#Merante (voice)

[blackstar2711]

The best thing of all:

A small Odette X Merante One-Shot

Authors Note; Also Posted on Ao3 Under the same title, now have fun while reading!

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The opera went silent hours ago. Odette didn’t react, when Madame Le Haut told her, that she lost her job and with it her home. She just watched as the carriage slowly disappeared in the dust of the Parisian morning. The wind picked up and a few dark leaves made a small noise while flying over the pavement. Odette couldn’t tell how long she stood there, staring into emptiness, with the hope of Fèlicie returning to her. But nothing happened, the street stayed silent and Odette was left alone. It was an odd feeling as if her dream was taken with Fèlicies, the last straw of her future as a dancer. She has seen herself as the young girl. Seen herself train for weeks alone in the opera, every night she got better. The women really did hope, that the girl could live her dream. No one came by and a time went by, that Odette couldn’t specify, it felt like her world stopped turning.

The jacket that someone laid on her shoulder felt heavy like it was suffocating her. She already had lifted her hand to remove the jacket, when a firm voice stopped her. “You're ice cold. It's okay, come on we will warm you up.”, Merantes Voice didn't allow any resistance. He took her hand and let it slip around his arm, so he could lead her inside. The former dancer just let it happen. The heavy jacket, his warm hand on hers, and his calm voice told her to sit down on a soft sofa inside the opera. She realized all of that and yet she just stared into the flames that Merante had sparked. Odette watched the flames dance in the fireplace, while Merante sat down next to her. They stayed silent for quite some time and even when she was warm, she kept on his jacket. It smelled like Merante and deep inside her, she knew how calming this affects her.

“She will be fine.”, his voice sounded like he really believed it. Like he believed that she would be happy outside of the Opera. “She's like me...”, the man looked up at her but didn't say anything for quite some time. Odette saw his small nod and how his gaze went back to the flames. “That's why I know. That she will be fine.”, he said quietly but didn't add anything else to his words. Merante brought her back inside, it was a former fitting room with two huge windows watching over the houses of Paris. An old rug filled the floor and the couch was tangible older with a feeling of dust whatever one would touch.

“You can stay with me.”, it was the first time that Odette truly looked at Merante. He hasn't moved his gaze away from the fire while saying these words. She noticed once again how much older he looked, since the last time they danced. He didn't age badly, instead, he seemed to have kept his graze and his pride. Their teacher once said that they were the perfect contrast for each other. Now was the first time she really agreed. “I don't want to stay at your house.”, she replied with a small voice. Odette still felt weak but yet she didn't look away from his profile. “Why? I have a huge house, with enough rooms to fit you in there five times.”, he replied seriously and that was when they looked into each other's eyes for the first time since he watched her dance on the stage. “We already talked about this, I don't want to...”, she responded once again, her voice still gentle and warm even though she felt completely different. His eyes were soft and filled with worry while hers looked tired and alone like she has lost her last affection. Merante sighed and leaned back against the soft cushions. It was clear that had didn't want to fight her today. They both looked defeated after this day. Both of them grew feelings for Felicie and she seemed to become the closest the two ever had to a daughter.

“Then stay here. I know you like it here and I will take care of it. The attic has a lot of room, the old training room isn't used anymore.”, she knew why he suggested exactly this room. It was their room. In the room, the two would meet up and train for hours, laugh, listen to music, and sometimes she would play the piano for him. All of these memories were kept locked up in the room. It was their safe place.

The woman sighed silently but then she slowly nodded. It was the best offer she could get. “Good, I will take care of it immediately.”, the man got up and smoothed his shirt stores. He looked at her from his standing position, his jacket still over her shoulders. Instead of taking his jacket, he stepped up to her and leaned down to her. He looked into her eyes and found the small glance of something unspoken in them. He closed his eyes and placed a kiss on her forehead. It was light and filled with affection. “Keep the jacket as long as you want. You know where to find me.”, that's when he straightened his back and nodded one last time. He stepped to the door and looked one last time at Odette. “I will stay here. I promise.”, with that he opened the door and as fast as he had appeared for Odette, he was gone.

It took over a week for his jacket to return to his fitting room, it was needles folded and ironed. The small hole on the sleeve was sewed and in the breast pocket was a small Paper.

“I'm not going to leave either, I have no reason to. So you have to stay as well. You know where to find me for a cup of tea Louis.”, Merante smiled at the note. She barely used his first name and even in writing it sounded nice to him. “I haven't seen you smile like this for quite some time.”, Rosita noticed, she was there to pick up something for her costume.

“Sometimes good things happen to everyone, Rosita. Even to me.”, he replied and folded the paper again, to put it back in its place over his heart. “What could be so good?”, she asked confused. “The best thing of all.”, he didn't explain more. That was it. That's what Odette was to him.

The best thing of all....

[timelesslady]

Oh... that moment when you come across that character you love echoed into another world... and I'm not talking about fanfic.

I know there are archetypes within stories... but it's funny how much of a character is reflected in another world.

In this case, I've just stumbled upon the character of Merante in "Ballerina". The moment he entered the scene my heart gave a little flutter because, hang on... doesn't he bear a resemblance to Havelock Vetinari... (and I cannot deny my ahem, fondness for the Patrician of Ankh-Morpork). The poise, the cane, the looks he gives, the skulking in shadows where he's not expected... not forgetting His Lordship's membership of the Assassins' Guild's Institute of Dance and Deportment (meaning his studies surely at some point led into dancing), and here this character is in another story, a renowned dancer, choreographer and instructor.

Honestly, his cropping up has made the movie quite watchable. Where as before I was watching in the background, now I'm paying a bit more attention. And google searches offer images which means there's some references/guidelines for drawing pictures of Vetinari in future.

[Sighs and goes back to watching the film].

[Edit - I mean, the eyes aren't right, and the voice... well, it's hard to tell when it's not being used to instil a subtle form of terror to maintain a good hold over the politics and society of a city, but hey, little things don't break the insight and inspiration]

[papergardener]

I watched the Leap! movie a couple months ago and fell in love with 2 of the side characters who honestly were the best part of the movie, imo. 

I ended up writing a fic for them, and I’m still pretty happy with it.

It’s just a little scene of them finding each other after the movie and a little bit of dancing :)

(it’s short enough I’ll just post it under the cut too)

“Odette?”

She looked up from her cleaning to see Mérante striding into the deserted practice room.

“I’m surprised to see you in here so soon- class just finished.”

“I know.” She replied, pulling herself up with her cane and patting down her skirt. “An annoying little redhead was bothering me and mentioned some of the ballerinas kept slipping, so I figured I’d come and take care of it now rather than later.”

“Well… yes. That was- that was good of you.”

“Just doing my job.” She said, and couldn’t help but smile as she met his gaze.

She picked up the bucket, the dirty rag perched on the edge and with a slight bob of her head towards Mérante walked back to the door he had just come from.

Only… she hesitated, hand on the door as she debated if she should even mention-

“Yes, Odette?” Mérante questioned in his familiar, probing way.

Her hand fell from the door handle as she turned to face him, unsure if she was overstepping, even as she set down the pail and walked toward him in the large room. Things had been, well… she didn’t know what was between them ever since the Nutcracker performance. He was still her employer, or at least something like a manager, but certainly there was more to it than that. At least, she thought so. That kiss…

She cleared her throat, more to distract herself than anything else.

“You might have the girls carry their arms just a little higher in the raised fifth position. Just a touch so they’re almost past their center- it’ll help their breathing, and their posture.”

Mérante looked taken aback, and Odette could almost feel herself shrink, chiding herself for trying to lecture a Maître de ballet when she herself hadn’t danced for over ten years.

An apology was on her tongue but before the first word was out, Mérante stretched his arms before him and took the first position- hands and legs elegant, posture perfect. He switched to second, then third- precise, sharp. It was nearly odd to watch such a stern man doing a ballerina’s positions, and yet, as he smoothly swept in fourth, she was struck by how little he had changed from his days as danseur at the Opéra Le Peletier.

He finished in fifth, arms raised over his head, held it for a moment then pulled his arms just a touch more back and closed his eyes, feeling the weight of it.

“I see.” Eyes still closed, he took a deep breath standing in fifth that Odette found herself mirroring, squaring back her shoulders instinctually and standing straighter. It’d been so long since she’d done those steps herself, she was surprised how easily the old feelings resurfaced.

“That’s good advice.” He said, gently bringing his hands down, his feet stepping out of the parallel.

“Of course.” She said, for a moment relaxing in the comfort of the room, the warmth of his presence. But, she reminded herself, this wasn’t her world anymore. “Well, if you’ll excuse me, I should get back to my cleaning.”

She turned away, feeling more clumsy and stiff than usual, her cane clunking beside her.

“Odette, wait…”

She paused, tilted her head back.

“Will you dance with me?”

Her breath hitched in her throat. She clutched the handle of her cane with a shaking hand.

“Please?” He asked in a low voice.

She heard slow steps approach, but was too scared to face him. She hadn’t danced since… since…

“I…”

I don’t think I can.

She could feel him standing there behind her, just out of reach.

“We would take it slow. I’d be with you the whole time, you won’t fall. And… and if wished to stop you need only say so.” He paused, breath high and anxious, a strange vulnerability she wasn’t used to. He waited and still she couldn’t find the words.

She looked over her shoulder, one foot turning slightly, and made up her mind. With a soft sigh she walked to the door, gripped her cane hard to steady herself and, breathing out, left it against the wall. Praying she would not make a fool of herself, especially in front of him, she carefully turned and faced him, keenly aware of her damaged legs, her unresponsive feet.

Summoning all those memories of dancing, of floating, she took two careful steps towards him, hand outstretched. His face faltered, then lifted. He met her half way and took her hand with a practiced grace.

She pulled her shoulders back, head high, and reached forward and planted her foot, tilting her other leg up and felt a slight wobble. Her balance was shoddy; as was her footwork and she knew not all of it was because of her old wounds- the deep burns, soft bones.

She lowered her leg and brought herself to an open fourth position to face him. “I might be rusty.” She admitted, ready to pull away at any moment.

Instead, he responded with a slight squeeze of her hand, before she felt his other hand on her waist.

“I’m sure you still have it in you.”

She was sure it wasn’t any pas de deux she’d danced before, nor watched. She improvised each turn and bend and sweep, and Mérante was always there to steady her, guide her when she felt unsure. She felt her body shift, as if it were young and whole again- the practiced turn of the wrist as she rose from a dip, sinking into a demi-plié and leaning into an arabesque- arms and leg outstretched, balanced and poised with Mérante. They went slow, each movement long, deliberate- an adagio without preamble or coda.

As they danced her nerves gave way to an incredible joy that filled her like sunshine. How she had missed this. It was like coming up for air after drowning for years, like balm after a burn. And all the while, Mérante’s hand was firm at her waist.

She lost herself in the dance, it was like a dream.

A slight movement caught her eye, jolting her back to reality as she saw a row of heads peaking over the stairwell, watching them.

She gasped and would have lost her balance without Mérante being there. He spun around to find what had distracted her and saw the girls watching them and she heard at least one girl gasp and bob out of sight.

“Wha- Class was dismissed! All of you, go! Allez!” He called out, throwing out his arm and was rewarded with embarrassed giggles and rustling of fabric.

Odette looked to the door and saw flashes of red and gold just slip out of view before it shut, as Merante turned back to her, flustered.

“I should get going.” She said leaning back and letting her feet find steady ground.

“Ah… of course.” He said looking at her hand, still clasped in his. Their eyes met for a moment before he walked her to the door. She didn’t mind- she wasn’t ready to let go yet.

He took care giving her the cane- she wished she didn’t need to take it. But their moment had been fleeting and now it was gone, and she was back to being just a cleaner.

Still…

She leaned up and kissed him softly on the cheek. “Thank you.” She whispered.

He look briefly stunned before collecting himself and put a hand on her elbow.

“Thank you.”

Opening the door she wasn’t surprised to see two familiar faces, Camille perched behind Félicie who had her mouth wide open as if trying to get enough air to ask the many, many… many questions she had.

Odette put a finger under her chin and snapped it shut, silencing her before she was able to make more than a high-pitched peep.

“You’ll catch flies like that.” Odette said.

“But… but that- what was that?”

“If you’ll excuse me, ladies. I have a lot of work to do.” She said, unable to keep the smile off her face. “And I believe you two have training.” She called out over her shoulder.

She felt like she could fly again.

[lightening816]

Saut De Basque

A Ballerina 2016/Leap! fanfiction

Saut De Basque

  Camille Le Haut had never been one to show compassion.

  At least, that's how it used to be. Everywhere the blonde, blue eyed darling of dance went within the Palais Garnier of Paris, France, there seemed to be this growing weight on her strong, yet small shoulders. She first felt it as she walked with the crooked tooth enthusiast, Nora, to their next ballet class together. She felt it a little more as their instructor Louis Merante', taught them their most recent lesson: the correlation between emotions and the Jette'. Now, as she heard Nora ramble on about the fixations she had this week, it had grown so heavy, Camille's stomach began to turn.

"Camille-" "YES!" "Wha-Wha-Wha-!"

  Nora flinched and hid her face behind her short bangs, however challenging that may have been. She smoothed out her chestnut brown bun rather awkwardly, and stood back up straight. "Gee whiz, Camille, what's wrong?" she asked in her usual awkward tone, albeit a little concerned. Camille, still valuing her appearance at least a little bit, also straightened her back, as well as her white tutu, just in case. "N-Nothing, Nora, of course!" "Are you sure?" Nora asked. "Ever since the start of the new year ended, you've been...not yourself." Camille's lips curled inward. "Wellll.. I have been a little...shaken lately." "Is it because of your Mother?" her new friend asked. The blonde's shoulders twitched. Mother...

  "Perhaps..." "How is she these days anyway?" "She's recovering well. The more I talk to her, the more we seem to agree that she took things too far; still a little mad about our identity issue though..." "Are you?" Nora asked. "...No." Nora shrugged and continued their long walk from their mirror clad classroom to one of the changing rooms. Behind a curtain, the brunette changed into a casual dress with closed toed shoes, though she left her hair in a bun. Camille sat on a bench. "I don't know, Camille. Maybe you should talk to Felicie. I mean, if you can talk to anyone, I guess it'd be her," Nora replied from the curtain, buttoning her buttons. Camille gasped quietly. "Hmm...I wouldn't want to bother her. She practically flew out of class to practice with Odette and Miss Sophia. Did you notice?" "Sure did," Nora laughed. Camille smiled weakly.

  She walked Nora to the grand foyer of the opera house and laughed over a completely different subject Nora thought of; something about a huge frog hopping to her front doorstep, and feeling compelled to keep it. The young blonde would curl her fingers in slight disgust, but put on a convincing enough smile. Then it happened again; that weight on her shoulders that didn't go away when she wished Nora well and watched her leave.

  The foyer was only a little busy. A person here, two people there, nothing new for the Post-Christmas season, but despite the cheery after glow of the Christmas spirit, Camille felt...lacking. Like something was out of place, and apparently quite heavy at that. She turned her head a little to the left, then she brought her head back forward, and lectured herself. "She won't want to talk right now...I doubt it anyway..." she mumbled to herself. Normally holding her head high in a newfound healthy confidence, she kept her eyes to her toes. Standing in First Position, to calm her nerves, even in her comfort zone of ballet dancing, she felt off. Incomplete...

  She hated it.

  "I can't believe I'm about to do this..." she grumbled to herself as she walked up the steps, and turned to the left to enter the largest theatre she'd ever seen (and likely ever will, she had once considered to herself). The auditorium in the Palais Grandier was a horseshoe shaped world in its own way. From the stainless, blood red carpet to the opulence of the gold and crystal chandelier hanging far above all three of them, Camille recalled instances as a little girl in which she would look at her Mother with wide, gleaming eyes and promise that one day, she would dance proudly alongside the Queen of the Ballet herself, Rosita Mauri, a woman as kind as she was talented. Her Mother would look at her with a proud smirk and confirm that she would, and more importantly, she would do it for her. Of course, that promise certainly didn't seem so comforting, now that Camille was looking back...

  She pushed that moment of doubt to the back of her mind.

  The auditorium of the Palais Garnier bragged three balconies, an immense space for an orchestra, plus its seating, and an incredibly wide stage. Where fake snowflakes, a blue background, and Christmas trees once sat, now had little more than sand bags connected to long ropes, no backdrop at all, and two young women; one was a dancing redhead with a smile on her face, and the other was a tall, raven-haired woman with a thin pointed face and nose, and cane to help support a bad foot. The woman, Odette, seemed quite calm and serene as she noticed the joy on the young redhead, who twirled gracefully on her toes, as her arms swayed gracefully in almost perfect harmony. Camille stopped and took a moment to truly look at Felicie. Much like her, she was also incredibly lean, with a heart shaped face. Her fair skin was clad with tiny freckles just above her nose that contrasted well with her long, red-orange, braided hair and bright green eyes. She was unlike most girls she'd met, with her long sleeved white shirt, black vest with gold embroidery, and short blue pants under dark purple, almost black leggings. In contrast, Camille's blonde hair was tied into two tight buns, which helped keep her hair out of her light blue eyes. Her bright hues matched her light green and pink leotard very well.

  Felicie's smile practically brightened the room as she stopped and listened to the gentle teachings of Odette. Limping on her cane, she spoke with a soft tone that reflected years of experience. "Very good," the woman began. "Remember, that each combination is like a song; a sequential pattern that's supposed to move as a work of art all its own." The redhead nodded with a wide grin. Odette appeared kindly humored. "What's in most songs you hear, Felicie?" "What do you mean?" Felicie asked. "What are the sections of a common song?" "Oh! Well, most songs have a verse, a pre-chorus, the chorus, another verse, the chorus again, a bridge, and one or two more choruses, right?" the girl explained. "That's right!" Odette replied. "A song and a choreographed dance are just the same, in all but means. A song is presented by instruments and a dance by toes harder than rock."

  Camille nodded in understanding as she hid behind a pillar in the orchestra section. She watched as the redhead closed her eyes and muttered "One, two, three, four..." as she heightened herself to her toes and delicately started with a promenade, before turning to a reverence, a Rond de Jambe, and a pirouette. Stepping gracefully across the stage, Camille was now able to admit that her soutenu amidst her pirouette was a grand little spectacle. Granted, Felicie was no Rosita Mauri, the Ballet Queen of the Opera House, but within a few years, she figured that she'd be an understandable contender for her replacement once Rosita had resolved to retire several years from now. Camille's eyes followed her ex-rival as she performed a sudden Soubresaut, followed by one of Felicie's favorite leaps: the Saut de Basque. The little blonde girl watched with a smile, that turned a little as she remembered why she was there. She wouldn't interrupt Felicie, but she would make her entrance...whether she wanted to or not. She warily stepped down the aisle as Felicie landed firmly on one foot and almost on its opposite knee. Camille noticed her body shifting to and fro very subtly at the impact her foot made to the hard surface. Then, her head looked up.

  "Camille!"

  Camille flinched as Odette and Felicie had both of their eyes with her. The silence that followed was hard for her to stomach, and the worst part of it all was that deep down, she knew why. "Hello, Felicie, Miss Odette..." Odette smiled at her with the smallest hint of doubt. "Why don't we stop here and rest? We can start up again tomorrow at 6." "In the evening?" Felicie asked with a grin. Odette arched her eyebrows mischievously, and merely said "Guess." Felicie's face jokingly fell, though only a little. "Alright, alright," she compromised. Odette cupped the girl's face and pecked her on the side of her head. "I'll go clean the foyer. Be back by 7PM. Then, we'll have dinner." "Alright, Odette," was all the girl replied. Odette kindly hummed in approval before she maneuvered her way down the ramps. Camille stepped forward to assist, but Felicie sprinted to her first. The blonde felt her spine tingle as the woman walked by. "Good evening, Miss Le Haut," she greeted in her usual, placid way.

  Less than proud memories came to mind as Camille stared at her. Odette sensed the tension and softened her face a little more than before. "G-Good evening, Miss Odette. And it's Camille," the girl confirmed. Odette's serene face nodded. "That's right, force of habit, I suppose," she said, looking back at Felicie, who was switching out her ballet shoes with her usual brown boots. Odette civilly nodded at Camille, before she walked away.

  With her gone, Camille made it to the stage and took in the redhead before her. "Felicie?" Camille asked. "How are you?"

  Felicie seemed surprised to hear this, though it was a pleasant one. "I'm great, thanks. You?" "...alright, thank you," was all Camille would say. She was shocked at the reluctance in her own voice. How such a confident girl could be reduced to a quivering toddler, shaking like teeth chattering in the cold, perplexed her. "So...did you have a nice Christmas with Miss Odette?"

  "Yep! Monsieur Merante took us on a boat ride on the Seine on Christmas Eve, and showed us his house, and invited us there for the holidays. Best Christmas Day ever! It was HUGE! I guess twirling more than 187 times in a row has its perks! Even if he did vomit, so I've heard...no disrespect or anything! He's a great teacher!" Felicie replied awkwardly. "No-no, I know what you mean...he most certainly is," Camille affirmed. After tying her shoelaces, Felicie tapped the toe of her boots to the floor, to ensure a comfortable tightness. She twirled around gleefully. "I can't wait for their wedding. They try to act like nothing's up, but just you wait, Camille; if they haven't kissed yet, they're bound to! Can you say 'Felicie La Bras-Merante? Sounds alright to me!"

  Camille nodded with a chuckle. Just like Felicie, seeing the best case scenario, in every situation. She used to hate her for it...

  “I'm happy for you..." she said meekly. The redhead noticed her less than enthusiastic demeanor, immediately stopped her jete's, and stared at her. Noticing her change in her mood, Camille shrugged and took a deep breath before they lowered. "Felicie...may I talk to you?"

  Felicie stopped and nodded with the tiniest smile she could make. "Umm, sure-sure, of course!" She sat down on the stage and patted the space to her immediate left. Camille nodded gratefully and sat down beside her. She sighed as Felicie repositioned herself before relaxing. "So...what...can I do for you?" Camille looked her up and down, and for the first time in awhile, had no comeback.

  "I...I owe you an apology. Many...apologies actually."   "...OK."

  Camille stared into Felicie's green eyes and heard a voice in her, screaming demands of that she'd retreat just then and there. "It's just-I've never been all that nice to you. Even when you and Odette worked in mine and Mother's mansion...I mean, remember when I accused you of stealing? Your own music box?" Felicie nodded curtly. "I was awful, wasn't I? Laughing off your own passion when I had none? Throwing your Mother's music box out the window? Your music box out the window?...what was I thinking?"

  Her voice began to break. Felicie nibbled her lip. "B-But, Camille, I was the one who stole your invitation to ballet school, remember? I wanted so badly to get in that-" "Don't be ridiculous, Felicie! My Mother had told me all my life that anyone that wasn't as well off as us, especially servants like you and Odette at the time, really were rats. But-but you're not a rat! You know that, don't you?"

  "I do now..."

  "See? I didn't have to call you some rat or noth-...you, Miss Odette, even Nora...ever since the night you performed The Nutcracker with Mademoiselle Mauri, I've learned so much from you all. Moreso than any training I did at home with Mother. I could've been nicer, you know? My Mother was just-...I-I...if I could go back, I would've...actually asked you questions. Have you had proper training? Who taught you? How long have you lived in Paris? We could've bonded right then and there...but I had to just...disregard you as if you truly were noth-"

  She trembled. Her eyes widened at the trembling in her muscles, her lack of grace in her voice and body posture. She involuntarily lowered her head and hid her face in her hands. Felicie frowned. They could both hear the demeaning tone in her voice as Camille looked down on her with scorn too many times. "You can work as hard as you like. You can train 24 hours a day, but you will always be nothing...nothing..."

  Felicie had never known true doubt before Camille Le Haut.

  She wrapped her arms around Camille and both girls shed their own tears. Trickling waterfalls dripped onto Odette's good clean floors and stained Camille's skirts. Soft echoes of moaning and weeping reflected off the walls of the auditorium, creating a gloom that mismatched the elegance that was the Palais Garnier. None of them dared to look at each other as they held onto each other for dear life, yet, in the stillness of the stage, Camille felt something unusual in her. The warmth in her stomach made her stop her whining and leaned back from Felicie. They both stared on, reluctant to look away. Even when Camille wiped her tears with her arm, her eye contact wouldn't dare break. Felicie was the same.

  "...Your eyes are as red as your hair."

  Felicie threw her head back and laughed. "Hey at least you're crying for real this time!" Camille guffawed louder than any Felicie had ever heard. "I never said I was a good actress, Felicie!" "Aah, come here!" Felicie proposed. Both girls embraced each other and the cries of hurt feelings turned into hard laughter.

  Both fell onto their backs and held onto their strained stomachs. Their red, puffy faces were tear stained and hurting a little, but it was no longer a negative pain. "Hey, Camille!" Felicie piped up. "Yes?" "You may need help with your acting, but you make a great dancer!" Camille giggled. "Well, now that you've mentioned it..."

  Felicie lightly nudged her in the shoulder, while Camille rolled her eyes. The quiet came back, and it worried the blonde for a moment. "I'm sorry I've always been such a pain," Camille concluded. Felicie sighed. "And I'm sorry for stealing your name for a while. I thought I knew what I was doing...if I were you, I'd hate me too." "I don't hate you," Camille insisted. "I could've been nicer..." "And I could've been more honest, maybe we really could have bonded, after I learned a few steps from Odette."

  "Maybe...I don't really know how to bond with people myself, not even with my Mother."   "Hmm...how's she doing by the way?"   "Better; She should be out of the hospital within a few days. We've been talking, and I think we've made some progress. I'm sorry she...sort of chased you all the way up that statue Victor was helping with."   "...not your fault. Hey," the redhead continued. "You know what I like to do to make myself feel better?" Camille smirked and curved an eyebrow. "Dance, of course," Camille answered, making Felicie chuckle. "Well, yeah, but specific moves! Here, let me show you!"

  Beginning with a promenade, Felicie giddily releve'd into a graceful saute', causing Camille to somehow find the strength to join her. Sad little butterflies fluttered within her, telling her to stand down and cry because of recent memories. Felicie however, didn't appear reluctant to let her join, so Camille performed her own promenade, and plie'd into a soubresant, paired with a Port de bras. Despite the occasional spotting of their heads, they kept their now jubilant gaze on each other. Any feeling of shame and doubt faded little by little, the longer their limbs stayed in motion. Camille's unsure face turned into a smile as wide as hers as they leaped from the stage, into the tops of the orchestra seating's chairs.

  "Hey, this looks familiar!" Felicie noticed teasingly.   "Ha! I suppose so. No pushing this time, I promise!"   "And no tugging of the hair?"   "None!"

  They howled with laughter as they danced pase's from row to row, chair to chair until they made it all the way to the back of the room. Felicie and Camille winked at each other. "First one back wins!" the redhead challenged. "Sounds fair enough," the blonde confirmed. Pas to pas, jette' to jette', the girls soon felt no difference between their audience of seats and the clouds that loomed above the opera house. Once the orchestra pit came in sight, though it was empty, that didn't stop Felicie from grasping Camille's hand, nodding her head forward, and once they reached the front row, planted their working legs and leaped into a Grand Jete', with intertwining arms.

  With their legs spread out as if in splits, both Felicie and Camille flew through the air like birds. They had both closed their eyes tightly for a few seconds as they both entered a moment of bliss. As typical of Felicie, she bent her knees a little to help form a twirl both for herself and Camille, giving their leaps a flair of a Saut de basque. They both landed with their working foot planted firmly on the floor and their supporting knees just above the floor. They smiled at each other as they deeply inhaled and exhaled. Sweat dropped from their faces, but they didn't really care. They stood back up again and giggled lightheartedly.  

  Then the silence returned.

  For a moment, Camille began to worry again, but she shook her head in mental defiance. Unlike the last time she witnessed Felicie's Grand Jete', she initiated their make up hug this time. "Hey, Camille, guess what?" Felicie asked. "What?" Camille replied. "We're bonding!" Camille laughed. "Well, good!" Both chuckled with each other for awhile. "Hey, Camille," Felicie spoke. "I'd should probably go. Odette will be expecting me in a little while. Want to join us for dinner?" she asked.

  The blonde girl wiped her arm on her moist forehead. "Can I wash up first?" "Of course!" "Thanks..." Felicie nodded, picked up her belongings and waved 'goodbye'. Camille had just noticed the weight on her shoulders had actually disappeared.

  "...friend."

[pharmaphorumuk]

Patients in the driving seat

Many pharma companies talk about the importance of ‘patient centric’ clinical trials and involving patients in trial design – but what does this really mean? As part of a series of articles in association with Cytel, the company’s Dr Nico Merante, VP of Clinical Development, tells us how the patient voice can aid the clinical development process.

Drug development is changing rapidly, with an increasing interest in drugs and therapies that are focused on individual patients’ needs and the unique characteristics of their disease.

In cancer, for instance, only a few drugs targeting the mutations present in a tumour instead of their location in the body have been approved. Going forward, it’s expected that this approach will become more common.

The idea of personalised medicine is expected to target other diseases, for instance neuropathic pain conditions, based on biomarkers that could indicate which patients are more likely to respond to a certain mechanism of action of an investigated molecule1.

This innovative approach requires precise and targeted research, which needs to be driven also by patients.

“Instead of starting with a molecule, with this model a clinical study really starts with patients”

Additionally, in clinical development there are therapeutic areas where recruiting patients into clinical studies is particularly challenging. So, making the trials more feasible – and therefore more attractive – for patients by minimising the burden on their daily lives has become increasingly important.

It is essential to objectively assess the feasibility of a clinical study. This must be seen also from the patient’s perspective to ensure that studies are fit for purpose, because often they tangibly impact on people’s life, as they may be too complicated, highly demanding or even unrealistic.  This way, studies can also become more clinically meaningful, practical and more cost-effective.

This approach has driven companies to find new ways of interacting with patients, and to make the R&D process more efficient and more meaningful to all concerned – regulators, doctors, and to patients.

The ‘Outside in’ clinical development model

The new way of working is described as an “outside in” clinical development model. Instead of traditionally starting with a molecule, with this model a clinical study really starts with patients.

The system should engage with patients from an early stage. It would be beneficial to include their input when study protocols are designed and study objectives are decided, for example. In case of paediatric studies, both parents should be carefully listened to.

This approach allows us to improve the quality of the development plan and study designs, to engage with patients early and to include more meaningful endpoints in the protocol. It’s about getting more realistic information from patients on side effects of the treatments they’re taking and understanding better the extent of patients’ responsiveness to drugs whilst undergoing a clinical investigation (i.e. the onset of action and how sustained the response is). This serves to gather knowledge and experience from patients’ perspectives, through a more accurate patient reported outcome data analysis, and to understand what really, really matters to people  in relation to the disease condition they suffer from.

This approach could be extremely helpful in designing trials together, particularly in those disease areas where there are limited, ineffective or poorly tolerated available treatment options.

Figure 1: The ‘Outside-In’ product design model1

  Patient-focused study objectives

By engaging with patients this approach could support the inclusion of more clinically relevant and patient-focused endpoints. The approach can finally ensure that data generated from clinical studies is truly meaningful.

Some objectives in a clinical study are more relevant to patients than others. These can also be important as part of the cost-benefit assessment at the end of a clinical study or study programme. One example is pain, cancer and their bi-directional link – at the moment there is a pressing need for new alternatives to opioids that are commonly used to treat chronic pain conditions and cancer pain because of their addictive side effects and safety concerns.

For instance, one pain endpoint that is relevant to patients in clinical studies – but is not used as often as it should be as primary/co-primary endpoint – is the Patient Global Impression of Change (PGIC). PGIC is an assessment based on a very simple question with seven potential answers, and records how a patient feels at the end of the study treatment. The patient is simply asked to indicate how they feel now compared to how they felt before receiving treatment in the study on a 7-point scale of -3 (very much worse), 0 (no change), to +3 (very much improved). This rating scale enables the patient’s impression of change in their condition since admission to the study to be globally evaluated.

It’s a short and straightforward endpoint, but it collects key information on how people are really feeling at the end of the trial compared to when the trial started.

Cost-effectiveness benefits

If, for instance, the PGIC questionnaire produced favourable results as seen by the patients, this can be relevant in addition to the more conventional Average Daily Pain Score (ADPS), or the lately recommended by the FDA Worst-ADPS, traditionally used as a standalone primary endpoint in the majority of neuropathic pain studies.

Bodies such as NICE in the UK typically look very carefully and in great detail at this data with focus on any potential benefit patients can achieve from the study and from a new pain medication. Information such as quality of life, daily functioning, ability to return to work, status of pain co-morbidities, pain correlated symptoms, sleep pattern, anxiety and depression state, together with an accurate safety and tolerability profile, are all fed into the final decision on whether a new drug can be approved and in the definition of the value of the new medicine, which must be based on the real data this therapy can be tangibly produced.

The data gathered through this model provides a better view on how the drug behaves in the real world, and the patient’s views should always be included in a clinical study. The approach brings together information about real-world patients and real-world evidence data and ensures that patient-focused endpoints are well defined and correctly positioned in the clinical study protocol (this translates to ‘a more realistic clinical setting approach’).

Involving patients at the start of the study design could produce higher quality drugs. There is an urgent need for more effective and better tolerated cancer and cancer pain medications, which need to be tailored to the different typologies of patients. This is highly relevant. An analysis published in 20073 showed around 59% prevalence of cancer pain in patients on anti-cancer treatment, rising to 64% in patients with metastatic, advanced or terminal disease.

A follow up meta-analysis published in 20164 from 122 studies conducted in over 95,000 people confirmed high pain prevalence rates (39.3% after curative treatment; 55.0% during anticancer treatment; and 66.4% in advanced, metastatic, or terminal disease. Moderate to severe pain was reported by 38.0% of all patients). The conclusion from this data was that, despite an increased attention on assessment and management, pain continues to be a prevalent symptom in patients with cancer.

We still need to overcome barriers toward effective pain treatment and develop and implement interventions to optimally manage pain in patients with cancer. The commitment of any researcher working in this area is to ameliorate the life of people suffering from cancer and from cancer pain. For this reason, patients need to be at the core of clinical research.

Digital technology is an enabler

The focus on patient centricity comes at a time when digital technology is proving its ability to provide patient data on an ongoing basis. This can be used in several ways – to engage with patients before recruitment, to gather data during a trial, and to provide ongoing joined-up care as part of the process5. It’s important to have this in place because it’s hugely helpful and supportive for engaging with patients and ultimately for doing everything in our capacity to help them.

It’s now possible to create “virtual clinics” through the use of digital technologies, allowing people to receive world-class treatments without needing to physically visit a clinic for most or at least some of the typically frequent and long visits that are quite often scheduled in a clinical study.

While there are challenges as to whether technology is used consistently across different age groups and the severity of suffering conditions, the approach is nevertheless becoming an increasingly important part of the clinical trial process. It can positively engage patients and, in the case of younger patients with their parents, help us to better understand how to meet their needs through the use of the technology.

Recruitment bonus

The technology can support the running of trials by enabling patients, caregivers and medical professionals to link up.

Patient groups also have an important role to play to support clinical research and clinical trial designs6.

While they are well established in some countries and some regions, patient groups are not so commonplace in other areas. It is important that the pharma industry contributes to raise awareness of patient-centric trials and to show the benefits this approach can produce. This should be a priority also to ameliorate patient enrolment and retention in clinical studies7.

By failing to take patients’ views on board, drug research companies could end up with results being submitted to regulators that are totally irrelevant to people and ultimately may not even be meaningful and supportive for drug approval. There’s a risk that lack of patient input could result in a product that countries and health systems find difficult to approve or even to fund.

We have to make sure that study data are evidence/reality-based and patient-focused, with results that clearly demonstrate the advantages compared to what is already available. For the scope, comparative study designs should be often preferred for a new investigational drug versus the available ‘standard of care’ treatment.

There’s a lot more to do in terms of improving the quality of clinical studies, to harmonise the existing and often diverse regulatory guidances8, but significant progress can be made only by including patients’ views in the trial process.

With the advent of digital technology there’s an enormous opportunity to make clinical studies more clinically meaningful and to better understand the study data based on the input and perception as described by the patients themselves.

References

Merante et al. `Outside-In: Why putting patients at the heart of drug development matters`. Applied Clinical Trials Online, 26 October 2018. http://www.appliedclinicaltrialsonline.com/outside-why-putting-patients-heart-drug-development-matters

MHJ van den Beuken-van Everdingen et al. `Prevalence of pain in patients with cancer: a systematic review of the past 40 years`. Annals of Oncology, Volume 18, Issue 9, September 2007: 1437-1449

MHJ van den Beuken-van Everdingen et al `Update on Prevalence of Pain in Patients With Cancer: Systematic Review and Meta-Analysis`. Journal of Pain and Symptom Management Vol. 51 No. 6 June 2016: 1070-1090

MHJ van den Beuken-van Everdingen et al `Update on Prevalence of Pain in Patients With Cancer: Systematic Review and Meta-Analysis`. Journal of Pain and Symptom Management Vol. 51 No. 6 June 2016: 1070-1090

Merante. `Patient engagement`.  Innovations in Clinical Development.  Oral presentation.  De Vere Grand Connaught Rooms, Holborn, London, 17 May 2018.  https://www.cytel.com/innovations-in-clinical-development-london.

Merante. `Collaborate with patient groups, patient advocates and patient networks to drive forward clinical research`. Patients Centric Clinical Trials Europe. Oral presentation on June 9th, 2015. Eyeforpharma. http://www.eyeforpharma.com/patient-clinical-trials-europe/. Hilton Tower Bridge, London – June 8-9th, 2015.

Merante. `Patient enrolment & retention in clinical studies: How can we improve in cost effectiveness and timing of study conduction? ` Oral presentation at the 4th Clinical Operations Strategy Meeting, Munich, 14 March 2019, https://proventainternational.com/clinical-operation-eu-2019.

Merante and S. Patel. `Fibromyalgia: an urgent need for a harmonized, global and patient-centric regulatory guidance for developing new medicines for the treatment of pain and associated symptoms`. Letter to the Editor. Pain Medicine, April 2019, 1-3. https://doi.org/10.1093/pm/pnz077

  About the author

Dr Domenico Merante

Dr Domenico Merante is a physician with 25 years’ global experience (Italy, UK and US) in EU, US and Japanese based pharmaceutical, contract research organizations and biotechnology companies, these mostly spent in global clinical development. He is a medical doctor, specialist of endocrinology and diabetes from University of Pisa/Italy,  with more than 20 years of practicing experience as emergency doctor in the Italian NHS, medical officer in the Italian Navy and private specialist consultant. As research scientist Dr Merante has a background of successful clinical development programs (phase 1-3), post-marketing safety surveillance programs in pain treatments, in type 1 & 2 diabetes and diabetic complications (including painful diabetic neuropathy and diabetic wounds), severe hypertension and in the endocrine area. So far Dr Merante has produced 90 publications as main or co-author amongst full papers, abstracts, posters and oral presentations.

About Cytel

As a pioneer in evidence generation, with deep expertise in advanced analytical solutions, Cytel is uniquely equipped to unlock the value from increasingly complex data. Life sciences companies count on Cytel to deliver exceptional insight, minimize trial risk and accelerate the development of promising new medicines that improve human life. Cytel provides data-focused clinical research services and software solutions for the design and analysis of clinical trials, including industry standards East®, StatXact®, and LogXact®. With operations across North America, Europe, and India, Cytel employs 900 professionals, with strong talent in biostatistics, programming, data science, and data management. For more information about Cytel, visit www.cytel.com

The post Patients in the driving seat appeared first on Pharmaphorum.

from Pharmaphorum https://pharmaphorum.com/r-d/patients-in-the-driving-seat/

[weirdpaul]

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Tub Ring

Tulpa

Tusklord

TV John

2020K

Uke and Tuba

Ukebox

Ukiah

Ukulady Liz

Ultimate VAG

Ume

Uni Sami

Universal Congress Of

Unlikely Japan

The Upholsterers

Upskirts

Vale and Year

Vampire Nation

Vampire Weekend at Bernies

Vehicle Flips

Vel

The Velcats

Velvet Monkeys

Vequinox

Videohippos

Viewers Like You

Village of Dead Roads

The Viragos

The Visitations

The Vivians

Von Ludendork

Vox Robotica

Wake

Wallace's Fallen Obelisk Kidz

The Wasps Nest and Valerie Kuehne

The Waxwings

WE are the Asteroid

We are the Dead

We Came From Space

The Weasels

Weird Al Yankovic

Werewolves

Wesley Willis

Western Pennsylvania

The Whipped Cream Explosion

The White Stripes

Will Simmons & Turdburglar

William Wesley and the Tiny Sockets

Wimp Factor 14

The Winterbrief

The Wire Riots

The Working Poor

Workshop

Wyld Stalyns

The Wynkataug Monks

X.13

The X Brothers

Asher Yatzar

The Youngstown Tramps

Your Favorite Assassin

Yung Ka

Z-Man

Za Dharsh

The Zambonis

Zigtebra

Zelazowa

The Zou

Zubat and the Bees' Knees

The Zvills

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Ballerina Vfhd Fr Streaming Vf En Complet 2016 Illimité

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[Vfhd@fr] » Ballerina Film avec sous-titres français » Ballerina

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Ballerina (2016) [Vfhd@fr] Streaming complet vf Avec sous-titres anglais et français

7.2

Notes de film: 7.2/10 1,313 röster

Date de sortie: 2016-12-14

Production: Main Journey / Caramel Films / Quad Productions /

Wiki page: https://en.wikipedia.org/wiki/Ballerina

Genres: AnimationAventureComédieFamilial

Félicie est une jeune orpheline bretonne qui n’a qu’une passion : la danse. Avec son meilleur ami Victor qui aimerait devenir un grand inventeur, ils mettent au point un plan rocambolesque pour s’échapper de l’Orphelinat, direction Paris, ville lumière et sa Tour Eiffel en construction ! Félicie devra se battre comme jamais, se dépasser et apprendre de ses erreurs pour réaliser son rêve le plus fou : devenir danseuse étoile à l’Opéra de Paris…

Ballerina [Vfhd@fr] Streaming complet vf Avec sous-titres anglais et français

Titre du film: Ballerina Popularité: 24.684 Durée: 90 Minutes Slogan: Une étoile va naître

Streaming en HD

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Ballerina – Acteurs et actrices

Elle Fanning Félicie Milliner (voice)

Dane DeHaan Victor (voice)

Carly Rae Jepsen Odette (voice)

Maddie Ziegler Camille Le Haut (voice)

Mel Brooks Mustachioed Creep (voice)

Julie Khaner Regine Le Haut (voice)

Terrence Scammell Merante (voice)

Joe Sheridan Director of Opera (voice)

Ballerina Bande annonce

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7

Le Bossu de Notre-Dame

En l’an de grâce 1482 à Paris, Quasimodo, jeune orphelin contrefait, est le sonneur de Notre-Dame. Il vit reclus dans le clocher sous la férule du puissant juge Frollo, son maître. Ses seules amies sont les gargouilles la Rocaille, la Muraille et la Voliere. Quasimodo rêve de vivre libre au milieu de tous ceux qu’il observe depuis longtemps. Ce moment tant attendu se présente le jour de la fête des fous et, désobéissant à Frollo, il se mêle au peuple venu célébrer la nouvelle année.

7.2

Moi, moche et méchant

Dans un charmant quartier résidentiel délimité par des clôtures de bois blanc et orné de rosiers fleurissants se dresse une bâtisse noire entourée d’une pelouse en friche. Cette façade sinistre cache un secret : Gru, un méchant vilain, entouré d’une myriade de sous-fifres et armé jusqu’aux dents, qui, à l’insu du voisinage, complote le plus gros casse de tous les temps : voler la lune (Oui, la lune !)… Gru affectionne toutes sortes de sales joujoux. Il possède une multitude de véhicules de combat aérien et terrestre et un arsenal de rayons immobilisants et rétrécissants avec lesquels il anéantit tous ceux qui osent lui barrer la route… jusqu’au jour où il tombe nez à nez avec trois petites orphelines qui voient en lui quelqu’un de tout à fait différent : un papa. Le plus grand vilain de tous les temps se retrouve confronté à sa plus dure épreuve : trois fillettes prénommées Margo, Édith et Agnès.

7

Comme Cendrillon 4 – Trouver chaussure à son pied

Tessa Golding est recrutée par sa belle mère, Divine et ses belles-soeurs, Olympia et Athena pour les accompagner à une audition au Royal Lagoons Resort. Ces dernières sont déterminées à décrocher le rôle de Cendrillon dans la comédie musicale “Cendrillon en direct !” avec le célèbre Reed West en tant que Prince. Pendant ce temps, Tessa se lie d’amitié avec une maquilleuse, Georgia qui transforme Tessa en “Bella Snow” afin qu’elle puisse passer l’audition en toute discrétion. Tessa doit désormais jongler entre les demandes de sa belle famille tout en gardant son identité secrète.

6.6

Comme Cendrillon 2 – Danse jusqu’au bout de la nuit…

Mary vit avec sa belle-mère Dominique Blatt, et ses 2 demi-soeurs, Britt et Bree. Lors d’un bal Mary danse avec Joey Parker, un chanteur à la mode. Les deux jeunes gens tombent amoureux sans savoir qui ils sont. Joey va alors organiser un nouveau bal afin de retrouver Mary.

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Ballerina (2016)

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