy pregnant lips for more.
Ballet 's image of perfection is fashioned amid a milieu of wracked bodies, fevered imaginations , Balkan intrigue and sulfurous hatreds where anything is likely, and dancers know it.
The costume changes have over the years been adopted by kathak dancers, mainly because the peshwaz is more comfortable and also allows viewers to see the intricate footwork which gets obstructed by saris and long ghagras . Rao uses all three costumes for her dancers-saris, ghagra-sari and the peshwaz.
We have several parans or rhythmic patterns based on Ganesha , which are recited or sung, along with accompaniment on the tablas . Similarly there are verses dedicated to Siva and Saraswati . There's a special invocation for Krishna , who is the patron saint of kathak dancers
...in the Kathak format, which have for long been forgotten by solo dancers. In their impulse to gain instant popularity they have concentrated only on what brings an instant response from the audiences. To this day I have not had to look outside the Kathak technique for movements and forms.
Everything is bizarre, sub human and superhuman all at once. The dancers do not walk like human beings - they glide… The world we know offers nothing even remotely comparable to this grotesque splendor. Watching these spectacles one is transported to a world of dreams for that is the only place where we might conceivably meet with anything similar.
In the absence of a well-defined structure, Mohiniyattam had earned qualifiers like ‘poor cousin of Bharatanatyam , ‘an off-shoot of Kathakali ' and so on during the 60s and the 70s. This had motivated quite a few dancers to make serious attempts to provide the dance form with an identity indigenous to Kerala;
When the dancers had only the static sculptures of the temples to recreate Odissi, their task was to design the movement from stance A to stance B in a way designing the in-between space or the transition from one gesture to another, which can be likened to the process of moving through a temple or going down a stepped well and experiencing the different threshold to reach the destination.
Indeed, the Odissi seen today is the result of a continuous life long effort made by some Gurus and dancers of Orissa.
The Odissi dancer Samjukta Panigrahi...carried the heritage of an ancient art form revived in her body. Her artistry was based on the teaching of her guru Kelucharan Mahapatra, her ability to give physical form to the ancient carvings of temple of temple dancers on the walls of the temples in Orissa, and the transformation of the Natyashstra’s performance rules into the odissi dance form.
The most important feature therefore of this dancer’s form is that its text is constantly evolving and gets ‘texted’ on the dancers body, and inspired by his immediate frame of reference. That is the reason why many of the hand gestures, central to Indian dance, have evolved from local traditions and bear vernacular names ( Hairi Haath , Mishing Bihu Haath , Chhatradhari Haath , Roja Haath , Mujura Haath and Rati Haath ). The same holds true of the gaits called Khoz , which go by names such as Balimahi (wagtail), Mukuti (egret) and Buguli (crane).
Yakshagana Badagtitu Baylata with its vigorous, and fast moving and yet intricate steps, sometimes rough, at other times gentle and delicate in their varied patterns, captivates the spectator and engrosses him in their essential rhythm and movement. It is in the sensual response of the audience to this movement, the beat of the drums and the pervading and persistent rhythm of the dancers’ ankle bells wherein lies the essence of this dance.
Just as you have to learn your ABC’s in order to read and write, dancers have to learn the basic exercises and positions of ballet in order to perform choreography on the stage. They practice these exercises every day in order to keep their bodies limber and in top performing shape.
Developed in the early 19th century, pointe shoes are worn by female dancers to enable them to dance on the tips of their toes.
Male dancers typically do not wear pointe shoes. They wear ballet slippers or special ballet boots that are flexible enough for them to move in.
To highlight and accentuate their eyes, cheeks, noses and other features, all dancers, male and female, wear makeup when they are onstage.
A tutu is a special kind of skirt worn by dancers in many ballets. When the first ballets were performed in the 15th and 16th centuries, female dancers performed in the courts of royalty wearing floor length gowns with heavy decorations. These cumbersome outfits greatly restricted their movements.
In the early 1800s, with the development of the pointe shoe and the many stories about fairies and nymphs, the Romantic tutu became popular. This skirt came below the dancers’ knees, and gave them a dreamy, ethereal look, while allowing them to move more freely.Karen Kain
Except for times Fred worked with real professional dancers like Cyd Charisse, it was a twenty five year war.
You can get dancers like this for 75$ a week.
I once said that fifty years from now, the only one of today's dancers who will be remembered is Fred Astaire.
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