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Les accidents - par rapport à la question de "Haydn&quo

 
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Katharine Kanter



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MessagePosté le: Dim Fév 29, 2004 11:35 am    Sujet du message: Les accidents - par rapport à la question de "Haydn&quo Répondre en citant

Chers collègues

M. Haydn a posé sur le sujet "Giselle" une interrogation au sujet des nombreux accidents.

Dans le “New York Observer en date du 18 février 2004 M. Gottlieb écrit,

"Tarnished Jewels, Living Dolls, A Plague of Ballerina Injuries

"The first half of City Ballet’s "Balanchine 100: The Centennial Celebration" is winding down … and not a moment too soon. A few more bad ankles and there won’t be anyone left to dance. Consider: Wendy Whelan, Jennie Somogyi, Sofiane Sylve and Janie Taylor have been out all or much of the season. “

Je me permets de reproduire ici, quelques lignes d'une intervention par Lilian Karina Vasarhelyi, écrites en 1992, qui est aussi une question aux lecteurs russes.

RE: SHIFTS IN VAGANOVA TECHNIQUE

Norwegian University of Physical Education, Symposium on Dance Medicine, 1992

Summary of speech by Lilian Karina Vasarhelyi
(author of one of the first books on Dance Anatomy, 1958, author, “Tanzen unter dem Hakenkreuz”, 1999, and “Modern Dance. Geschichte, Theorie, Praxis”, 1992.)

« Our joints give us active and passive movement possibilities, the latter being a kind of movement reserve – before one joint surface hits another – it must not be used up, if we do not want to lose the necessary muscle protection and damage the joints.

“In old Russia, children who had too flexible joints were not accepted into ballet school. Stability was chosen instead of the ability to stretch. The active movement ability in the joint was not exceeded so much.

“At the present time, the Soviet ballet technique is accepted all over the world. It promotes an astounding virtuosity to jump higher and higher and do more and more pirouettes. Legs are lifted.... and demands on balance climb to the outer limits of what is possible.

“From the USSR of the 1930s, it is easy to draw parallels with the record-breaking worker Stachanov, a miner, who had managed to mine a co mpletely inhumanly large amount of ore in one shift, and was later made an unattainable example for everyone....”

Il serait intéressant d'entendre les commentaires de personnes versées dans la technique Vaganova, et qui auront vu son évolution sur plusieurs décennies.


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Katharine Kanter



Inscrit le: 19 Jan 2004
Messages: 1095
Localisation: Paris

MessagePosté le: Mer Mar 10, 2004 6:21 pm    Sujet du message: Une nouvelle étude dans le Journal of Rheumatology Répondre en citant

Le Journal of Rheumatology publie ce mois ci une étude dont les références sont apparues ce jour sur le site anglais ballet.co. De brefs extraits de l’éditorial qui parle de cette étude sont reproduits ci-dessus.

Les chercheurs anglais sont arrivés à des conclusions qui peuvent paraître surprenantes et même fâcheuses, par rapport à la prédilection exprimée par les directeurs des grandes académies depuis trente ans en faveur d’individus présentant une hypermobilité articulaire.



Rheumatological Aspects of Dance (extraits de l’éditorial)
HOWARD A. BIRD, MD, FRCP,
Professor of Pharmacological Rheumatology, Clinical Pharmacology Unit, University of Leeds,

The care of dancers represents perhaps the greatest challenge in occupational medicine. Training and demands of the profession are intense, every bit as demanding as the professional athlete. The control and coordination of body parts required is almost as refined as that needed in the hand and arms in a professional musician (...)

However, unlike athletes, dancers are denied the option of performing on their own terms at their own physiological and anatomical aptitude (...)


The authors have studied joint laxity and the influence of joint hypermobility syndrome on both students and professional ballet dancers in the Royal Ballet Company and its associated schools (....) The report breaks new ground by comparing both male and female ballet dancers, at various levels of performance and training, using more sophisticated methodology in the assessment of joint hypermobility in this elite group (....) .

The authors have excellent credentials for their work. One of the physicians is a co-author of the 1972 report that first discussed whether joint hypermobility might be an asset or liability in dancers. One of 2 physiotherapists involved, both active in the treatment of dance injury, was also herself a dancer and contributed to the seminal textbook Dance Technique and Injury Prevention4.


The more interesting feature was that hypermobility was found to decline, both from student to professional standard and also within the ballet company itself, the more accomplished principals displaying less hypermobility than the others. It was also noted that arthralgia was common, more so in males than females, but in the females the pain was most frequently reported by hypermobile dancers (...°).


(....) it would have been of interest to additionally assess proprioception, which may be impaired in hypermobility, particularly among those that have experienced injuries.

The relative reduction in joint laxity associated with training at the highest level comes as a surprise (....) the authors (...)speculate either that the most hyperlax are lost through injury along the way or that the greater coordination of muscular control required at an elite level of performance reduces laxity.

The possible association of hypermobility with injury has attracted authors for many years. This association is recognized in other areas of sports medicine; however, precise quantification remains difficult because the magnitude of the applied injuring force is every bit as important as the laxity of the joint in determining whether injury occurs or is prevented. The inherent joint laxity can also strongly influence the speed to recovery.


If ballet places strain on the extremities, particularly the feet and ankles, contemporary dance is based much more on spinal movement, where rotation predominates, a requirement not often seen in classical ballet, which relies more on flexion and extension of the spine.

The contemporary training frequently unmasks small degrees of inherited scoliosis, a rotational twist causing particular problems of back pain unless remedied by careful attention to technique. It is also our impression that students who have trained extensively in ballet as children find it hard to cross the divide to contemporary dance with its many more varied demands.

© 2004. The Journal of Rheumatology Publishing Company Limited.
Address reprint requests to Prof. Bird. E-mail: Howard.Bird@leedsth.nhs.uk


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