Category Archives: Ballet

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How to Make a Big Green Smoothie

image

Delicious! That cup is about the height of a hand, by the way.

So good, it can put a smile on your face when you wake up on an April morning greeted by snow. This is one of my favourite breakfasts, and actually, meal options if I’m craving something sweet. It’s packed with nutrients and fills you up, but not in the icky kind of way that a box of donuts does. For a fresh and healthy start to the day, and a sneaky serving of veggies, here’s how I make a BIG, green smoothie.

The fruits and veggies:
-1/2 avocado
-1/2 green apple
-Handful of baby spinach or kale or any other green leafy vegetable (you won’t taste it I promise!)
-1 kiwi(adds a bit of a sour zing to it)
-If you have a big appetite, you can also add 1/2 a banana, but note the high starch content)

Cut up into pieces that will easily blend.
The Protein:
-1 scoop of your favourite protein powder (I usually use either Sunwarrior Brown Rice Protein Blend or Vega Vanilla Protein Smoothie Mix) 

OR

This is another option that is more wholesome though the protein blends above are very good:
-1 tbsp. Shelled Hemp Hearts
-1 flat tspn. Ground flax meal
-1 tbsp. any nut butter (almond is my favourite, and you can use the coated spoon to eat the smoothie with for an extra treat)

The Blending Agent:
-A dash of milk, almond milk, soy milk, Kefir (liquid yogurt), etc.
– If you like your smoothies you can always add water as you wish, but I like mine thick and creamy, sort of like ice cream!

Extra  (metabolism boosters):
Pinch of cinnamon
1/2 tspn. Honey
1-2 tbsp. Coconut oil

The Final Step:
Throw it all in a blender and enjoy!
(We have a Magic Bullet so I can eat it straight from the cup after blending it.)

I know it might seem like a long list, but I’ve written A LOT of different options here that you can mix and match. I tell you, it is worth it, and these are just guidelines to help you tailor your own ultimate smoothie! Hope you like it and what do you like in your smoothies?

Thanks for reading,
thebookybunhead

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Filed under Ballet, Oh Life, Tips, Tricks, and More

Copenhagen: A Summer Exchange

Copyright thebookybunhead 2012

From the moment I stepped out of the airport, I knew that my second time in Europe as a professional ballet exchange student would be no less than wonderful. Everyone was very welcoming and even Copenhagen itself seemed to greet me with its warm colours and lively streets. The next two weeks would be spent dancing with the Royal Danish Ballet and exploring the sights and sounds of the city!

We had ballet classes in the morning, one with students of the school, and one with professional dancers of the company. It was nice to have the variety of levels and intensity every day, as well as to meet many great people. We also took some other classes such as repertoire and Pilates, with Bournonville being particularly fun as a trademark Danish style with its charming expression and agile steps. It was an inspiring and exciting experience to take company class and I admit it made me feel impatient that apprenticeship starts a year earlier there!

We watched company rehearsals, and though it was too early in the season to see a performance, we got a tour of the beautiful, golden, traditional theatre and saw excerpts of ballet pieces in an annual outdoor show that promoted the Det Kongelige Teatre. It became chilly after sunset, yet the audience of thousands stayed sitting on the grass wrapped in blankets until a standing ovation at the end of the night; it was a kind of cultural appreciation I was quite impressed with.

Throughout the afternoons walking the streets of Copenhagen, we discovered many parks, observatory towers, and pretty buildings, and realized it was impossible to walk a few minutes without snapping pictures of a cool fountain or statue. I had the chance to ride in a canal tour, go to two of the oldest amusement parks in Europe, look at art (including a Degas exhibition) in a couple of the many museums that offer free access, and just enjoy the street and night life.

I once read that Denmark was named the happiest country in the world, and I can say I easily believe it with the relaxed, “go-with-the-flow” atmosphere I felt during my stay. Everyone I met was so nice that I often forgot I was a foreigner, at least until Danish was spoken, which I found out has absolutely no resemblance to English. I was sad to leave but was looking forward to bring back everything I had learned to grow more as a dancer and a person in my final year at NBS! Between the ballet and the excursions with friends, I had a grand time in Copenhagen and hope to visit again someday.

So, this is part of why my summer was packed to write as much as I wanted. The first month of gr.12 has been so busy but I’m really hoping to get this blog up and active again.

Thanks for reading,
thebookybunhead

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Filed under Ballet, Oh Life, The happenings

Best Week Ever: Memories of a Ballet Festival

balcony jump - AI13

Some of us thought a jump shot on a sunny balcony would be cool.

It’s not any day you meet and perform with over a hundred fellow dancers from 10 different countries. Actually, it was a week. So naturally, I have an urge to write about this unforgettable experience. Amazing. Inspiring. Awesome. Enlightening. Bomb-diggity. These words can only begin to describe what hosting a giant, international ballet festival at our school was like.

Nearly everyone arrived early on the first day for orientation. It was a confusing ordeal at first, as students wandered around trying to find their partners who may or may not still be in bed. Or, having found them, realized their partners  had already been taken on a tour meaning they were left feeling quite useless, standing around like a lamppost. My partner was a pretty, Indian girl who will be in the corps of the San Francisco Ballet next year and who had no trouble engaging in conversation, which made it easy for me. From this first introduction, I realized how many different experiences were being brought by everyone, and was sure it would be an interesting week!

Being the second of this tetra-annual event (think Olympics, except with dancing, and a celebration instead of a competition), we had an arsenal of organizational experience that we launched into some virtually foolproof plans. Firstly, each of us was partnered with a student from a visiting school, and each school had a contact person. It was a system of relaying any concerns between student, teacher, and artistic director of the schools without multiple people trying to fix the same problem at the same time in their own way. Binders were prepared containing weekly schedules, pamphlets on public transportation and restaurants in the area, cell phone numbers of every participant, even directions on how to get to every studio. Food was also stocked up with snacks of fruit, yogourt, cheese, and crackers and tables laid out to fill “Town Square” as we call our school’s main hall, where 180 people would eat every day. It surprised a few of us when visitors exclaimed, “Do you get to eat this every day?!” pointing to the row of hot food and salad bar.

We started each day with a ballet class, each one with a different teacher and with a different set of dancers. Throughout the week I was scheduled to be taught by teachers from the School of the Hamburg Ballet, Dutch National Ballet Academy, New Zealand School of Ballet, and Houston Ballet Academy. To think that to take this week of classes otherwise I would need to travel across the globe! Although each class was set differently, with a variety of teaching style and focus (for example, upper body expression, or petit allegro which is quick beats and jumps) it was interesting to see that many corrections were the same, just told in a different way – dance truly is a a universal language.

In the first few days, “Traditionally Timeless” was rehearsed: each school would perform a piece of repertoire that reflected their culture over the course of two programs. Each was the most exhilarating three hours I have never seen on stage. It was amazing to see everyone represent themselves and their school with so much integrity, and the diversity of styles and skills opened my eyes to how much more I have to explore in my art form. Counter-balancing acts, pure classical virtuosity, abstract, theatrical, and humorous contemporary, and impressive shows of strength in pas-de-deux – the shows had it all!

In total, there were 18 schools that participated and we had the privilege with mingling with what is, literally, the next generation of the ballet world. As mentioned, our daily ballet classes had new combinations of dancers every day, so we danced with the world, did a bit of unavoidable “sizing-up”, and collected lots of names that would surely pop up again in the dance world. It was also good practice for auditions to have to jump in and learn a class with people you hardly knew.

Another set of programs was performed in the second portion of the festival; these were named “Fast Forward” (they really liked the alliteration, didn’t they!) which featured student choreographic works as well as a live streaming project. These all had international casts, with a random scramble of dancers that had learned the dance through videos from their home country. And there were approximately four days to put it all together.

“Stream” was a 20 minute fusion of classical and contemporary styles and used projections of water and the dancers from Amsterdam on two big screens on either side of the stage. White was worn so that images would be projected onto bodies when people were dancing behind the screens. It really was a cool effect. It is amazing how technology can enable dancers from across the ocean to put on a show together with a lag time of .0-something seconds. It was a big achievement on the part of the choreographers, stage crew, cameramen, technology crew, and everyone in between.

We met many modern dancers from Juilliard, Palucca Schule, and Codarts who impressed all of us with their movement quality and style. It was improvisation as we had never seen before. And of course, they were all so nice. We got to know this cast of 35 or so people quite well since we had “Stream” rehearsal nearly every day. It was fun to learn how to communicate through language barriers and shocking for many of my friends who realized many Europeans not only speak their native tongue but also speak better English than most from North America, excluding their accents. I feel a lot of the times we are too casual with speaking properly, but that’s another topic. Other than the Cubans who spoke almost no English, we exchanged many words with everyone and nevertheless gained a valuable, international network of dance connections.

Our main socializing time was lunch hour. I had always told myself I would be the person plopping myself down at a table of foreigners, but I learned it’s not as easy as it looks. For the most part, students from the same school stuck together, so it could be a little intimidating. What I also learned is that having the courage to put yourself, as an individual, out there seems friendlier than approaching others in a group. By the end of the week, we were all quite comfortable with starting spontaneous conversation with anybody and could only wish that we had more time to hang out as our days were packed with dancing and rehearsals.

Wrapping up the week was a conference that was titled “Creative Challenge” after its topic, since “conference” seems to bring up the wrong sorts of ideas to young dancers (you pictured stern faces jotting down notes in an auditorium, didn’t you?). It started off with an interview with world-renowned modern choreographer, Wayne McGregor, and our main speaker, former Principal of the Royal Ballet, Deborah Bull. It was so cool to hear him speak about the projects he had done and how he built his company, but I don’t know if it was fatigue or the extremely hot temperature of a packed theatre, many of us started nodding off after 45 minutes, which was too bad because it is such a special opportunity to be sitting with two significant advocates of the dance world.

So the break-out sessions came at a good time. We split into groups in different studios to brainstorm ideas for a dance project that: a) is performed in an unconventional venue (meaning outside proscenium theatres) and b) collaborates with young artists from various disciplines (ex. composers, costume designers, filmmakers, poets, painters). Due to the economic times and the trend that companies are hiring older and more mature dancers, developing entrepreneurial skills is valuable to create opportunities for oneself. The projects are to be broadcasted through the internet and a hub designed so we can update each other on our progress and learning experiences.

The idea is also a way to expand the reaches of the art form to the public since theatre tickets can be considered elitist, especially when it comes to price. Our group extended the discussion to how the audience can become a participant instead of observer, and to work with “non-performers” as well, perhaps construction workers, the blind, or mathematicians. Everyone had different ideas and was enthusiastic about the new endeavour, which is good, since our director was worried it might have been too far “out there” for the current ballet community.

Ms Bull said something that really resonated with a lot of us, “You may think of yourselves as students that are about to enter the dance world as professional artists in companies. But actually, you are the dance world.” I just thought, “Wow, I am a part of this family that I’ve always envisioned to strive for. And I am a part of the future.” When the conference was wrapped up, a roaring standing ovation rose and our director performed a spontaneous dance of joy to the cheers and hoots of two hundred young dancers, giving the documentary crew quietly filming in the corner the exciting footage they had been waiting for. It felt like the beginning of a revolution and I hope we always remember the indescribable solidarity of that moment.

If that didn’t wrap up the week with a bang, the closing party sure did! We danced the night away, simultaneously introduced ourselves and said farewell to people we had or hadn’t met yet, and even saw some of the top directors and teachers of these highly prestigious schools break it down on the floor! A slideshow of photos from class, rehearsal, and performances played and there were tables of food: desserts of macaroons, cupcakes, fruit salad, and tarts; a bar for the legally of age (saw a director sneak his student a drink – very funny), and savoury treats of sliders, shishkabobs, cheeses, you get the idea. It was a fun evening, bittersweet, but only slightly thanks to the wonder that is Facebook. We joke that we are set for life from our connections all across the globe now.

It is hard to sum up my thoughts for this festival. I met so many wonderful people and was inspired by every single one to always be the best artist and person I can be. We shared many memories in the seven days the world gathered together in Toronto, and I feel very lucky to have been a part of a learning experience that I will treasure all my life. It will be funny if the t-shirts we received become rare collectibles one day; maybe we will recognize each other from them, or the grey booties that we also got, when our paths meet again.

April – May 2013
Thanks for reading,
thebookybunhead

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Filed under Ballet, Oh Life, The happenings

A Work in Progress (with Guest Artwork)

ballet3invertedballet2inverted

“Choose a job you love, and you will never have to work a day in your life.” ― Confucius

It has been a very busy week preparing for our annual showcase. Long days leave us with hanging limbs, aching muscles, cracking ankles, and lots of homework waiting in our school bags. And I love it. Even when it means the rest of Canada is celebrating a long weekend while we have rehearsals in two out of the three days.

Don’t  get me wrong, I enjoy being lazy. There truly is nothing like lounging around on a couch reading a book, watching nostalgic television shows, and blogging away here on WP, but being busy is satisfying. Having work and goals leads to personal growth that makes us feel like a contributing part of society. Vacation is great, but I think, as human beings, if we had all the time in the world we would still find some project to work on, because we are naturally curious that way.

In ballet, it is much the same way except we can’t decide when we dance from when we want to, but also when we need to – it’s about discipline as much as desire. Maintaining strength and stamina is especially important the days leading up to a performance because often, muscle memory isn’t enough. After getting into the routine, our bodies crave the exercise, and sometimes even the soreness, strangely enough.

Ballet is a never-ending process of discovery. Each day, we get into class practising the same movements we’ve been doing for years. But then again, it’s never the same because bodies change and we are constantly finding new ways to engage our muscles and refine our artistry. Perfectionism is a raging epidemic in dancers because everyone is in pursuit of pure, classical, virtuosity. There is an internal hunger in all of us to reach the ideal, ballerina whose picture only becomes more perfect the closer we get. It’s what keeps us on our toes.

The older I get, the more I realize you cannot have a successful career unless you are head-over-heels-flat-on-your-face in love with ballet. Work is paired with passion, and learning about the art form and yourself is just as important as the performance onstage. With the words from my teacher, I’ve realized that there is never a finished product and that we are not “finished dancers”, especially as students still in a school. There is always more to learn and more to improve on to fulfill the potential that sometimes we don’t see in ourselves. And this does not only apply to ballet.

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http://greenembers.files.wordpress.com/2013/03/ballet1inverted.png?w=179&h=319
I would like to acknowledge Bradley for his beautiful sketches (that he drew for me a LONG time ago) and that inspired me to write this post. Please check out the original art and his blog here!

As you’ve read, I have incorporated an excuse for my inactivity in this post and am itching to complete all the ideas that I had a few weeks ago in my What Now? list. There is a lot of school work to be done this weekend, and as I’ve mentioned, rehearsals, but I am determined to write at least one little something each day.

Thanks for reading,
thebookybunhead

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Around the World in 8 seconds (NaPoWriMo #28)

globe               Bill Zindel

Art by Bill Zindel

Today I met people from
San Francisco
England
Germany
New York City
Spain
New Zealand
Cuba
Australia
In one room.
Talking.
Dancing a universal language.
Traveling more of the world through smiles
Traded internationally in the hallways.

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I had school on Sunday, and it was great. Sounds crazy, but it really isn’t. Today was the first day of a big dance festival with professional ballet academies from around the world. It is all SO exciting, I can’t believe it’s here, and I promise myself I will enjoy this week to the max.

Thanks for reading,
thebookybunhead

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Filed under Ballet, NaPoWriMo Challenge, Oh Life, The happenings, Words of No Wisdom

Oedipus Rex Essay

OEDIPUS REX: Tragedy in Drama and Dance

                Oedipus Rex, written by Sophocles, tells the story of a man from Thebes who kills his father and marries his mother despite valiant efforts to escape this horrible fate. The play is a Greek tragedy in which fate is predestined and controlled absolutely by greater forces. Oedipus, our protagonist, was doomed by Apollo’s oracle to commit sins of murder and incest from his birth:

And to Laius and his wife Jocasta a son was born.

Before even a name had been give to this infant…

His life was clouded with the presage if disaster…

He was destined one day to kill his father,

And to become his own mother’s husband. (23)

The story is a struggle between Oedipus and his destiny as he attempts to flee from the path that had been placed before him. He leaves Corinth, the home of his adopted parents, to thwart the predicted events from occurring, but in doing so walks closer to the very fate he is trying to avoid. Three terms of tragedy reflect the tragic irony and imminent destiny that is the core of a classical tragedy.  The devastation of a hero obliviously trapped in the hands of the gods can be explained through the terms hubris, irony of fate, and catastrophe. These elements present in the script are also found in Martha Graham’s modern expressionist ballet, Night Journey, which expresses the play from Jocasta’s point of view.

Hubris is the fatal flaw of pride that gives Oedipus the bravery to fight the oracle’s prophecy but also blinds him from seeing the truth, therefore eventually leading to his downfall. Oedipus’ pride in defying the gods creates false assurance of his success in evading his fate, and this security allows Oedipus to seek his identity with confidence. Despite warnings from Teresias, Creon and his own mother, Oedipus continues his search, ignoring and insulting those who are essentially trying to protect him. Because of his pride, he fails to understand the intent of their warnings and assumes other reasons for their guarded behaviour:

(To Creon): “Have you the face to stand before my door,

Proved plotter against my life, thief of my crown?” (40)

(Regarding Jocasta): “Go, someone; fetch the shepherd. Leave the lady

To enjoy her pride of birth.” (55)

Oedipus accuses Creon of plotting to steal his throne and dismisses Jocasta as an arrogant noble, scared of discovering her husband as slave-born. In the ballet, Oedipus’ superiority is presented as he climbs the steps made by the sculptures to stand magnificently at the summit. His high status of king is established when he stands above Jocasta, putting his leg over her shoulder, and by the draping robe that displays a powerful stature. The dramatic length and folds that serve this purpose ironically also represents Oedipus’ tangled situation as he pulls and wraps the circular fabric around his arms to find the material overwhelmingly twisted. His difficulty in collecting the infinite fabric of the robe that represents his royalty is also a foreshadowing of a dark, underlying secret. Ultimately, the flaw of pride in Oedipus’ character causes his insistence in proving the stars wrong as well as his ignorance in refusing to realize the truth, until it is too late.

The fact that Oedipus is completely unaware of the implications of his search and that other characters, the chorus, and the audience or reader comprehend more of his fate than he creates irony. After determining that capturing Laius’ murderer would absolve the nation, Oedipus states the punishment that awaits him:

No matter who he may be, he is forbidden

Shelter or intercourse with any man

In all this country over which I rule…

Expelled from every house, unclean, accursed,

In accordance with the Pythian oracle. (32)

Pronouncing this sentence of banishment, Oedipus seals his own future; he enforces the will of the gods yet he himself is the one who defies them. By capturing his enemy, he unknowingly captures himself. In Night Journey, irony of fate is found in the use of a prop that symbolizes the relationship between the king and queen, and its curse. In slow and precise movements, Oedipus and Jocasta use a rope to entwine themselves in poses of affection and sensuality, signifying their union in marriage. In contrast to their dance is chaos presented simultaneously in the music and the choreography of the corps, or chorus. The women jump to crashing chords, perform series of sharp rolls and contractions, and cover their eyes as if to shield themselves from the horror of the contemporary pas de deux. The interlacing rope is an interpretation of another relationship: that of mother and child, connected by an umbilical cord. This same cord is later the tool used to commit Jocasta’s suicide; the double bond between her and Oedipus proved fatal. When perceived differently from reality, certain actions and situations gain significance as they can cause a change of fortune and reversal of fate when the truth is revealed.

The weakness of pride and dramatic irony in both play and ballet lead to the catastrophe, the devastating defeat of the hero. In fighting destiny, Oedipus ends up completing it. This unconscious self-condemnation is also performed by the character Macbeth in Shakespeare’s play Macbeth. The two protagonists possessed hubris, were influenced by supernatural forces, and believed in their abilities to change their fates – Oedipus denies the oracle’s prophecy while Macbeth follows the witches’ predictions. However, despite these similarities, their circumstances differ: Macbeth deliberately chooses to commit murder against his conscience but Oedipus has no idea of the true consequences of his actions. While Macbeth is therefore responsible for his terrible conclusion, in a Classical tragedy, the hero is powerless and will meet his destiny regardless of his choices. With no chance of exonerating himself, Oedipus accepts his misfortune and in a final act of desperation punishes himself to a most awful death, destroying his own eyes to forever wander the earth.

Where is there any beauty for me to see?

Where loveliness of sight and sound? Away!

Lead me quickly away

Out of this land. I am lost,

Hated of gods, no man so damned. (63)

The classical tragedy of Oedipus Rex portrays the impossible battle between man and his destiny. Time is inevitable, and so is the fate that with all certainty will be fulfilled. In Night Journey, Teresias, the blind prophet, is the last character to be seen, crossing the stage with his staff. The steady pounding of his stick demands authority in the complete silence following Jocasta’s death. It is the last, echoing sound, symbolizing the advance of time, sealing of the prophecy, and continuing power of fate.

Published from June 14, 2012.

(To my email followers: I’m sorry if you receive duplicate emails; I had publish this earlier but something happened that caused it to be turned into a draft again. Sorry for the hassle.)

Thanks for reading,
thebookybunhead

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Romeo and Juliet Essay: Themes in ballet and play

Romeo and Juliet
Comparative Paragraphs

The rebirth of Shakespeare’s Romeo and Juliet in Kenneth Macmillan’s ballet version of this classic love story shows how ideas are expressed differently by poetry and movement. Comparing the two pieces helps us appreciate the beauty of both art forms. Emotions can be very strongly portrayed in a ballet; the physicality and pureness of a body’s movement can present abstract ideas in a more human and touching way than in words. On the other hand, poetry engages our creativity and shows abstract ideas by transferring complex thoughts and pictures into our heads. In the ballet, a scene taking place in Juliet’s bedroom incorporates many events including what would have been Act 4 Scene 1 in the play. These scenes show the varying interpretations of this rich work and reveal the strengths of both the drama and the ballet.

Juliet’s refusal to marry Paris in what was originally Friar Lawrence’s cell is powerfully expressed in a pas de deux that portrays her emotions very clearly by using her whole body. Movement magnifies her expression; she shows rather than speaks to Paris that she will not marry him; while music and setting enhance the scene. In the script, she politely hints using double entendre to Paris that she will not marry, whereas in the pas deux she is very obviously showing her attitude towards marriage by keeping a soulless facial expression and her body rigid throughout the dance. The exact choreography is repeated from Juliet’s charming first meeting with Paris but performed with very different quality and intention, which reminds us of the change that occurred when Juliet met Romeo. Prokofiev’s beautiful music can be interpreted as a love theme, but as Juliet is unwillingly continuing the dance, the music becomes more dramatic and makes the scene more frantic. Setting this dance in Juliet’s bedroom in front of her parents also adds tension to this scene. In conclusion, this pas de deux expresses Juliet’s act of defiance and emotions in a much bigger way than words through body language.

Capulet’s anger is thoroughly expressed through words in a way that movement cannot. The scene is full of ideas which not only advances the plot; but reveals attitude and creates imagery. The vocabulary, phrasing, and punctuation that are presented by voice show his absolute rage at hearing the news:

How, how, how how, chopt-logic? What is this?

‘Proud’, and ‘I thank you’, and ‘I thank you not’,

And yet ‘not proud’, mistress minion you?

Thank me no thankings, nor proud me no prouds,

But fettle your fine joints ‘gainst Thursday next,

To go with Paris to Saint Peter’s Church,

Or I will drag thee on a hurdle thither.

Out, you green sickness carrion! Out, you baggage!

You tallow face! (3. 1. 149-157)

Lord Capulet’s mocking and insults are so flustered that his anger can look comical, which plays with the feel of the scene; however, it is clear that Juliet has a very serious problem. His reaction towards her refusal reveals the importance of marriage in the renaissance society; it was based on social status, not love. His harsh words paint grave images of Juliet on the streets or being “dragged… on a hurdle”; creating a glimpse of a possible future. Through movement, Capulet’s rage is difficult to express because his speech is effective through our own mind’s thoughts and pictures. For example, the individual words in the insults “green sickness carrion” and “tallow face” cannot be expressed in a ballet, while the idea of his disgust can. In the ballet, Lord Capulet acts coldly towards his daughter and then leaves. His act of abandonment is fast and dramatic, but does not show his thoughts and character in the way that words do.

The last farewell is expressed effectively through both movement and poetry. Both forms reflect on the passion of their love and their desperate situation while enriching each other by their strengths. Romeo and Juliet’s pas de deux is visually brilliant; dynamic lifts and beautiful steps that freely travel the stage show their young love. Again, as the music grows stronger, the choreography gets bigger; increasing the intensity of their movements and portraying a growing passion and sadness. Their conversation in the script comparing the lark and the nightingale again shows their love and reluctance to part, while also showing a playful side in their argument. Juliet insists that it is still night, so Romeo plays along, “Let me be tame, let me be put to death… I’ll say yon grey is not the morning’s eye, ‘Tis but the pale reflex of Cynthia’s brow…” (3.5. 17-20) There is imagery and slight sarcasm to his words that lightens the mood temporarily; however, his words also advance the script in a darker direction. In comparison to their balcony pas de deux in Act 2 Scene 2, this one, taking place in the bedroom, is more dramatic; which expresses their longing to stay together in the changing situation and their growth in maturity. The script also shows these changes when the mood turns urgent as Juliet realizes the time of day and later states, “Methinks I see thee now, thou art so low, as one dead in the bottom of a tomb…” (3.5.55-56) which again shows the struggle of their love and brings their sadness further into the future. Both the ballet and the script strongly express Romeo and Juliet’s passion and misfortune; and present the light and darker feelings of this scene.

In conclusion, Shakespeare’s Romeo and Juliet is expressed beautifully by both movement and poetry. They portray ideas differently; one through the body, and one through the voice; but both express this loved story like the masterpiece that it is.

Published from March 14, 2011.

Thanks for reading,
thebookybunhead

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Filed under Academia, Ballet, Poems, Essays, and Things