#An Exceptional Kitri

[tikitania]

I'm not sure if this is a new promotion or what but I just realised that Pinja Rissanen is a principal dancer with the Varna State Ballet already??

Thanks, Anon! I had not been following her career, but I'm so glad that she seems to have landed on her….toes! She certainly charmed me in the graduation performances, and especially in her Kitri performed at the International student gala. Hope to see and hear more of her in the future!

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[ballet-symphonie]

I need to rant somewhere: Catherine Pollack wrote this on her instagram: LIKE WHAT THE FFFFFF. The irony is that she posted videos of Khiteeva dancing BEAUTIFULLY alongside this.

A memorable matinee performance of “Raymonda” took place on March 15. First, there were more than twenty debuts in roles ranging from principal to secondary and character parts. Second, and unfortunately, A. Ermakov was injured during his variation. Another factor, in my opinion, was the accumulated stress caused by his many years of being (and there’s no other word for it) exploited as the company’s tallest and strongest male dancer, tasked with lifting larger female soloists. Instead of getting into shape themselves, these dancers relied on his exceptional partnering abilities. He repeatedly risked his health by lifting performers of weight categories that, by definition, should not exist in classical ballet (though this doesn’t entirely apply to the debuting ballerina). Before long, the tall prima ballerinas of the Mariinsky will have no partner to dance with, because these female soloists simply cannot lose weight.

By the way, Andrei “jumped into” the production, replacing T. Askerov, with whom A. Khiteeva had been preparing her debut (Timur withdrew a couple of days prior). I must commend Alexandra’s resilience and resourcefulness: having lost her partner on stage, she instantly adapted and filled the sudden gap in Jean de Brienne’s coda with an improvised repeat of her own coda using passé relevé—at an incredible tempo and with aplomb. Bravo! In the current climate, stress tolerance is in high demand; the company needs ballerinas it can depend on.

All the same, A. Khiteeva’s inclusion in “Raymonda” is contentious for reasons I’ve already discussed in my notes. Her artistic type is more ingénue than Grand Dame, and her access to the lead roles in “Swan Lake,” “La Bayadère,” and “Raymonda” was justifiably restricted, primarily due to her ballet and physical attributes—her stocky figure and proportions.

“The role of Kitri can be assigned to a highly agile ballerina… But to dance Odette and Odile or Raymonda, a ballerina must have a slender figure, ‘singing’ arms, and long legs. Dancers with a squat figure are not suitable for these roles…,” writes choreographer R.V. Zakharov, and I share his opinion. To be continued…

I thought on the whole, Khiteeva danced very well, especially given the last-minute partner switch. Khiteeva has a lovely presence, vintage port de bras and elegant, restrained classical lines and I've read numerous comments saying her persona isn't done justice on the video. I know Khiteeva is not the most traditional adagio dancer but I was blown away. The dream adagio variation is stunning, smooth, and calm and the details of her port de bras are unmissable. Not to mention, her reprisal of the coda, when Ermakov had gotten injured literally just minutes before, takes nerves of steel (and iron calves).

My main criticisms with her lie in the wedding variation, her legs just look a little shot and you can tell. I thought she looked a bit tired and this affected her upper body and epaulement as well, which was gorgeous for most of the ballet. There was wobbly pointework and some clunky and imprecise pas de bouree. This variation is deceptively difficult because it's so simple and your mistakes are so easily visible, and you have to dance it at the end of a very long ballet. Khiteeva has some progress to make in terms of her stamina for a full-length ballet, especially one as intense as Raymonda but I thought this was a very solid debut.

Regarding Pollack's complaints about on 'overweight' ballerinas. Khiteeva's body type, while not as slender as some of the other Mariinsky dancers, resembles a lot of dancers in major European and American companies. I'm not going to name names but look at some of the top principals at the Royal, Dutch National, and even Paris Opera for instance. Of course, all of the women are in ridiculous shape, but few are as rail thin as many of the Russians, this doesn't affect their ability to dance or portray particular characters in ballet. This is separate from talking about typecasting or technical abilities.

And while I don't disagree that Ermakov is overworked, telling the women that they need to diet to extremes is just not the solution. Google says Ermakov is 195 cm, at that height, he's going to be responsible for dancing with the tallest women in the company. Mariinsky knows what dancers they have employed- and they have a lot of tall, long-legged women. They're not suddenly going to weigh (nor should they) the same as shorter dancers. There is also not an actual 'definition' of a magic weight that a professional dancer has to weigh. I'm sure Pollack is referring to the VBA regulations but those are incredibly stringent, (girls over 50kg are often not allowed to be lifted) and have been consistently tied to eating disorders and also are structured for students going through puberty, not fully grown women. I know for a fact that these are certainly not followed in the professional world. Certainly, there is pressure to be in shape and to be thin, but different bodies carry weight differently and there is a growing acceptance of dancers looking like women and not like toothpicks, especially in the West. Case in point, I weigh more than 50kg, I'm dancing pas de deux, classical and contemporary on stage with a prominent theater, as do many of my colleagues. So much about safe, effective lifts is about technique, coordination and trust, not just about a number on the scale.

The bigger issue, which Pollack makes no mention of is that Ermakov does not have enough help. Among the principal men, Kimin and Stepin haven't been cast with the tallest women, only Askerov can really chip in. Considering the first soloists, Belyakov is useful but Capitane is not tall enough, Korneyev and Konovalov are not the most stable partners, Sergeev is aging out of big classical roles and Zverev's stage presence is frequently lackluster. The second soloists have a lot of young guys, who are slowly developing but have limited repertoires at the moment. I think Malyshev and Baibordin have a lot of potential, but I'm not sure either of them has danced a principal role in a full-length ballet. They can't be go to, pinch replacements with their lack of experience. This is one consequence of MT being so slow to develop their younger men, it means that people like Ermakov and Askerov have more intense workloads and are more vulnerable to injury. Now I wish the MT management did more to combat that, if they want to continue to hire so many tall, lanky women, I wish they would be more proactive about hiring men and continuing to look outside VBA for talent.

[patricedumonde]

I need to rant somewhere: Catherine Pollack wrote this on her instagram: LIKE WHAT THE FFFFFF. The irony is that she posted videos of Khiteeva dancing BEAUTIFULLY alongside this.

A memorable matinee performance of “Raymonda” took place on March 15. First, there were more than twenty debuts in roles ranging from principal to secondary and character parts. Second, and unfortunately, A. Ermakov was injured during his variation. Another factor, in my opinion, was the accumulated stress caused by his many years of being (and there’s no other word for it) exploited as the company’s tallest and strongest male dancer, tasked with lifting larger female soloists. Instead of getting into shape themselves, these dancers relied on his exceptional partnering abilities. He repeatedly risked his health by lifting performers of weight categories that, by definition, should not exist in classical ballet (though this doesn’t entirely apply to the debuting ballerina). Before long, the tall prima ballerinas of the Mariinsky will have no partner to dance with, because these female soloists simply cannot lose weight.

By the way, Andrei “jumped into” the production, replacing T. Askerov, with whom A. Khiteeva had been preparing her debut (Timur withdrew a couple of days prior). I must commend Alexandra’s resilience and resourcefulness: having lost her partner on stage, she instantly adapted and filled the sudden gap in Jean de Brienne’s coda with an improvised repeat of her own coda using passé relevé—at an incredible tempo and with aplomb. Bravo! In the current climate, stress tolerance is in high demand; the company needs ballerinas it can depend on.

All the same, A. Khiteeva’s inclusion in “Raymonda” is contentious for reasons I’ve already discussed in my notes. Her artistic type is more ingénue than Grand Dame, and her access to the lead roles in “Swan Lake,” “La Bayadère,” and “Raymonda” was justifiably restricted, primarily due to her ballet and physical attributes—her stocky figure and proportions.

“The role of Kitri can be assigned to a highly agile ballerina… But to dance Odette and Odile or Raymonda, a ballerina must have a slender figure, ‘singing’ arms, and long legs. Dancers with a squat figure are not suitable for these roles…,” writes choreographer R.V. Zakharov, and I share his opinion. To be continued…

What the actual F. Alexandra Khiteeva CLEARED that role and she is nowhere near stocky. What a disgusting takeaway from a beautiful debut. Khiteeva may not have the ideal ballet body by Russian standards but she is an absolutely beautiful dancer who can dance O/O and Raymonda. Wow. Just wow. In this day and age?

[amaretigris]

Developpe Ch. 4

1.2k words | Spicy fluff 🔥

Taglist: @luna2034 @mylittlemermaid221 @notagreekgal28

For reference in this chapter, the first pic is a fish lift, and the second is a fish dive. ☺️

That was a close call. Seeing you curtsey in your little ballet skirt, with only leggings underneath, gave Jonah ideas. The image of him bending you over his desk popped into his head, but he quickly shook it away. He didn't know what he'd gotten himself into.

In class on Monday, you were met with several glares. Several other ballerinas were huddled in the corner, looking you up and down, and whispering about why you'd been chosen for the lead female part in Don Quixote. You were a nobody from nowhere, after all.

Clearing your throat, trying to ignore the icy stares, you walked up to the casting list on the wall. You face lit up when you saw your name at the top for the part of Kitri. You were excited for the role, but just as excited that Jonah had kept his word to you. What exactly did this mean going forward? You weren't sure, but the possibilities thrilled you. While you were busy restraining your thoughts, you saw Jonah enter the studio.

Bouncing to your normal spot, you didn't turn to face him, but followed his reflection in the mirror. Jonah was carrying a stack of paper, and walked straight to the equipment closet. After he pulled everything out, he got everyone's attention.

"Alright class! The casting has been posted. I have the list of dance sequences for each role printed. This includes individual and group dances. Please pass these around and find yours in the stack. If you have any questions or issues, you can come to my office during office hours."

His expression grew stern for a moment.

"Do not, however, come to my office and ask me to reconsider the casting. These roles have been chosen for the dancers who have shown exceptional skill and proclivity."

You felt goosebumps covering your body at his words. The notion of Jonah thinking you were skilled was a pleasant one. You were flying high through class. You began practicing your solo dances. They were tough, but you were grateful to be learning them.

At the end of class, you put your jacket on much more carefully. As you slipped your fingers into the pockets, feeling the creases in the fabric, but no note, you were a little disappointed. Surely you couldn't expect one every day, though. He'd gone out on a limb to give you the first note. You should be happy for now, and patient.

The next class period, you found yourself struggling. You were practicing the couples dance with Sebastian, who had been cast as Don Quixote himself. You were happy your new friend had gotten the part, but the two of you didn't have the moves down yet. The couples dance included a fish lift, and you and Sebastian were not synced on the positioning.

"Again," Jonah said, watching the two of you.

You almost fell to the floor on this attempt, but Sebastian caught you at the last second.

"Are you alright, (Y/N)?" Jonah asked when you were standing back up straight.

You met his eyes.

"Yes. I'm sorry."

He shook his head.

"Don't apologize. Try again," he coaxed.

You two practiced this lift for the rest of the class period, with no luck.

"Don't cha worry," Sebastian smiled, "we'll get it soon."

You nodded.

"We will. Thank you, Sebastian. Nice work today."

Turning to retrieve your coat, giddiness rose up in your chest when you felt a sliver of paper in your pocket. You calmly walked out of the studio, unfolding it carefully.

My office for office hours.

Practically skipping back to your room, you showered, and busied yourself with tidying up your space until it was time to go to Jonah's office. The whole way there, you could feel your heart racing. You took a centering breath, and knocked on his door. Jonah called for you to come in. You noticed that he wasn't wearing glasses today.

"Hello," you smiled, taking the seat closest to him this time.

"Hello, (Y/N)," he smiled back at you, then his features twisted. "You and Sebastian seemed to have been struggling on synchronizing your positioning today," he said frankly.

You sucked in a breath. Shit. You hoped he wouldn't take the part away from you.

"I know. I'm sorry. Hopefully we can get it next time," you tried to placate.

Jonah shrugged his shoulders.

"Hopefully. I think we should try it."

You could hear the blood rushing up in your ears.

"W-What?" you squeaked out.

Jonah put on a wolfish grin at that.

"I said I think we should try it. I can show you the man's proper position. I'll just pull the chairs to the back of the room," he motioned to the chair you were sitting in.

He got up out of his own seat, and rounded his desk. You slowly stood, stepping out of the way for him to pull the chairs to the back wall. With those out of the way, he padded across his office. You watched him lock the door, and your adrenaline spiked. When his eyes met yours again, they had a mischievous twinkle in them. Seeing his larger frame coming toward you made you want to swoon.

"What if someone comes by?" You managed to choke out.

He was much taller than you, looking down at your smaller frame when he stopped only inches from you.

"No one will. You're the only student that's been brave enough to come by my office this semester. Besides, I locked the door," he cooed.

He held his hands up, gently caressing the back of your arms.

"Should we get started?" he breathed.

You didn't know if this was a good idea, but you weren't going to say no. Sucking in another breath, you raised yourself en pointe, and assumed your first pose of the dance. You were amazed to see Jonah lift onto his toes, too. Without another thought, you began, first going into the pirouette, then shifting to the battement. Jonah did the same, surprising you with his flexibility. Trying not to let yourself get too distracted, you spun into him, setting up for the fish lift.

Putting his hands around your waist and inner thigh, Jonah pulled you close to his body, and lifted you into position. He walked a small circle with you, then letting you go down into the fish dive. Feeling the magic of the moment, you didn't want it to end. Several seconds later, Jonah pulled you up. Suddenly turning to him, giggling with happiness, you came face to face with your instructor.

He seemed short of breath; you weren't sure whether it was from the move or the moment. Looking up into his soft blue eyes, you smiled.

"Thank you. That was wonderful," you chirped.

Jonah's dimples made their appearance, making your smile grow wider. You couldn't tear your eyes from his.

"It's no problem," Jonah insisted. "You just need an experienced partner."

Raising his right hand up to your cheek, he settled it there. Touching your skin, Jonah's eyes blew wide. This was the first time you'd ever touched skin to skin. He felt an instant spark through his fingertips. You felt the same pulse of energy, and your heart was beating out of your chest. You knew that he'd experienced the same sensation, based on his reaction.

"What're you going to do about it?" you spoke before thinking, casting your eyes down to Jonah's lips, and back up again.

Jonah creased his brow and studied your eyes until he made a decision. Nodding slightly, he urgently molded his lips to yours.

[talesofsorrowandofruin]

Heads Up Seven Up Tag

Thanks for tagging me, @zmwrites! :D

Here's the latest excerpt from The Power and the Glory:

Kitri had instinctively flung her arms up to protect her face and throat. She lowered them. For the first time she got a good look at the figure. Far from a horribly-injured walking corpse, she saw a perfectly normal immortal. Well, perfectly normal except for the snake curled around his chest. More startling than that was the fact that she knew him. "I know you!" she exclaimed. "You're… You're… Abi's fiancé." What was his name anyway? Ijehar? Imiyis? Irniyan?"You were there when she raised that mouse." Another thought struck her. "Is Abi here?" Maybe-Ijehar blinked at her. "Oh! You're Abi's friend. No, she's not here any more." "Any more?" Kitri repeated. She struggled to keep her growing fury out of her voice. Abi had visited but didn't have the decency to stay and face the consequences of her idiocy? The snake had moved slightly and was now resting its head on top of his. It watched Kitri through oddly intelligent eyes. She might have thought it was cute if it wasn't so very odd.

Open tag for anyone who wants to do this! :D

[akaripng]

— [˚ʚ♡ɞ˚] selfships

a/n: all my self inserts have the same name except for my genshin impact one, though they all have different backstories as they're from different fandoms. That being said each AU is different depending on the romantic f/o but the platonic ones stay platonic

♡ Genshin Impact ♡

↳ About Valentina...

Tighnari x Valentina ♡ valenari ♡ — #GardenSymphony Kazuha x Valentina ♡ kazutina ♡ — #WhisperingBreeze Xiao x Valentina ♡ xiaotina ♡ — #LunarReverie Zhongli x Valentina ♡ tbd ♡ — #CelestialSolidarity Neuvillette x Valentina ♡ valinette ♡ — #StarlightWaltz Wriothesley x Valentina ♡ wrioval ♡ — #NobleHarmony Alhaitham x Valentina ♡ alhatina ♡ — #ScholarlyLove Kaveh x Valentina ♡ tbd ♡ — #tbd Nahida x Valentina   ♡ tbd ♡ — #tbd Scara/Wanderer x Valentina ♡ scaratina ♡ — #WanderingHeart Lyney x Valentina ♡ valney ♡ — #DreamersDuet Venti x Valentina ♡ ventina ♡ — #SongbirdSerenade

♡ MHA ♡

↳ About Viri...

Aizawa and Shinso don't have ship names but they will have tags soon

Shinso & Viri ♡ none; familial ♡ — #SleepyBond Denki x Viri ♡ tbd ♡ — #ChargedAffection Kirishima x Viri ♡ kiriviri ♡ — #RedQuartz Bakugo x Viri ♡ katsuri ♡ — #FieryBonds Shoto x Viri ♡ tbd ♡ — #FrostFlame Hawks x Viri ♡ keiviri ♡ — #Skybound Dabi x Viri ♡ name ♡ — #tbd Mina & Viri ♡ mivi ♡ — #Glitz&Glamour Ochaco & Viri ♡ uraviri ♡ — #GravityPals Izuku x Viri ♡ tbd ♡ — #HeroicHearts ↳ Poly Selfships KiriKami x Viri ♡ kirikamiviri ♡ — #tbd KiriBaku x Viri ♡ kiribakuviri ♡ — #tbd DabiHawks x Viri ♡ tbd ♡ — #tbd

♡ Haikyuu ♡

↳ About Viri...

Akaashi x Viri ♡ akari ♡ — #CalmClarity Bokuto x Viri ♡ bokuri ♡ — #tbd Iwaizumi x Viri ♡ virmi ♡ — #tbd Oikawa & Viri ♡ virikawa ♡ — #AstroPals Suna x Viri ♡ vina ♡ — #tbd Osamu x Viri ♡ osaviri ♡ — #FlavorSync Kita x Viri ♡ kitri ♡ — #tbd Kuroo x Viri ♡ kurori ♡ — #CleverFeline Kenma x Viri ♡ viriken ♡ — #PixelHeart Sugawara x Viri ♡ sugaviri ♡ — #tbd Yamaguchi & Viri ♡ viriyama ♡ — #tbd Ushijima x Viri ♡ viritoshi ♡ — #SunsetWhisper Tendo & Viri ♡ viriten ♡ — #QuirkyCompanions

♡ TWST ♡

↳ About Viri...

Malleus x Viri   ♡ tbd ♡ — #tbd Leona x Viri   ♡ virona ♡ — #tbd Jack x Viri   ♡ tbd ♡ — #tbd Jade x Viri   ♡ tbd ♡ — #tbd Floyd x Viri   ♡ tbd ♡ — #tbd Vil x Viri   ♡ tbd ♡ — #tbd Epel x Viri   ♡ tbd ♡ — #tbd Jamil x Viri   ♡ tbd ♡ — #tbd

♡ Honkai Star Rail ♡

↳ About Kyra…

Mydei x Kyra ♡ myra ♡ — #tbd Jiaoqiu x Kyra ♡︎ jiaora ♡︎ — #tbd Jing Yuan x Kyra ♡ tbd ♡ — #tbd Blade x Kyra ♡ tbd ♡ — #EternalWounds Dr Ratio x Kyra ♡ tbd ♡ — #LogicalHeartbeats Dan Heng x Kyra ♡ kyraheng ♡ — #tbd Luocha x Kyra ♡ tbd ♡ — #SilkenDeceit Anaxa x Kyra ♡ tbd ♡ — #tbd Sunday x Kyra ♡ tbd ♡ — #SacredDaydream

(More to come later...)

[affablyevilshowdown]

Ok so lore is happening now (highly inspired by @white-boy-bracket bc I love them and everything that's happening over there). This won't be on their level cause I don't have a plot or a mystery but I've already planned out too much to not share.

If you don't want to see lore just blacklist Affably Evil Lore

-----

So, Alex from S and D tier is the ultimate supervillian and their power is yes. They were contacted by a dragon and the over excitable elf he's possessing (Virid and Kitri, my OCs). Kitri had this fantastic idea to have a villain convention where evil people from thousands of alternate universes could meet, swap stories, network and-

"Fight to the death!"

"No, Alex." Virid interrupts. He had been against this plan, knowing Kitri is mostly immortal but not immortal enough to survive the reality-warper if things went poorly. "We could all easily figure out who could beat whom in a physical fight, and you would win."

"It would be far more interesting to win a different competition," Kitri speaks again. "A popularity contest where the voters all have traditional morality yet love us anyway." There's an odd wistful tone to his voice that Virid immediately stomps out.

"And the best part, it wouldn't be canon." Virid says, baiting the trap.

"It isn't canon? It's not canon?" Alex chokes out, sounding like he was just run over by a truck.

"But my elf had an idea so here it is anyway" Virid finishes. These lovesick fools, so easy. (Kitri silently ponders how unfair it is that you can't glare at someone who lives in your head)

----------

So Alex creates a neutral non-canon convention space and summons thousands of villains at random (each with a plus one)

There are Laws set in place. Not laws like don't murder, no one here would respect arbitrary rules. Like gravity rules 98.6% of realities, here the Laws are:

First Law of VillainCon is don't talk about VillainCon

Every one must return to the dimension they came from at the exact moment they left

Complaints will be settled with additional time in the ball pit.

It's Not Canon (except for the wizard, the wizard IS canon)

Death is not permanent.

--------

Other details:

Taako the wizard is here. (I've never listened to Adventure Zone but someone once paid one of the McElroy brother's to say "Vriska did nothing wrong" in his character's voice and that lives in my head rent free). So Taako has a booth and gives some contestants (like HAL9000 and Jevil) gold star pins that say they did nothing wrong. These pins are the only things that can materially change people's lives once they return to their universe and it grants them a wish (but Taako decides the wish)

Ex. One contestant had been pulled out of his world right after he died and his pin allows him to stay resurrected once he's sent back.

-------

Basically I was thinking about the Bibi/Claire round bc when I was setting up the match I thought "mwa ha ha no matter who wins I'll be happy >:3" and that was true but the flip side is no matter who loses I'm going to be devastated. And then a part of me whispered "if you were an artist you could draw Amy and Chane being emotional support" and another part of me was halfway through writing a fic where those 2 bonded and now its a whole thing.

The joke about VillainCon not being canon is that Alex is helplessly in love with their roommate Morgan and in non-canon content, Alex and Morgan have explicitly romantic interactions.

Please ask me questions about Kitri, most of the content I write will be about the contestants and their plus ones but Kitri is my boy and both he and the dragon soul that lives in his brain are Affably Evil.

Yes this is incredibly self indulgent, I'm not sorry.

I only have 3-4 things planned so far but if anyone has ideas come talk to me!!

[balletroyale]

Asked and Answered starring unpopular opinions

care to elaborate why onegin is your favorite 20th century ballet?

The choreography is beautiful and actually really communicates emotions, it tells a story really well , it has many principal roles, the costumes and set are beautiful, you can actually like analyze the choreography. Plus I just love what it’s based on. 

Unpopular Opinion: The Sleeping Beauty prologue is boring af with the exception of the Curse scene. Also, not a fan of productions that make Princess Florine variation slow, which makes both the musical performance and the dancing really awkward.

100% YES | Agree | Sort of Agree | Meh | Don’t Have an Opinion | Disagree | NO WAY

I like the fairy variations way more. But I agree about Princess Florine. 

https://youtu.be/odu7cJ1eK10

the way this girl can do 96 but misty copeland can barely do 17 is very interesting to me

I mean they aren’t 96 good fouettes but yeah... I just think there are better comparisons than to someone just trying to show off. 

Over and underrated variations, in your opinion

Overrated: Black Swan, Raymonda Act III, Kitri Act I

Underrated: Tatiana Act II, Ashton’s Cinderella, Shurale, Marco Spada Grand PDD, and does Aurora’s entrance count as a variation?

What does Elya Sevenard drink ? After her three times in a row debut in Etudes it appears she has danced Marie yesterday and Gamzatti today

Lol well she is very young! 

Hi! I was wondering if you have any favorite Korean dancers (besides Kimin obv) 😄

I don’t know that I can really name others, if I’m honest. There’s too much ballet in the world for me to follow it all!

In my opinion Maria Khoreva writing a book is the symptom of the problem. The problem is that influencers get a lot of praise and admiration out of sympathy and not necessarily for their competance. This praise and the appeal to their authority (perceived by their fans) creates and reinforces the influencers believe in their own authority. I think that this one of the reasons for the influencer coach epidemic. Having many followers who blindly praise everything you do, doesn't give you anything. Many people don't question whose authority and competence they are appealing to. For example I caught myself listening to skin care advice from models. But they tend to be born with good skin, they didn't necessarily had to work on it. Even if they did, they only know THEIR OWN skin. This happens in other areas, like life or career coaching, people constantly asking influencers who have no degree or experience in psychology for advice on mental issues. Why are influencers recommending us supplements even though they didn't study nutrition. I see the same trend in the dance community. Kali Kleiman is, a student at SAB is another example. Her prominent social media presence in America always bothered me. Now i know why, she presents herself as this brand, as if she is already a finished person. She is another influencer recommending vitamins and mattresses without the medical knowledge. My point is that we should be very careful about who pay like a month's ent for mindset coaching or whatever. It is not as drastic in Maria Khoreva's case. Just ask yourself: Why do I want to take that person's advice? Sorry for the long text.

I don’t really follow a lot on Instagram so I can’t comment on this extensively but I agree. I just think there’s a real issue with students making social media profiles for themselves. And it’s sort of creepy all these people are follow children so much? But I totally agree about the finished person comment. Students on instagram present themselves as professionals which they are definitely not. And then going from last years in school to early years in company, when you SHOULD NOT have big roles, how are they suppose to suddenly show to their followers that they are not top dog any more? I think I’m just rambling at this point. But either way, I think if Maria Khoreva really respected ballet, its history, and the importance of its instructors (ESPECIALLY coming from the Vaganova Academy), she would not have written an authority guide to ballet, regardless of her position on Instagram.  

I love your blog.

Thank you so much! Comments like that really do mean a lot. 

[tikitania]

I need to rant somewhere: Catherine Pollack wrote this on her instagram: LIKE WHAT THE FFFFFF. The irony is that she posted videos of Khiteeva dancing BEAUTIFULLY alongside this.

A memorable matinee performance of “Raymonda” took place on March 15. First, there were more than twenty debuts in roles ranging from principal to secondary and character parts. Second, and unfortunately, A. Ermakov was injured during his variation. Another factor, in my opinion, was the accumulated stress caused by his many years of being (and there’s no other word for it) exploited as the company’s tallest and strongest male dancer, tasked with lifting larger female soloists. Instead of getting into shape themselves, these dancers relied on his exceptional partnering abilities. He repeatedly risked his health by lifting performers of weight categories that, by definition, should not exist in classical ballet (though this doesn’t entirely apply to the debuting ballerina). Before long, the tall prima ballerinas of the Mariinsky will have no partner to dance with, because these female soloists simply cannot lose weight.

By the way, Andrei “jumped into” the production, replacing T. Askerov, with whom A. Khiteeva had been preparing her debut (Timur withdrew a couple of days prior). I must commend Alexandra’s resilience and resourcefulness: having lost her partner on stage, she instantly adapted and filled the sudden gap in Jean de Brienne’s coda with an improvised repeat of her own coda using passé relevé—at an incredible tempo and with aplomb. Bravo! In the current climate, stress tolerance is in high demand; the company needs ballerinas it can depend on.

All the same, A. Khiteeva’s inclusion in “Raymonda” is contentious for reasons I’ve already discussed in my notes. Her artistic type is more ingénue than Grand Dame, and her access to the lead roles in “Swan Lake,” “La Bayadère,” and “Raymonda” was justifiably restricted, primarily due to her ballet and physical attributes—her stocky figure and proportions.

“The role of Kitri can be assigned to a highly agile ballerina… But to dance Odette and Odile or Raymonda, a ballerina must have a slender figure, ‘singing’ arms, and long legs. Dancers with a squat figure are not suitable for these roles…,” writes choreographer R.V. Zakharov, and I share his opinion. To be continued…

I JUST read this as well. Catherine Pollack is one of the most hardcore adherents to emploi in the strictest sense, but she’s not unique in the Russian ballet world. She has written scathing reviews of Shakirova (bad proportions, bad technique) and Bulanova (too heavy, bad taste) due to their physiques.

I find her writing to be annoyingly filled with double negatives that make her come across as ambiguous . She compliments certain aspects of Khiteeva’s debut, commends the coach for optimizing the Khireeva’s skills, but ultimately says she’ll never be a prima because of her physique. She’s not the first to critique Khiteeva based on that….but what’s really annoying is that she didn’t actually provide much of a review….she just rambled about “amplitude.”

I’m with you on the ranting.

[ballet-symphonie]

Did you see Inès McIntosh's Kitri debut clips? I was lucky enough to see it in person and in my very lowly opinion it was STUNNING!! She's also doing giselle may 22. I know a lot of people who have money on Héloïse Bourdon becoming étoile, but I prefer Inès very much, even if she's more junior.

I have seen some snippets of it floating around, her precision while keeping the youthful and energetic mood of Kitri is exceptional.

I know POB tends to be based more on seniority but I could see youth winning this race.

[melmothblog]

I absolutely agree with your assessment about older and more seasoned ballerinas and their life experience. You simply cannot ask the same performance in an emotionally charged role by a performer who has lived through love and loss and understands the emotions she's portraying and by a performer who is young and sheltered and still starting out her life. We were all different people at age 18 than we were at age 30. One has to ask if younger ballerinas are ready to the tasks they are given.

However, I try to appreciate what these young dancers bring to the table. Their "innocence" and youthfulness can bring a totally different interpretation of a classic character. Think of Khoreva doing Nykia. What people called boring I saw as a more innocent and younger version of Nykia. Think of Sevenard doing Kitri. People called it too pretty and not passionate but I called it youthful and sweet. These dancers (and others) live in a different world and bring something different.

-

You’re completely right. Young dancers can bring a unique perspective to a role. Life experience can’t be faked, but neither can innocence, naivety and youthfulness. Anastasia Nuykina as Masha in “The Nutcracker” comes to mind when I think about this. Masha is a young girl experiencing magic and meeting a fairytale prince. I think this photo of Anastasia captures the character perfectly:

-

And I think it would actually be harder for a seasoned ballerina to replicate this innocent, childlike joy*. Younger dancers may not be able to portray the seductive Odile or the hyper-sexual Zobeida very well, but there are other roles and other stories they can tell like no one else.

*Of course, there are exceptions. Like Ulanova. Ulanova portrayed a teenage Juliet while in her 50s, and she gives actual teenagers a run for their money.

d i s c l a i m e r

[kimblewrites]

WIP Intro: The Red Marksman

TITLE

The Red Marksman

GENRE

Action, Thriller, Political, Mystery, Romance, CHARACTER DRIVEN PLOT so there’s like way too many characters have fun guys hope you enjoy

THEMES

Military, Politics, Snipers, Spies, Siblings, Terrorism, Russia 

SETTING

Moscow, Russia, 2020

POV

3rd Person (Limited)

STATUS

First Draft  (finished during NANO last year and I hate everything I wrote :)

SYNOPSIS

The world has been infiltrated with branches of the terrorist group known as “Al-Ihdar”, and it seems that no country is safe from their destruction and influence - not even World Powers have been able to remain unaffected. 

Dimitri Ivansov, Sergeant of one of Russia’s most feared Special OPs branches, is renowned as the world’s greatest active sniper, earning him the name “Red Marksman” among both his allies and his enemies. The name carries throughout the world, used as a threat, a reassurance, and everything in between.  

Deployed in Syria, far away from the politics of Moscow, however, Dimitri could care less about the ways his identity is utilized. To him, it is simple; being the Red Marksman provides him and his sister with the money they to live. 

However, his world turns upside down as the threat of Al-Ihdar goes straight to his city. Without warning, he and his team are brought to the United States Embassy in Russia to protect high-profile bureaucrats attending a targetted international summit. 

Russia is not the only ones to protect themselves with a sniper. Upon his arrival at the Embassy, Dimitri is faced with the Enigma that is the United States’ chosen sniper. His perfect counterpart - his perfect enemy. 

Dimitri is not unfamiliar with being utilized, but for the first time, he finds himself asking questions about who exactly is pulling the strings, and what the Red Marksman will have to do next to survive this summit. 

CHARACTERS

DIMITRI IVANSOV))

-Russian Special Ops Sergeant

-Sniper

-Politics?? 

-He’s smart, just uneducated. He provided for his sister, Sasha, until he was 18 and could join the military

-10/10 would die for Sasha, btw

-Does what he’s told and tries to leave it at that

ALEXI YASENEV))

-Quiet

-But don’t let that fool you he’s got -4 impulse control

-He’s also kind of a fuckboy and he’s totally aware of it

-A really good spy just bc he’s SUPER sneaky

-Dimitri’s best friend

IVAN PETROV)) 

-An asshole™

-But I love him

-He and Dimitri pretend to hate each other but tbh they’d die for each other 

-Kind of pretentious 

-Very similar to Dimitri hence their rivalry 

ELLE YANOVICH))

-soft

-Literally the softest boi ever

-a bottom

-Also, major inferiority complex

-His dad used to work for the Kremlin and screwed around w/ a CIA agent while he was in the States and whoops there’s a child

-That child is Elle

-Is incredibly smart, though

-he can also run really fast

-Talks way too much

-Youngest of the team and is a major younger brother figure to literally everybody 

-Is dating Anya Syanova

-I would die for this boy no lie

ILYA ALEYEV))

-Pilot

-50/50 Russian/Iraqi

-Everyone is like “oH is YouR paReNt a TerrORIsT and Is thAt whY yoU joInED the MiliTarY?!?”

-But tbh his dad is an Iraqi engineer and Ilya just likes flying 

-Also very soft 

-Super chill w/ everybody, espically Elle

-Probably has road rage

VLADIMIR KUZKIN))

-Isn’t technically part of the team anymore

-He used to have Dimitri’s spot but he hurt his leg

-So now he just gives orders to the new team

-Is Dimitri’s dad

-Is Everybody’s dad

-He adopts every military kid he meets bUT HE’S A HARDENED VETERAN OK HE PROBABLY HAS A HAT THAT SAYS THAT OR SMTH

-He was also born at the end of the Cold War and is kind of anti-American except for Elle bc Elle is his son too

SASHA IVANSOVA))

-Dimitri’s younger sister

-Works analytics for the FSB

-Bc Dimitri helped her survive when they were kids and working an office job as counterterrorism helps him survive now

-The Nice Sibling 

-Friend’s w/ Dimitri’s friends, especially Elle

-Literally, she and Elle are a dynamic duo and she also set him up w/ his girlfriend, Anya

ANYA SYANOVA))

-Elle’s girlfriend

-Honestly the mean one of the two

-A top

-She’s not mean to Elle but just in general, she’s a lot colder w/ the people she meets

-She and Sasha are besties though

-She works for the Foreign Intelligence Service

-Her family all works for the Kremlin, namely her older brother, but she isn’t close to any of them. 

KITRI VINTER))

-Idk why I put her at the bottom, she's literally one of the main characters

-American! Dimitri

-Not really, but she is a Delta Force Sniper 

-Dimitri expects someone like him (cold, calculating, etc)

-But Kitri is Literally???? So Nice??

-An actual ray of sunshine

-Like yeah, she’s super efficient at her job and she’s willing to kill somebody

-But if you met her outside of her work you would have never guessed what she does for a living bc she really cares about being a good person

-Dimitri realizes that that is what sets them apart, bc he doesn’t really ask moral questions about what he’s being told to do

-110% a flirt

-Literally, the second she and Dimitri start working together, she throws him off his game and it’s just sexual tension for the entire book.

-I love her, ok???

MIRIAM LECLERE))

-French Ambassador to Russia

-Is nice but it’s more like “seems fake but ok” type nice

-Don’t wanna say much bc I don’t want to spoil!!!

-Dimitri’s supposed to protect her and yeah

-Also, a flirt expect Dimitri doesn’t like flirting w/ this one

A/N) 

Tbh I kind of hate this storyline but I kind of find the characters endearing and I wrote it for NaNoWriMo and now i’m not really sure whether I should actually continue writing to a second book I have planned or if I should just let the story sit in my head to think about? Idk, hope you enjoyed though :)

Reach out to be added to the taglist

[talesofsorrowandofruin]

Character Inspiration Tag

Thanks for tagging me, @primroseprime2019! :D

Rules: list your OCs and say which other characters inspired them. This is tricky, because very few of my OCs are inspired by other characters. However I do tend to give my OCs various traits of mine...

Kilan: Well... D&E started out as Hades-and-Persephone-meets-Alice-in-Wonderland, so I guess you could say he’s (very loosely) inspired by Persephone and Alice?

Death: Originally very loosely inspired by Hades. Now not inspired by anyone

Qihadal: No one

Gialma: Me. We’re both socially awkward and terrible at communicating

Hailanyu: No one (though I made him a writer like me)

Kiroshnoy: No one

Abi: Umm... Wei Wuxian from Mo Dao Zu Shi/The Untamed, I guess? Because they’re both necromancers?

Irímé: No one (unless you count me, because I made him a socially-awkward writer)

Ilaran: No one

Mirio: No one (except me again, because he’s the only sane person in his family)

Lian: No one

Kitri: No one

Diarnlan: Original Shen Qingqiu from The Scum Villain’s Self-Saving System

Karandren: No one

Yo-han: Sherlock Holmes, Poirot and Miss Marple

Phil: No one (though I guess you could say she has a little in common with Dr. Watson)

Leo: No one (though I guess you could say he has a little in common with Moriarty)

Alec: No one (though I gave him my complicated relationship with religion)

David: No one

Konstantine: No one

Rusudan: No one

Hariye: No one (well, no fictional character. His story is Extremely Loosely inspired by a real person)

Ketevan: Ditto. She’s inspired by a real person but not a fictional character

Tagging @lightgriffinsect, @writingamongther0ses, @sam-glade, @ragnarokproofing, and anyone else who wants to do this! :D

[gramilano]

Don Quixote with Nicoletta Manni and Timofej Andrijashenko © Brescia e Amisano, Teatro alla Scala 2018

Rudolf Nureyev’s Don Quixote is a romp. From start to finish it zips along at a frenetic pace, with frenetic steps. That is, except the prologue — Don Quixote’s house — and a prolonged mime scene in the Act Three tavern scene. Unfortunately, for the revival at La Scala, these scenes seem to have been left as an afterthought in the rehearsal process for the dancing is very fine indeed, but the acting is often way off the mark: mistiming of gags, hammy characterisation (old man Don Q staggers around the stage with his legs apart as though he’s wet his nappy), and the unbelievability of the situations. If the characters in their costumes are already overblown, they can be played as real people, not for laughs – they are already absurd and funny from the moment they walk on stage. Overacting kills comedy. Gianluca Schiavoni as Sancho Panza was one of the few saved by restraint.

The dancing by La Scala’s current clutch of 20-somethings however was first rate. Nicoletta Manni radiated mischief and charm and was a Kitri who looks down on her fellow villagers with amusement and pity. It’s as if she knows that soon she will escape from humdrum village life, though marrying a barber is an improbable route out of the village… Act Four: she divorces Basilio and marries Don Quixote?

Manni’s confidence in her technique is supreme – triple pirouettes, her 32 fouettés almost on the spot with double turns throughout, balances found on every arabesque relevé — but she is also blooming as an artist, and became the focal point of every scene she was in.

Don Quixote with Timofej Andrijashenko © Brescia e Amisano Teatro alla Scala

Her Basilio was Timofej Andrijashenko, a fine dancer with danseur noble lines and comportment. He’s not a natural Basilio having none of the wicked glint in his eye that Baryshnikov had (curiously, both men are from Riga) though he does come across as sweet and loveable, so it is understandable that Kitri is smitten. This run marks his debut in the role and he wasn’t completely at ease with Nureyev’s challenging and sometimes awkward choreography, and occasionally tempi slowed down too much to accommodate him, yet the almost impossible combination of four double turns in the air landing each time in arabesque, alternating from left to right, he carried off marvellously. When Leonid Sarafanov danced the role at La Scala in 2011, for example, he chose to do three of these combinations in a diagonal across the stage on the same leg, a simpler version which was in Nureyev’s earlier versions of the ballet (Nureyev dances this variation in the Australian Ballet video filmed in 1972). Andrijashenko needs time to get the steps and the character into his head and body. Later in the year the company will be taking the ballet to Australia and China and he’ll certainly have the success there that he deserves.

04 Don Quixote with Martina Arduino, Marco Agostino © Brescia e Amisano, Teatro alla Scala 2018

13 Don Quixote with Antonino Sutera © Brescia e Amisano, Teatro alla Scala 2018

16 Don Quixote with Virna Toppi © Brescia e Amisano, Teatro alla Scala 2018

Martina Arduino’s fiery and flirty Street Dancer was an enticing appetiser before her debut as Kitri in the last performance of the present run, and Espada was Marco Agostino, (who will be Arduino’s Basilio), who had bravado fun with his cape. The way Nureyev moves the eight toreadors and Espada from the back of the stage to the orchestra pit, with just one shoulder tilted toward the audience, is an example of his masterfulness at handling groups with simple yet effective patterns. Similarly seen with the final act fandango, the gypsy dances and, of course, the end of the first and third acts with the entire company continuing to dance as the curtains close.

Virna Toppi was a cool and confident Queen of the Dryads, and Antonella Albano made a cute Cupid. Antonino Sutera as the Gypsy gave his super-energetic all, as always. Two of the most glittering performances though, came from Kitri’s friends, beautifully danced by Alessandra Vassallo and Caterina Bianchi who were poised, playful and thoroughly charming.

Don Quixote with Nicoletta Manni and Timofej Andrijashenko © Brescia e Amisano, Teatro alla Scala 2018

Don Quixote shows off first-rate dancing by La Scala’s clutch of 20-somethings Rudolf Nureyev’s Don Quixote is a romp. From start to finish it zips along at a frenetic pace, with frenetic steps.

[ninemoons42-lestallumhaven]

This was supposed to be a snippet, @voxiferous! What the hell happened to my brain! I am so sorry! (And if you’re okay with this I’ll post it to AO3 later?) (Also yes, that’s the song for today, from me)

Credits: Lisa Macuja in La Bayadere // Cross My Heart by DAY-BREAK

ninemoons42 writes: cry havoc and kick up your heels

Spring, coil, flex, and he literally hears the words in Ignis’s voice and he can’t be mad, can’t fault the other man, because the words really do help, but -- maybe not when he suddenly switches back from the kind of thinking that lives in his bones and nerves and pure skin-knowledge to the kind of thinking that lives mostly in his mind, and that not always attached to the rest of him: he’s coming down, he’s falling fast, the high evaporates, and he hits the floor on flexed feet and bent knees and -- he growls, and says, “Stop playback,” and the music in the room cuts off on the voice command.

Fuck’s sakes, Noctis Lucis Caelum thinks, and very carefully keeps his gaze locked on his turned-out feet. It’s just a delay. It’s just a small setback, all things considered. It’s a damned accident, and nothing more. The world will keep, and he’ll keep going. It’s bad fucking luck. Ravus Nox Fleuret will make a full recovery in two months. Things will get back on track.

So now Noctis can’t dance and now Noctis can’t concentrate, either, not long enough to hang on to the same damned warmup routine he’s been following for the past year.

Beneath his feet the wooden planking creaks gently, softly, almost reassuringly. Dark-gray knots and burls in fine-planed honey-colored wood, the grain still mostly free of the little cracks and craters left behind by too many practicing feet, too many hard landings.

He sits, hard, and curls up into a small tight knot of misery and muscle, and in the process he catches sight of himself in the three mirrored walls and he sees a small boy, a miserable boy, hunched over and trying not to cry, reflected and reflected again. Infinity of images, his own childhood instead of who and what he is now, every other step like distilled agony as he learned to get back on his feet, and this is bad, if he’s flashing back to that part of his life when he’s here in a safe space.

Maybe Luna is right, after all, and he has to stop dancing for a few days.

He certainly isn’t going to do himself any favors, if he winds up injuring himself through careless practice, and then he’ll go down as Ravus did and for the same damned reasons, and he might as well forget about doing the show completely, and that will be six years of groundwork and heartbreak and joy and pain and truths with teeth in them, all gone, all gone forever, worse for having missed its moment.

He sobs, once, and tells himself he’s okay.

Thump, from somewhere nearby.

Thump. Thump. Again and again and again.

He leans into the sound, grateful, trying to figure out what it is, and the synapses in his mind fire and fire again, filtering, and -- definitely a human body, he thinks, someone is definitely moving around and making those sounds. Resilient, for the most part, except when there’s a harder or a softer sound and, and. It sounds like being out of practice, and Noctis hides his smile in his knees and his crossed arms, his smile and his sympathy, because: whoever is making those sounds is expressing exactly how he feels right now, and he’s grateful.

Grateful enough that he realizes he’s being rude, using someone else’s dancing practice to sort his own tangled knots of feeling out, and that person entirely unknowing, therefore being used.

Noctis has been used too many times in his life -- short as that life is and has been -- and he’s not going to keep on using this person.

He’s going to get up and thank them, now.

And he glances at himself in the mirror, and there’s nothing to be done for the sweat and the spikes in his hair, the remnants of an outbreak of zits below his right ear, the gnarled knots in his hands, the ruin of his feet with the callouses and the too-visible veins.

Soft bedroom slippers on, fuzzy fur lining and houndstooth check, and he wraps the dark green fleece blanket that he carries around with him everywhere around his shoulders. Damned drafty dance studios anyway. Out the door of his practice room, and he closes one eye, follows the thumps as they peter off and --

There’s the only open door, halfway down the corridor. No one is mad enough to come to this place on the outskirts of the city at some ungodly hour just past sunrise, and he’s only here himself because he’d gotten out of his bed and the clutch of the nightmares and he’d refused to go back to sleep, and he has keys to this place and he knows the owner, because that owner is named Ignis Scientia.

He’s actually half-expecting Ignis himself to be at the barre. Wouldn’t put it past him.

But he steps into the open doorway and -- that’s not Ignis, not even by any stretch of the imagination.

For one thing, it’s been years since Ignis hung up his pointe shoes.

For another, Ignis doesn’t wear his glasses when he practices.

The guy in the room is dressed in such a strange clash of everything that Noctis almost forgets to breathe, cataloging.

Splash of red-green-black-yellow in the unbuttoned plaid shirt over white dancing clothes, but the thing that catches Noctis’s attention is the clean line of the man’s body, as he breathes and balances and lifts himself, all his weight on one leg and then he carefully rises on to his toes, so he would actually be addressing the door and the people watching near it, if he were looking up.

Noctis watches him straighten his knees and shoulders, and flick out the hand he’s holding over his head, so the fingers fan out into a sort of winged shape. His other hand he holds just at the level of his own eyes, and he flicks that, too, fingers splayed out.

Steady, steady, one foot on the ground, and the one in the air moves, hair’s-breadths, up and up and the man bends a little at the hip to accommodate that rise, to stay gracefully balanced, till that leg in the air is straight out and the top of his foot is turned completely in Noctis’s direction.

Irrationally Noctis thinks of the impossibly petite maestra he’d only met once, at fortysomething only thinking of going into retirement, and still able to wring joyful tears from her adoring audiences -- Kitri had been one of her signature roles, one she’d recently and tearfully had to leave behind, and the man in the practice room has almost got the right tilt in his head to be playing that tragic role, if only it hadn’t been for the clench in his jaw line, and the heavy frames of his eyeglasses.

But as if the man had been reading his thoughts: the man wobbles, and his nose scrunches up, and he suddenly sneezes -- the sound echoes in the practice room, and the man groans, laughs, falls easily out of his pose. “Fucking,” the man begins, with a soft snort.

And his eyes come up.

Noctis is treated to a bright blue-eyed stare that the glasses can’t hope at all to contain, and a red flush appearing all at once in freckled cheeks and -- shoulders, of all the things.

But those eyes sweep up and down and he’s not ashamed of his blanket or his slippers and -- the man laughs, bending back a little over his feet in fifth position. “Nice outfit.”

Hearty and sweet and not unkind at all.

“Same to you,” Noctis says, and allows himself a grin. “With that plaid and all.”

“It keeps me warm. I’m cold all the time.” That flush surges again. “You watching long? You gonna tell me something’s wrong with, I dunno, my knees or my shoulders?”

He’s smiling, but his shoulders are coming up, moving up, and Noctis holds his hands up, palms facing out. “Critique is not what I came here for. Who wants to do that at fuck o’clock in the morning anyway? I came here because I wanted to -- thank you.”

Blink. Blink.

Those blue eyes are very distracting, he thinks, with the emotions he can almost see clearly.

“What’d I do, except -- fuck up Kitri?”

“I never said anything about fucking anything up. You were practicing,” Noctis says, honestly. “And I was -- fucking everything up my own self. So I listened to you. You sounded like you knew what you were doing.”

The man laughs again.

But this time it’s a broken small laugh.

“You’re a little late, aren’t you? That was me pretty much five years ago. So not the me of today. I don’t know what I’m doing. I didn’t even know why I wanted to try and do Kitri, a little. I haven’t danced in five years.”

“With your form like that?” With difficulty Noctis swallows his surprise.

Shrug, that only looks careless.

And the way he turns away, the corner of his lip coming crooked and sad.

Noctis clenches his hand into a fist.

And says, “I’ll be right back.”

Runs back to his practice room and picks up his music player and hustles, and he throws the little device at the blond -- he picks the heavy square and its trailing wires out of the air, easily, and tilts his head. “And?”

“Play,” Noctis says: voice command.

Swish and flurry of cymbals and synths, and a driving rhythm of electric guitars, and the music is enough to fill up this half of the practice room.

Maybe enough for the two of them.

Noctis steps into the room, fully, and tilts his head as the melody develops and the vocalist begins to sing: “Come on, just – move.

“Dance with me.”

He begins with the sweep of his leg and his hand, whirling, trying to express the song -- he only knows what it means because he looked up a translation of the lyrics -- and he’s leaping and twirling into the deceptive chorus, even-keeled but there are such currents beneath the words, and --

On the last line of the refrain the blond pushes into his space, catches up his hands, and into the bridge -- they’re dancing, together, and one moment Noctis leads, the next he’s easily yielding, the two of them leaping and breaking together, freestyling without any form of second-guessing, and he breaks away to fly out into a series of jetes and his partner leaps beautifully after him --

When the refrain rolls around again he takes the man’s hand and whirls him around, guides him through an improvised pas de deux, and -- the moment is broken when he fumbles the last step and the blond just laughs and springs away into one more pirouette -- apparently just for the hell of it.

And Noctis is grinning, and feels the stretch of that grin all the way down into his toes. The warmth of the man’s hands, the flyaway lines of his hair. “That form,” Noctis says. “That’s what I was talking about. You’re good, and more than that, you’re talented.”

“And I know who you are, and what you mean when you talk about form,” is the response. “You’re not bullshitting me, are you? Noctis Caelum?”

“I really am not. I have literally no reason to,” he says, as open as he can make himself be. “And I don’t know who you are, so I don’t have any reason to be an asshole, either.”

“I’m no one,” is the response, sliversharp grin still fixed on that mouth. “Just -- someone from out there. Prompto Argentum’s the name.”

“Well you need to dance, Prompto,” Noctis says. “Seems you can’t not. Five years is nothing. You’ve got something in you that you need to let out and this is the only place you can do it.”

To his relief, Prompto’s rigid smile falls away, relaxes, into something more real. Freckles stippling the corners of his mouth. “You probably know that one just as well as I do.”

Noctis nods, once.

Wills him to believe it.

[wallpapernifty]

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Kitri is the abstraction

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