When I hear a teacher go into all sorts of subtleties and obscure imagery that doesn't seem to make sense, I just think, deal with the basics and problems go away. The weight in a classical pirouette is in the standing leg, and the back leg is straight, and not in an exaggerated position. One rises not by lifting but by pushing down into the floor, using gravity, and then one is perfectly balanced in releve. The pirouette comes merely from closing the working arm to meet the other and spotting. In this fashion, where one is always perfectly balanced with a completely straight axis, ie. no tilting of the pelvis, one can do innumerable revolutions. A pirouette is a balance, and one must be up over the toes, not the heels. The arms must be forward and rounded. That is Preobrajenska's technique, and her students were famous for their turns. More modern approaches, where the weight is over the heel, where the arms are aside or behind the head, pull the body back, pull the weight off of the axis, which then requires compensation in order to control the pirouette, which causes tension and limits one's speed and nearly always ruins the finish, which must flow from the pirouette itself, as it is the mirror image of the preparation. Watch Dame Markova teach.
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When I hear a teacher go into all sorts of subtleties and obscure imagery that doesn't seem to make sense, I just think, deal with the basics and problems go away. The weight in a classical pirouette is in the standing leg, and the back leg is straight, and not in an exaggerated position. One rises not by lifting but by pushing down into the floor, using gravity, and then one is perfectly balanced in releve. The pirouette comes merely from closing the working arm to meet the other and spotting. In this fashion, where one is always perfectly balanced with a completely straight axis, ie. no tilting of the pelvis, one can do innumerable revolutions. A pirouette is a balance, and one must be up over the toes, not the heels. The arms must be forward and rounded. That is Preobrajenska's technique, and her students were famous for their turns. More modern approaches, where the weight is over the heel, where the arms are aside or behind the head, pull the body back, pull the weight off of the axis, which then requires compensation in order to control the pirouette, which causes tension and limits one's speed and nearly always ruins the finish, which must flow from the pirouette itself, as it is the mirror image of the preparation. Watch Dame Markova teach.
For me you are the better teacher..Thanks
Lucia Thank you
She did really well with your corrections :)
what's her name?
Wow :). Never thought the finish as a separate part. Nice idea!
SO NICE
Thank you for your kind words. ua-cam.com/play/PL4021D7F5C281F8DC.html Maestro Greenwood
Be your own teacher.....i like that reminder