Summer School, Injury and Rehearsals

Once again I have taken ages since my last post to update the blog – apologies! This has partly been down to moving flat (finally done!), partly due to work/future career stress (my supervisors want me to submit my thesis in June/July – argh!?! The real world beckons…), and partly as I’ve been feeling down and didn’t want to fill a post with me moaning. So what’s been happening?

Four weeks ago was my Russian Youth Ballet Company’s Summer School. I’d been excited about this for months – two weeks of daily class, repertoire and pas de deux work. Pure bliss!

Arriving on the Monday I was slightly nervous – would I be completely out of place both in terms of technique and age? This was answered immediately: sat in a circle we took turns to introduce ourselves. Virtually all the dancers were around 16 and at vocational schools: Royal Ballet School, Elmhurst, English National Ballet School; even four girls who had travelled over from Japan! Luckily there were a few familiar faces among the students – including the only other guy who I know from the YBC (he’s an amazing dancer and is off to ENBS!). I had no time to worry how out of place I’d be though, it was straight to the barre and on with class.

During the week I was pushed harder than ever before in ballet. Class was fast-paced, tricky, and physically demanding with longer and mor complex combinatins than my normal classes. As the girls got ready for pointe, me and the other guy worked on a male variation with my teacher. He taught us a variation from Gayane – a ballet by Khachaturian, the same compose as Spartacus. It was the hardest, and longest, variation I’ve ever danced and, as you can probably tell from the following recording of the music, it was epic!

Following the girls pointe class (a quick 20 minute break for the boys) it was on to a combination of pas de deux, repertoire, and character. The PdD involved a series of combinations culminating in a short section of the Adage from Don Quixote. The repertoire was a waltz from La Fille mal Gardée – the Russian versin, not the Ashton – and included some really nice partnerwork. Finally, the character piece was a set barre work music from Carmen, taught by a guest teacher who danced with my teachers in Russian – the piece had a very flamenco feel!

Every day I came back to my house sore and tired, but with a huge grin on my face (even if rush hour traffic meant a 2 hour drive!). On the Friday things were slightly different: after a quick barre we started rehearsing for the end of week performance to family and friends. We’d be doing a selection of centre exercises, the other guy and I would each perform the male variation, the girls would demonstrate some pointe exercises, we’d work through the PdD exercises, before finally performing the Carmen and La Fille mal Gardee pieces. I had to keep reminding myself to mark during rehearsals to save my energy. Thankfully, before I even had time to get nervous it was time to start!

Here's Vasiliev doing the jump I was talking about - EPIC!

Here's Vasiliev doing the jump I was talking about - EPIC!

Centre exercises went well (even if I did forget the brisé at the end of the petit allegro…) and then came my variation. Eek! I was going first and took my place downstage right of the studio. With a small bow to the audience I ran to the upstage left corner to start my opening diagonal of leaps, including an awesome “Spartacus-esque” leap. The was followed by a pirouette combination before heading to the back of the stage to collect my “flaming torches” (there weren’t any actual torches, so we had to just pick up thin air). Next up were a sting of three soutenous to tours en l’air to the knee, followed by a “torch-wielding” pirouette. With another small bow to the audience there was a more lyrical renversé-grand fouetté combination leading me downstage for a manège of more fun leaps. Finally, with lungs bursting and legs screaming, there was a diagonal of grand jeté en tournant sulminating with a tour en l’air to the floor. Phew! Here’s the only video I can find on YouTube of someone dancing the variation – it’s not exactly the same choreography but is close:

By some small miracle I managed to both remember the whole variation and execute it as cleanly as I could have possibly hoped for. I was ecstatic and really proud of myself. I watched the other guy perform – he absolutely blew me away! He was truly awesome: double tours left-right-and-centre and fantastic ballonne in his leaps. So inspiring to watch! As we both tried to catch our breath we joined the girls after pointework for PdD. This also went really well – even the penchée promenade – and it was on to the two repertoire pieces. Both went well and I didn’t feel completely stupid letting my inner-matador out for the Carmen piece (olé!). Then all to quickly it was time to head home, with the weekend to recover before week 2.

That night I was shifting some stuff from my old flat to my new house when I noticed a sharp pain in my left bicep. I ignored it and had pretty much forgotten about it the next day when I drove to help my brother and his wife move into their first house. Sure enough, a couple of bags of garden clippings later and I felt the same pain, but this time much worse. By the evening it was hurting to do most things involving moving my arm and when I brushed the inside of the bicep against anything I felt a really sharp electric pain that lingered for quite a while. This certainly din’t seem a good sign.

It stayed as bad all throughout Sunday and after a restless night’s sleep I got an appointment with the University Nurse on the Monday morning. After examining it (ouch!) she told me she thought it was superficial thrombophlebitis which is (as far I understand) a small clot near the surface of the arm that surrounds a vein (which causes the pain). Even though I knew the answer, I asked about ballet – “four weeks of absolute rest” for the arm was the treatment. I was gutted. Not only did I have the second week of the summer school starting that day, but the guest teacher was the Senior Principal of English National Ballet, Elena Glurdjidze.

I tried to pick myself up and started the hour’s drive to Bristol – if I couldn’t dance then I could at least watch class. Perched on an aerobics step at the side of the studio I watched the students warm up and get ready for class. Elena took class and you could definitely tell that she had been at school with my teachers – there was the same methodology behind her exercises which was great to watch. Moving to centre, she introduced some exercise with a Raymonda feel – this was no coincidence as she would be teaching the girls the Act III Variation later in the day. As class finished the two boys (both also from the Youth Ballet Company) started learning a short variation from La Fille mal Gardée which I could mark the legs for at the back of the studio. It was a really happy and chirpy piece that looked really fun to dance.

Next up was Elena teaching the girls Raymonda – wow! Having recently played the eponymous role with ENB, Elena was every inch the icy imperial queen whilst demontrating (such a transformation from her lovely self!). It was amazing to watch: every movement told the story and the smallest of breaths became as important as an arabesque. To be able to watch such a demonstration up close was an honour and hugely inspirational. It was also inspiring to see how quickly the girls picked up the variation, and by the end of the session some were already adding the little nuances that Elena had talked about. Here’s Elena dancing Raymonda with Ivan Putrov – amazing!

As I headed home that night I was glad I had been able to observe, although I was still absolutely gutted not to be able to dance. I returned on the Tuesday to observe again, before working on Wednesday and Thursday. Finally on Friday I headed in to watch the end-of-week performance. I was so impressed and could see clearly the improvements in the students, especially the girls in the Raymonda variation. I definitely saw some future stars in the group!

So following that I’ve had three weeks of doing no ballet. It’s been so frustrating! It doesn’t help that I’ve been stressed with moving flat and work – ballet usually chills me out so I’ve been a bit highly strung. I’ve tried to do some cross training but it’s been surprisingly difficult to find things I enjoy that don’t use my arm – no swimming or rowing for starters.

Last week my arm finally started to feel (almost) back to normal. Perfect timing as I had the start of rehearsals for Cinderella that the Youth Ballet Company will be performing in February. I’m so excited for this, and found out I’ll be playing the King in Act II, as well as sharing the role of the Dance Teacher in Act I. With 4 days of rehearsals I’ve had a lot of choreography thrown at me, but I think a lot of it has stuck. At least I hope so!

The choreography is proving much more difficult to learn than Swan Lake: unlike Tchaikovksy, the Prokofiev score offers very little distinct music cues so much longer sections have to be learnt all together. It is also much more physical than Swan Lake – I get thrown around by the step-mother (my teacher in drag) which is proving a lot of fun!

I also got some exciting news last week. The adult group I dance with is putting on a shortened version of La Fille mal Gardee, and the girl who is choreographing it has asked me to be Colas! I’m really excited about this (although not so excited about the yellow tights!) and can’t wait to get stuck into rehearsals.

So that’s my (overly long) round up of the last few weeks. I’m now off to work… at the Royal Opera House!!! I’m here for my week’s work experience working with their Digital teams. Look out for an update next week!

Until next time, keep dancing!

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