Inscrit le: 19 Jan 2004
|Posté le: Dim Sep 09, 2018 8:55 am Sujet du message: Definitely, the Future of er, "Ballet"
|The article below is a Must-Read.
"Trinity Laban’s Dance Science lab features wireless EMG equipment and face masks that can measure dancers’ muscle activity and oxygen uptake; an Optojump system, which uses infrared LED lights to analyse jumps; and a Tekscan pressure sensor, which gauges postural sway during pliés and pirouettes. This is where many ballet innovations are tested. “We have worked with choreographers like Wayne McGregor, but if you are paying to watch a professional ballet, you don’t want to see people with masks on”...
No-one seems to ask HOW we have painted outselve into this corner.
WHY we tolerate choreography that produces so staggering an injury-rate?
WHY we tolerate an illusion about so-called "technique", that produces so staggering an injury-rate?
WHY the teaching profession itself does not revolt against high legs, the over-crossed fifth and ratched-up turnout which is where all the injuries begin?
Where this leads, is that neither the public, nor all-too-many teachers, draw a distinction between a theatrical art form, and sport.
The thoughts and refined emotions provoked by an art form - and art exists SOLELY to provoke thought and refined emotion - have nothing whatsoever to do with the death-defying thrill associated with these extremely dangerous sports.
Smeone has sent me a link, which I copy out here.
A fourteen-year old girl skater, Mlle A. Trusova, has just done what would appear to be a quadruple tour en l'air, several times running.
Undoubtedly, people will think this Wonderful. And will wonder, eagerly, whether one might not introduce this Wonderful innovation, into "classical" dance.
In the way we dance today, we do not care to respect the body. We treat dancers like a toy - and very soon a broken toy. The body is looked at as a collection of body-parts to be goggled (Googled?) at, each part expected to be "perfect".
Not being a psychiatrist or psychoanalyst, one cannot state with certainty as to whether the grotesque and sensationalist nature of what today passes for "classical" dance, has anything to with the uproar that has just broken out at NYCB ... not to speak of the goings-on elsewhere.
in the words of Private Eye,
"Are they Perhaps Related?"