#epauler

[funtrap]

人生初。コフレ購入！ 企業コンセプトに共感した上、 着け心地的にも今までの人生で 一番「軽い」と感じるコスメ ちょいと前まで、椿油オンリーになった時期もあったけれど、それ以上に調子の良いお肌 神崎恵さんの美容本を今朝読んで、 もう少し手入れにも時間かけないとって思った朝にぴったりのものが到着したのでした 2023年は、いよいよ40代後半戦に突入。50歳でイキのいい女で居続けるために微調整してきまーす #エポ #epauler #コフレ https://www.instagram.com/p/Cmu-2QSSuhP/?igshid=NGJjMDIxMWI=

[superiorkenshi]

Y a le nouveau chef de rayon il était pas la quand j'ai fais ma colo vue que c'est un alternant et la il ma vue et le boug ma toucher les cheveux??? En disant que c'est jolie (certes il a raison) mais esh qui t'as cru être pour me toucher?? IL MA PAT PAT! J'ai envie de vomir-

[urlasage]

.

         .

       .

                16                             35

Enthusiasm                                Progress

                                      .

                                             10                                  1

                            Treading Carefully           .       Strong Action Power of Ying

                                                        .                                                                                                                    23               .                  53

                               Wealth                     .    Connecting with the Supreme Being

                  .

             .

.

[2t2r]

30 tatouages mère et fille

Nouvel article publié sur https://www.2tout2rien.fr/30-tatouages-mere-et-fille/

30 tatouages mère et fille

[jade-curtiss]

Je veux être le gars handicappé qui flail avec un ar15 pis qui fait "comme j'sais m'en servir" pis le monde sont juste mindfuck par l'absence de recoil dans l'histoire. Comme la canne fait du bruit pis c'est presque cute.

[hiadaliu]

[thisthisthisandthis]

every part of naoki’s body and movements work in harmony with each other… sentimental favourite swiss skater real…

[nudesnoises]

Clair Tran in "La Tête sur les Epaules"

[goodrobefr]

[thebrickinbrick]

The Artillery-Men Compel People To Take Them Seriously

They flocked round Gavroche. But he had no time to tell anything. Marius drew him aside with a shudder.

“What are you doing here?”

“Hullo!” said the child, “what are you doing here yourself?”

And he stared at Marius intently with his epic effrontery. His eyes grew larger with the proud light within them.

It was with an accent of severity that Marius continued:

“Who told you to come back? Did you deliver my letter at the address?”

Gavroche was not without some compunctions in the matter of that letter. In his haste to return to the barricade, he had got rid of it rather than delivered it. He was forced to acknowledge to himself that he had confided it rather lightly to that stranger whose face he had not been able to make out. It is true that the man was bareheaded, but that was not sufficient. In short, he had been administering to himself little inward remonstrances and he feared Marius’ reproaches. In order to extricate himself from the predicament, he took the simplest course; he lied abominably.

“Citizen, I delivered the letter to the porter. The lady was asleep. She will have the letter when she wakes up.”

Marius had had two objects in sending that letter: to bid farewell to Cosette and to save Gavroche. He was obliged to content himself with the half of his desire.

The despatch of his letter and the presence of M. Fauchelevent in the barricade, was a coincidence which occurred to him. He pointed out M. Fauchelevent to Gavroche.

“Do you know that man?”

“No,” said Gavroche.

Gavroche had, in fact, as we have just mentioned, seen Jean Valjean only at night.

The troubled and unhealthy conjectures which had outlined themselves in Marius’ mind were dissipated. Did he know M. Fauchelevent’s opinions? Perhaps M. Fauchelevent was a republican. Hence his very natural presence in this combat.

In the meanwhile, Gavroche was shouting, at the other end of the barricade: “My gun!”

Courfeyrac had it returned to him.

Gavroche warned “his comrades” as he called them, that the barricade was blocked. He had had great difficulty in reaching it. A battalion of the line whose arms were piled in the Rue de la Petite Truanderie was on the watch on the side of the Rue du Cygne; on the opposite side, the municipal guard occupied the Rue des Prêcheurs. The bulk of the army was facing them in front.

This information given, Gavroche added:

“I authorize you to hit ’em a tremendous whack.”

Meanwhile, Enjolras was straining his ears and watching at his embrasure.

The assailants, dissatisfied, no doubt, with their shot, had not repeated it.

A company of infantry of the line had come up and occupied the end of the street behind the piece of ordnance. The soldiers were tearing up the pavement and constructing with the stones a small, low wall, a sort of side-work not more than eighteen inches high, and facing the barricade. In the angle at the left of this epaulement, there was visible the head of the column of a battalion from the suburbs massed in the Rue Saint-Denis.

Enjolras, on the watch, thought he distinguished the peculiar sound which is produced when the shells of grape-shot are drawn from the caissons, and he saw the commander of the piece change the elevation and incline the mouth of the cannon slightly to the left. Then the cannoneers began to load the piece. The chief seized the lint-stock himself and lowered it to the vent.

“Down with your heads, hug the wall!” shouted Enjolras, “and all on your knees along the barricade!”

The insurgents who were straggling in front of the wine-shop, and who had quitted their posts of combat on Gavroche’s arrival, rushed pell-mell towards the barricade; but before Enjolras’ order could be executed, the discharge took place with the terrifying rattle of a round of grape-shot. This is what it was, in fact.

The charge had been aimed at the cut in the redoubt, and had there rebounded from the wall; and this terrible rebound had produced two dead and three wounded.

If this were continued, the barricade was no longer tenable. The grape-shot made its way in.

A murmur of consternation arose.

“Let us prevent the second discharge,” said Enjolras.

And, lowering his rifle, he took aim at the captain of the gun, who, at that moment, was bearing down on the breach of his gun and rectifying and definitely fixing its pointing.

The captain of the piece was a handsome sergeant of artillery, very young, blond, with a very gentle face, and the intelligent air peculiar to that predestined and redoubtable weapon which, by dint of perfecting itself in horror, must end in killing war.

Combeferre, who was standing beside Enjolras, scrutinized this young man.

“What a pity!” said Combeferre. “What hideous things these butcheries are! Come, when there are no more kings, there will be no more war. Enjolras, you are taking aim at that sergeant, you are not looking at him. Fancy, he is a charming young man; he is intrepid; it is evident that he is thoughtful; those young artillery-men are very well educated; he has a father, a mother, a family; he is probably in love; he is not more than five and twenty at the most; he might be your brother.”

“He is,” said Enjolras.

“Yes,” replied Combeferre, “he is mine too. Well, let us not kill him.”

“Let me alone. It must be done.”

And a tear trickled slowly down Enjolras’ marble cheek.

At the same moment, he pressed the trigger of his rifle. The flame leaped forth. The artillery-man turned round twice, his arms extended in front of him, his head uplifted, as though for breath, then he fell with his side on the gun, and lay there motionless. They could see his back, from the centre of which there flowed directly a stream of blood. The ball had traversed his breast from side to side. He was dead.

He had to be carried away and replaced by another. Several minutes were thus gained, in fact.

[goodrobe]

[ballet-symphonie]

Hello, First your blog is amazing and I am happy that you are back as much as you have time! I wanted to ask if you have seen the NZ 7 grade Vaganova Academy exam class that is posted in Vaganova's youtube channel? If so or if you have time at some point to watch it, I would love to hear your opinion about it. Would be also interesting to hear if some dancer / student specially caught your attention and why? I wish you all the best rest of your season!

Hey Ale, have you watched the Vaganova Exam made by Nikolai Ziskaridse? If so, I would love to hear your thoughts about it! In my opinion his dancers are beautiful and modern, but not "Vaganova" anymore. They look way more athletic (not that this is a bad thing) and have other qualities like quick jumps and turns but lack precision in the extensions and the in-between-steps. Also there was no real Adagio, which was for me always the main part in a Vaganova-Exam. When I watch these girls, I can see them in Europe and the US, but not so much in Russia.

Do you think the other teachers will adapt to this style or might it be just this one class?

Two questions about the latest VBA exam, I'll bundle them together.

I honestly wasn't very impressed, but I haven't been impressed by Tsiskaridze's ventures as a pedagogue with boys. The girls are talented, especially the girl who is the 'point' of the pyramid section. They are all clearly strong and can get through some grueling and sometimes nonsensical combinations but they seem to lack the finish, extra stretch and generous epaulment. The precision and polish that Vaganova is so often championed for is just a little bit lacking, most notably in the shape and turnout of the passe, the super stretched lines and the plasticity of the spine. This exam looked less polished than the majority of others I have seen, there were numerous issues of musicality and just some moments of sloppiness that normally get ironed out.

I also think some of the little details were neglected in favor of flashy combinations and harder elements. In the coda combinations at the end, the much harder pirouettes sans pose are better executed than the simple stuff like the tour pique and saut de chat. There are also a lot of little things, girls not walking to their places with perfectly stretched feet, exists from the room looking a bit haphazard...you won't see this in Kovaleva's exams.

Now onto the structure. I felt like the combinations of the exam were poorly designed, confusing and without cohesion. It's hard for me to tell the goal of each combination. There are 4 or 5 pseudo adagio combinations but intermixed with some jumps here and there, and then there are the multiple mini pointe work ballets that just don't feel like exam material. Some parts of the exam are so overly choreographed with formations that it's difficult to really see the skills of all the girls. Especially at the end, certain girls are dancing much much more than others, the exam is about allowing the panel of judges to asses all of their skills and grade them....hard to do that when girls are offstage and not dancing all the combinations.

Yet the content is challenging for sure, consecutive grand degage, hops on pointe with double ronde, and all at a blistering pace, which is another big change. Gone are the luxurious and dreamy adagios that seem to go on for forever, executed with mindblowing control.

Seperately, there is a huge conglomeration of different port de bras, lots of more stylized arm positions that are associated with different ballets. Stylized port de bras has normally been reserved for character exams or for the acting exam, also the mix of so many different styles (Spanish, Hungarian, 'eastern') in the same combination at times feels strange and quite out of place? Like what is the point/benefit of that choice?

The music selection doesn't help either. Each piece of music combination kinda blends together, but it kinda feels messy and lost? And sometimes the movement seems choreographed over the music rather than to it. Where does one start and the next begin? And why is almost everything at such a quick pace? I wish there was more emphasis on finesse and detail, rather than speed, especially when they're still in school.

What is mostly absent, curiously, are the inclusions of famous passages from the classical heritage. I think I saw only two brief ones, and one at nearly double time. The most famous professors of VBA (Kovalava, Vaseileva, Udalenkova, etc) often interweave sections of variations or famous choreography seamlessly into the exams. Professionals will catch these references instantly, which I always thought was an excellent way of showing the students' level of preparedness for the stage.

TLDR: I haven't liked what I have seen from Tsiskaridze's past classes of boys, and I don't think the choices he made in structuring this exam are beneficial to the development of the girls.

[2t2r]

Les fantastiques paysages de corps nus par Carl Warner

Nouvel article publié sur https://www.2tout2rien.fr/paysages-de-corps-nus/

Les fantastiques paysages de corps nus par Carl Warner

[patricedumonde]

I'm not sure what I'm missing about Koshkaryova recently but I have found her dancing underwhelming thus far? I thought she was fantastic at the Moscow IBC (Shirin variation!!!) but since then she has looked very messy. Her Corsaire, DQ bridesmaid variation and Paquita varation- all seemed noticeably off the music, frenetic, turned in and slightly sloppy turns with stiff arms. Also something about her epaulement seems off. I hope this is not related to preparing too many new roles too quickly. Additionally, I don't understand the double standards Valiullina is facing about her body type. Some people complain that she is too heavy for ballet yet fail to find fault with to other brilliant, less than stick-thin ballerinas like Maria Alexandrova and Angelina Vorontsova. I find Valiullina lovely with very effortless technique, an good jump and commanding stage presence, so naturally think the comments about her weight are quite unnecessary.

Probably because being good in competitions doesn't translate to being good in a major stage. I think there's two ways to think about this.

First, she's a fresh graduate. It's normal for her to be nervous. They're not just debuts, they're debuts on her first few months with the company. I think every legend in ballet has had their fair share of failures on stage. She'll probably have more solid footing after her first year. Second, the expectations for her are high because she's the top graduate and she's already a soloist. The bar is a lot higher for her than Yaroslavna and Sofia. Anything she will do, whether it be average or above, will likely be overlooked since we're expecting more from her.

That said, there's a lot to work on and I think she will and probably is working on them. Aside from her Paquita debut (Trilby Variation), I think she's been fine. Also, I don't know what she danced in Corsaire? Or if Bolshoi has performed Corsaire this season.

Here's a video of Natalia Makarova talking about her failures!

For Sofya, ugh I love her. You can tell that she's a thoughtful dancer. She's not a risk taker like Maria. Her technique is flawless and she's captivating on stage. She is my bias hahaha. To be honest with you, I don't look at instagram comments nor overtly negative telegram channels/forums so I'm not aware of the comments about her body. If there's an overwhelming amount of people judging her for that, that is disappointing. Does she have a more mature body, yes. Does it affect her dancing in any way whatsoever, no. She literally has the same body type as Maria Bulanova! I don't see why they can't accept her as well. She has so much potential, I hope they never hold her back just because she doesn't have the body of her 13 year old self?

[exitwound]

okay this is random sorry but. do u feel like ballet has influenced how you think about gender. bc i feel like dance has had a Profound impact on my gender in a way i cannot put words to. idk

Yes.I think. profoundly.In an insane way I also cannot put words to really. Except that something about my commitment to ballet was in the sense that I gave up my body to this & my body was this & my body was me…I could say all this way better if i thought about it but im often afraid to really think about it because i don’t want to eliminate any possible worlds you know…idk..sometimes i just want to leave how i feel as is. But femininity in ballet is very strange. StrNger than it seems. I think that one of the things is that it’s femininity (if you’re doing it as a woman) but it’s not the same as femininity outside of ballet…Like it feels like a totally different route to the same thing but with gender being something with no core to throw away, there is no “same thing” and its just a different route..There’s a lot of semiotics going on with it . That i have not worked out at all. I think that I was very comfortable with my gender in that i didn’t question it much because of dance; looking back, I thought of myself as femme like, exclusively in terms of ballet ideas of femme.. Even outside of dancing. But also i took things prety extremely. And i loved it so much I did ballet everywhere constantly at home and such.. It was everything to me it was who i was i wrote extensively about how i felt so lucky to have a purpose in life and that’s what it was for me. I somewhat regret this and feel like I missed out on being a person the way I experienc personhood now for most of my teen years but also it’s okay it’s who i was it makes me who i am whatever whatever. I appreciate my intensity. And i think i needed it to be that intense for me at the time. This is getting unrelated. But yeah. I think my personal ideas of beauty and gender sort of meshed in ballet for me. Im rambling like crazy i have no idea what i’m saying. But i think it’s not a coincidence I started thinking about gender differently when I stopped dancing.And yet I can return to ballet and slip into this incredible space of like ease in terms of gender….Unlike being femme in normal life which i often am but which often feels like a costume or like, drag, “ballet femme” — like, the epaulement, the lines of your leg muscles through your neck, grace, cruel & tender angelicism, how turnout transforms the body aesthetically.. it honestly feels so embodied & real it’s crazy..It’s so beautiful .When i’m not dancing im Jacob wrestling with the angel when i’m dancing im the angel

[hiadaliu]