‘Arguably one of the most challenging aspects of Swan Lake, unbeknownst to the audience, is standing in a perfect diagonal and holding an active tendu front.’
When I remove my pointe shoes at the end of the night, a layer of expired white skin peels away with them. The water in my plastic ice trays is not able to solidify at a rate expedient enough to keep up with my feet-freezing rotation. I have noticed an undercurrent of those few sections of the Swan Lake score to which I don’t actually dance taking on a cacophonic harmony to those pieces I am rehearsing in the flooded soundscape that is my thoughts. The resulting contrivance is impossible to silence, nor ignore, so I’ve taken to humming along in appreciation of my mind’s attempt to remix Tchaikovsky’s compositional genius. As Swan Lake side effects crop up, I’ve learned it is important to pick your battles.
At the risk of dramatizing the ballet world tp the delight of Hollywood, working through a ballet like this one does feel, at times, a bit like fighting a battle. Pushing…
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