#ballet variations

[lemon-snickety]

My top 5 ballet dream roles

#5- Rubies Soloist (Jewels)

I love the energy of the role and all the petite allegro

#4- The Firebird (Firebird)

So much drama in this role, I’m also dying to wear the costume

#3- Dark Angel (Serenade)

Even though this role is generally for taller dancers (I’m only 5’5), but I love adagio. Also, serenade for strings makes me cry

#2- Gamzatti (La Bayadère)

I just love a good diva, and that’s exactly what Gamzatti is. Her wedding variation is my absolute favorite classical variation

#1- Aurora (Sleeping Beauty)

This would be my dream lead role. The Rose Adagio is probably my favorite section from any classical ballet and I would kill to do it. She also doesn’t have to do the big 32, which makes me so happy because I hate fouettés with a burning passion

[tikitania]

As the extensions increase, the tempos decrease…La Bayadere 3rd Shade Variation

Video: Navarre Brixen I really like the notated version, it's so sparkling and musical. The pace is extraordinary. I find so many ballet scores have a lugubrious pace to accommodate high extensions and painfully slow adagios…Not everything needs to be Giselle, folks. I'd like to see the tempo pick-up a bit. Does anyone know of a company where they dance some of the classic variations at faster speeds? Or is this just going to be the trend forever and ever, everywhere.

[sunny-inajar]

i wanted to practice drawing different ballet dancing poses and i thought "hey, why not throw the tsams characters in leotards, skirts, and pointe shoes" and now these exist and im so happy because i love ballet

[krenenbaker]

Rook Ballet Headcanons!

Now that we know Rook has CANONICALLY started taking ballet lessons, these are some thoughts I have as to some of his possible preferences with it! While I know that he's still learning the basics, if he were to continue further, he would probably get quite good!

He already has some of the necessary core and upper-body strength for ballet, and I'm sure that the cardio aspect wouldn't be a huge challenge for him, either. However, he stated in his Platinum Jacket vignette that he has struggled some with balance and ankle stability, so for the most part, he would be primarily working to strengthen his leg muscles - specifically those of the hip, thigh, and ankle - and increasing overall flexibility. With that work, in combination with the poise and grace he already has in his movements, he could become a fantastic danseur!

Now, for his preferences...

To begin, his uniform: I see Rook as likely preferring tights rather than shorts, and a leotard rather than a shirt. He'd also likely choose a cap or short sleeve over a tank, at least for the most part. and he seems as if he'd be quite drawn to a zip-front (or high-neck) leotard.

He'd also prefer grey canvas ballet slippers, grey tights, and a white leotard, though there's a chance he'd wear black slippers and tights instead.

For reference, Rook's preferred dancewear would be somewhat like this:

or perhaps this:

He'd also need to tie his hair back, of course, as he does for P.E., Beanfest, etc. (It would be wise for him to pin back the loose strands, too... though chances are, he wouldn't do that, except for recitals.)

Now, for the steps, I've added in some video examples, in case you aren't familiar with ballet terminology.

I'll begin with what Rook may struggle with, at least at first. Based on his main problem areas (ankle stability and balance), any sort of step which involves being en relevé ("on rise" on ones' toes) would be somewhat difficult, as well as some centre work. Grand pliés and développés in the centre would likely be hard for him when he first begins, until he has toned the proper muscles. And for a similar reason, he may struggle with turns, especially fouettés, pirouettes, and chaînés. Rook may dislike chaînés especially, as even with proper spotting technique, they can be quite disorienting.

However, he'd LOVE things like cabrioles, Italian pas de chat (in this video, alternating with glissés), saut de Basque, jeté en tournant, tour jeté, and similar steps. They each have a certain... sensation about them; when performed, these steps give a feeling of almost soaring through the air. He'd find them to be beautiful, and powerful to both perform and watch.

Rook would also adore the fluidity of pas de valse / balancé, and have a lot of fun with exercises which feature them!

he'd also love dancing any sort of pas de deux, even if he didn't have much chance to do it. being able to feel the interplay and balance between him and his partner, and build that sense of trust would be fantastically beautiful to him, possibly even more than watching a pas de deux.

There are likely a number of other steps and various variations (perhaps the Coppélia Act I Franz variation, for example?) which Rook would find to be enjoyable during his time taking ballet. And - should he continue with dance - Rook may just find another form of art he falls in love with!

[enchanted-keys]

Matthew Ball as Prince Florimund in The Sleeping Beauty (Royal Ballet 2023)

[mariocki]

Roger Delgado makes a brief appearance as an unnamed but helpful Argentine diplomat, in Overseas Press Club - Exclusive!: Two Against the Kremlin (1.13, ABPC, 1957)

[allzyfont]

COVER || FIRST || NEXT

Hello everyone! I finally feel like I’m at a good point where I can start sharing some more information about this little project! >.<

Welcome to our first look at Variations! So far, I have sixteen pages planned for this little peek into the world of Horsemen and it’s main character. There’s so much that I’m excited to share and I hope that y’all are just as pumped as I am! This page is actually the first, but I felt like it also works as a good icebreaker 👀

The comic will be in limited color (gradient maps) so that I retain my sanity 😭 Please remember that I’m also a full-time student working on this comic alone and that these things take time! I’ll do my best to start posting pages as soon as I can 🥺

[ballet-symphonie]

Hi ballerinaaa! How hard is grand pas classique? it is quite the talk how challenging the variation is.

This variation is tough, easily one of the hardest in the classical repertoire. It's a stamina challenge, not so much in terms of crazy bravada, but in terms of the sheer # of releve's. Your calf muscles are screaming even before the famous diagonal of ballonees. The choreography is also quite exposing for the dancer, with body angles that are hard to keep turned out, and intricate transitions. Stylistically, the variation needs to be confident and crisp, authoritative but charming- not the easiest thing to convey when the choreography is a bit terrifying. Especially with students, you'll often see them walk on with one of two emotions: fear or overly aggressive 'I'm gonna nail this' gusto- both miss the mark for me.

Let's start with the first section, obviously the easiest. I like to watch the depth of the plies out of the pas de chat and into the different releves. The strongest dancers, and the one's with the technique to really shine in this variation, will have their heels firmly, safely pressed into the floor any time they get a chance.

I haven't performed this variation but remember having a master class on this variation with Jurgita Dronina. She stressed the importance of musicality and footwork in the first diagonal. Your arms are trying to sustain your legs, float the attitude and en dedans turns, and really sing the melody. To keep you balanced, she told us to think about our legs and lower body acting as the bass, the accompaniment. Yes, you need to float the balances and coordinate your body but not excessively. Each plie should be measured right on the notes, this becomes easier if your feet are stepping precisely in the rhythm of the piece.

Moving on, the jete's going up the diagonal should have actual height- this is still a jump even though it's the preparation for a developpe. It also should create a feeling of spontaneity, the releve out of the jump should be lightly unexpected. Afterward, one of the most difficult sections is the consecutive turning releve's in attitude into a big battement to the side. It's a fatiguing moment, but the leg should remain at the same height, not a bobbling up and down attitude. Watch also how the leg transitions from attitude, to coupe, to a la seconde.

Now on to the ballonne's that made this variation famous. It's supposed to be done on the croisé line, with the leg crossed to the audience. You may see it done on the effacé line to favor a stronger supporting leg or to make it a bit easier to keep turnout. It's an exhausting step, but also a great way to see how well someone has been trained and how strong their turnout is. When they do the ballonne to the side, they should plie with the leg in a la seconde before going into the turn. What often happens is that dancers will 'cut' the ballonne short and plie with their leg in either sur le cou de pied, or retire passe, before pushing up to turn. Most professional dancers aren't cheating at 45 degrees, but when the legs 90+ for the second set....things can get wacky. Watch for that plie, and the turnout of the supporting leg, as well as the stability of the spine. Here's two examples to consider, specifically comparing the diagonals:

And finally, consecutive tour pique is not terribly difficult on its own but it's somehow so much harder to do (and to finish) at the end of all this, especially for those who are trying to make it really exciting by nearly jumping them and throwing in a double to finish.

[linisiane]

I just KNOW the Don Quixote ballet would make a KILLER Drag King performance. LOOK AT THIS

THE SERVE! THE PAUSES TO STRIKE A POSE

It's the showboating of male Tropical Birds combined with a parody of Chivalric Masculinity. The accentuated shoulders of the costume's silhouette! I'm more of a man than your boyfriend AND I'm doing ballet in tights!!!!

It's about the inherent irony in the performance of masculinity; it's baked into the character of Don Quixote LIKE I NEED THIS😭😭!!

[tutufreak]

Evgenia Obraztsova - Cupid Variation (2006)

[ballet-contemp]

🦢

🪽While Siegfried watches,he spots the most beautiful swan with a crown on its head🪽

[tikitania]

Yaroslavna Kuprina and Maria Koshkyarova are debuting gamzatti... Although I think they are amazing and have great potential it just seems too soon for me. I watched Maria's don quixote bridesmaids variation in Beijing and in my eyes it lacked a bit. I m sure that they will definitely become great ballerinas and will thrive no doubt but it feels a little rushed. What are your thoughts??

Too soon, yes. Unsurprised, no. This is the way at the Bolshoi Theater. They don't just push talent through the ranks quickly, but skip it altogether. I saw the snippet of Koshkayova's variation in DQ. She can do all the things, but I agree with you, it lacked the sparkle that makes DQ so fun. But I don't think it's indicative of much. It was a tour coming on the heels of a punishing/exhausting graduation season. Let's see if she grows as an artist. I found this interview with her rather interesting:

(I use my browser to translate.)

UPDATE HERE: I started thinking about this variation and tried to figure out why Koshkaryova's felt lacking, and here are my thoughts.

Now, here is Anna Tikhomirova dancing the same variation, (different costume.)

First off, the tempo in the first one (Koshkaryova) is downright lugubrious. And I know Maria can jump, but the grande jetes feel like she's lurching rather than floating. Swapping out jetes in a circle for Italian Fouettés at the end makes it feel like a show pony trick. But my biggest complaint is the crazy slow tempo and and lack of port do bras, which really sucks the life out of this variation. Tikhomirova's is much faster and musical, especially on the turns! I love her port de bras throughout. This feels like how this variation should be dance, full of joy and bravado. And her jumps are wonderfully light and look effortless. Not to knock Koshkaryova (and this is during a tour, which probably has its challenges, and she's *just* graduated) but this performance makes me wonder what her coaches are emphasizing.

[amatres]

kitri my beloved

[sunmoonandstarss]

three sissones do NOT belong in Kitri act I and you definitely can’t change my mind 😊

[mimisburnbook]

Ellary Day Szyndlar needs to dance this one day. My favorite of the Lilac Fairy variations out there and it’s so stunning,

She’d slay.

[enchanted-keys]

Anna Rose O’Sullivan as Aurora in The Sleeping Beauty (Royal Ballet 2023)

- photo by Andrej Uspenski