Ce prof est vraiment super. Il explique tellement bien ! Depuis que je regarde ses videos, j'arrive vraiment mieu a effectuer certains mouvements ou pas de danse classique lors de mes cours.
Can somebody please tell me if he mentions where the weight should be during the preparation for the pirouette? e.g. front leg or evenly between both legs
The weight should definitely be on the front leg. This has to do with going to the shortest way to your center. If you are on both legs, you have to push on your back leg in order to find it, which is harder. If your weight is on the front leg, you just have to go up and turn. This is a very usual correction and it can improve your pirouettes very fast. As I said on the comment above, the weight on your front leg will as well avoid to move your heel before to turn. Your hips will then stay straight and your (passé) retiré will be instantly turned out.
I understand the level of the jaw/head, the loose neck, the rib cage, the 4th position preparation, etc. I just didn't understand what he was advocating about the port de bras / order of "take off" at 4:23. Right arm, head, left arm follows last? Or right arm, left arm,head snaps last? OR right arm head/left arm together?
On that point he is wright. You just have to close your left arm later than you think because otherwise you close yourself and avoid the needed swing that has to come before you start to actually turn.
Would anyone be able to translate, please? Thank you! I can figure out the corrections he's giving about the weight transfer...what is he saying about his jaw or neck at the beginning...then at the end, what is he saying about the timing of the head and side arm? Then, of course, I can't understand his concluding thoughts. Thanks so much for your help.
French is just my third language, but as far as I understood in the beginning he talks about, that a big problem is, that most people think about "wanting to turn", but that in fact the preparation is much more important. The pirouette is a spiral around the back (I´m really not sure about this part but I think he says you need to start to turn as long as you are in plié, then just find your balance raise the heel and spin). The thing with the neck is that instead of thinking "turn the head" you should think about turning you view/sight/eye, and keep the neck loose. The back foot is really important during the plié, it needs to be turned "like opening a glass of jam". while straightening the legs pull the back side of the front leg knee to the front (he shows it with his hands). For 90% of dancers who turn bad, in his opinion it is a problem of rhythm of the arms. for practicing the arms, the mirror is very important. If the second arm closes at the same time as the first opens, you get to much energy. So as long as you see yourself in the mirror, it´s to early to close the second arm. just close your second arm the microsecond after you turned your head Conclusion: If you want to work on your pirouette, work on your preparation. understand the order of actions which make the preparation. As I said, french is not my first language, and in order to write this, i translated from french to german to english, but i hope there aren´t to many mistakes, and it helps
FridaCrescencia Wow...tremendous...thank you so very much!! I really appreciate the time you took to translate what he was saying. Which, by the way, are some interesting ideas! I had never considered some of the issues that he has brought up with regards to why some students have problems with turning. Thank you, thank you!
Christina Maria Glad if it was of any help. Wayne Byars videos are great and very helpful in my opinion. And they help me practicing my french, so translating it was a good exercise.
In the first part he says hat the pirouette is spiral downward (not around the back), and that the turns begins going downward, and then it is just a matter of raising the heel. Cheers
PAS VRAIMENT JUSTE Comment pouvez-vous, avec toutes vos connaissances, conseiller de bouger le talon de la jambe de terre, sachant que cela entrainera la jambe de terre en dedans. Vous conseillez d'abandonner cet aspect crucial qui peut faire une énorme différence si il est intégré à votre vision de la préparation d'une pirouette. Les contraintes de l'en-dehors ne peuvent être que bénéfiques. Si le talon de la jambe de terre part en dedans à cause du mouvement du talon, toute une série d'actions néfastes se met en oeuvre : - La jambe de terre partira en dedans et il faudra le rectifier durant la pirouette. - Consécutivement, le retiré sera en dedans et il faudra le rectifier durant la pirouette. - Le bassin, dû à la position en dedans que tout cela entraine, sera vers l'arrière et donc devra également être rectifié. La possibilité de tourner plus est évidente car elle s'inspire des pirouettes prises en dedans comme celles des pirouette de jazz. Néanmoins, ne parlez-vous pas dans vos divers vidéos de la meilleure possibilité de travailler dans le domaine de la danse classique ? Pourquoi ne pas intégrer l'alignement des hanches de la préparation à la pirouette d'un point de vue ...., devant être stable et droit, ne pouvant permettre l'écart que vous lui permettez. Vidéo 3:00 Je pense que l'avancement du bassin pour venir sur son axe, est une étape fondamentale de la pirouette. Cette vision à laquelle je crois et qui m'a été inculqué par les professeurs de danse qui m'ont formé et les divers professeurs que j'ai eu tout au long de ma carrière est essentiel. Par conséquent, je suis intimement convaincu (et je vous propose de me contredire) que cette façon de conseiller la future génération de danseurs n'est pas en rapport avec l'esthétique de la pureté de la danse classique tel qu'elle se doit d'être enseignée. Je suis malgré cela content de voir un effort se portant sur la technicité de la danse classique et je serais ravis d'échanger sur ce sujet. ADN Danse (Académie de Danse Noblet)
Ce prof est vraiment super. Il explique tellement bien ! Depuis que je regarde ses videos, j'arrive vraiment mieu a effectuer certains mouvements ou pas de danse classique lors de mes cours.
we would love a lesson on the pirouette in english!
Still loving this video year after year.
Ce wayne d utilité pubique pour tous les danseurs!
what an incredible teacher! Thank you for these incredible lessons!
Ce video est fantastique! Merci beaucoup!
Merci pour ces bons conseils accessibles à tous :-)
Merci mr Byars pour ceux qui aiment la danse !!
Merci bcp Wayne pour ces conseils !
Merci beaucoup pour les conseils. Vraiement utiles!!!
Gracias Wayne!!!
Bonjour faite vous des stages de Danse classique pour niveau débutant ?
Merci Beaucoup pour vos conseils
C'est génial merci beaucoup !
Can somebody please tell me if he mentions where the weight should be during the preparation for the pirouette? e.g. front leg or evenly between both legs
The weight should definitely be on the front leg. This has to do with going to the shortest way to your center. If you are on both legs, you have to push on your back leg in order to find it, which is harder. If your weight is on the front leg, you just have to go up and turn. This is a very usual correction and it can improve your pirouettes very fast. As I said on the comment above, the weight on your front leg will as well avoid to move your heel before to turn. Your hips will then stay straight and your (passé) retiré will be instantly turned out.
merci ça ma bcp aidé
merci beaucoup!!! c'est tres claire
Merci beaucoup!
C'est la même technique pour des pivots de gymnastiques rythmiques?
Once i learn french, i will come back!
@guillaume2789 et es que tu fais toujours de la danse maintenant ?? :)
muy buenos consejos para el pirouette gracias
ablas français ?
I understand the level of the jaw/head, the loose neck, the rib cage, the 4th position preparation, etc. I just didn't understand what he was advocating about the port de bras / order of "take off" at 4:23. Right arm, head, left arm follows last? Or right arm, left arm,head snaps last? OR right arm head/left arm together?
Hi Christina. It's right arm, head, and then left arm.
Thank you for clarifying. Appreciated!
You're welcome ! Don't hesitate if you need other translation. I'm french. ;)
On that point he is wright. You just have to close your left arm later than you think because otherwise you close yourself and avoid the needed swing that has to come before you start to actually turn.
Would anyone be able to translate, please? Thank you!
I can figure out the corrections he's giving about the weight transfer...what is he saying about his jaw or neck at the beginning...then at the end, what is he saying about the timing of the head and side arm?
Then, of course, I can't understand his concluding thoughts.
Thanks so much for your help.
French is just my third language, but as far as I understood in the beginning he talks about, that a big problem is, that most people think about "wanting to turn", but that in fact the preparation is much more important.
The pirouette is a spiral around the back (I´m really not sure about this part but I think he says you need to start to turn as long as you are in plié, then just find your balance raise the heel and spin). The thing with the neck is that instead of thinking "turn the head" you should think about turning you view/sight/eye, and keep the neck loose.
The back foot is really important during the plié, it needs to be turned "like opening a glass of jam". while straightening the legs pull the back side of the front leg knee to the front (he shows it with his hands).
For 90% of dancers who turn bad, in his opinion it is a problem of rhythm of the arms. for practicing the arms, the mirror is very important. If the second arm closes at the same time as the first opens, you get to much energy. So as long as you see yourself in the mirror, it´s to early to close the second arm. just close your second arm the microsecond after you turned your head
Conclusion: If you want to work on your pirouette, work on your preparation. understand the order of actions which make the preparation.
As I said, french is not my first language, and in order to write this, i translated from french to german to english, but i hope there aren´t to many mistakes, and it helps
FridaCrescencia Wow...tremendous...thank you so very much!! I really appreciate the time you took to translate what he was saying. Which, by the way, are some interesting ideas! I had never considered some of the issues that he has brought up with regards to why some students have problems with turning. Thank you, thank you!
Christina Maria Glad if it was of any help. Wayne Byars videos are great and very helpful in my opinion. And they help me practicing my french, so translating it was a good exercise.
In the first part he says hat the pirouette is spiral downward (not around the back), and that the turns begins going downward, and then it is just a matter of raising the heel. Cheers
JE T'AIME!!
merci!!
lourd !!
merci
Thanks
PAS VRAIMENT JUSTE
Comment pouvez-vous, avec toutes vos connaissances, conseiller de bouger le talon de la jambe de terre, sachant que cela entrainera la jambe de terre en dedans. Vous conseillez d'abandonner cet aspect crucial qui peut faire une énorme différence si il est intégré à votre vision de la préparation d'une pirouette. Les contraintes de l'en-dehors ne peuvent être que bénéfiques. Si le talon de la jambe de terre part en dedans à cause du mouvement du talon, toute une série d'actions néfastes se met en oeuvre :
- La jambe de terre partira en dedans et il faudra le rectifier durant la pirouette.
- Consécutivement, le retiré sera en dedans et il faudra le rectifier durant la pirouette.
- Le bassin, dû à la position en dedans que tout cela entraine, sera vers l'arrière et donc devra également être rectifié.
La possibilité de tourner plus est évidente car elle s'inspire des pirouettes prises en dedans comme celles des pirouette de jazz. Néanmoins, ne parlez-vous pas dans vos divers vidéos de la meilleure possibilité de travailler dans le domaine de la danse classique ? Pourquoi ne pas intégrer l'alignement des hanches de la préparation à la pirouette d'un point de vue ...., devant être stable et droit, ne pouvant permettre l'écart que vous lui permettez.
Vidéo 3:00
Je pense que l'avancement du bassin pour venir sur son axe, est une étape fondamentale de la pirouette. Cette vision à laquelle je crois et qui m'a été inculqué par les professeurs de danse qui m'ont formé et les divers professeurs que j'ai eu tout au long de ma carrière est essentiel.
Par conséquent, je suis intimement convaincu (et je vous propose de me contredire) que cette façon de conseiller la future génération de danseurs n'est pas en rapport avec l'esthétique de la pureté de la danse classique tel qu'elle se doit d'être enseignée.
Je suis malgré cela content de voir un effort se portant sur la technicité de la danse classique et je serais ravis d'échanger sur ce sujet.
ADN Danse (Académie de Danse Noblet)