Dancing Through It: My Journey in the Ballet
Page 30
Tombe coupé jeté—a traveling step that involves first a turning step on the floor and then moves into a large jump from one foot to the other
Turns—a series of steps in which the dancer spins or revolves
Understudy—one who is covering a role but would perform it only if the primary dancer scheduled to do the part is unable
INDEX
Abergel, Dena, 67, 131–33
Adams, John, 78–79, 172
adulthood, 4–5
developing into, 53–55
self-acceptance in, 119–20, 151, 158, 256–57
Alexopoulos, Helene, 233, 241
All Angels’ Church, New York, 31, 105–6
author’s job with, 116, 117, 150
community of, 40, 105
dance ministry in, 40–41
and House Church, 106–7, 111, 117
Alvarez, Suzy, 217
American Ballet Theatre, 34, 56, 185
American Guild of Musical Artists (AGMA), 192, 196
AM New York, 223
Angle, Jared, 211–12, 250
Angle, Tyler, 171
anorexia, 3, 87, 220
Anna (nickname), 87
Aroldingen, Karin von, 44
Askegard, Charles, 179–80
Atrides, Norma, 137, 191–92
Avery Fisher Hall, New York, 47
Balanchine, George, 233
choreography, 35, 81, 86, 170; see also Balanchine, George, choreography by
continuing the legacy of, 44, 61
death of, 35, 46
leaving Russia, 37
and New York City Ballet, 27, 187
and New York State Theater, 47
and School of American Ballet, 30, 35–36, 57, 187
Balanchine, George, choreography by:
Ballo della Regina, 69–72
Brahms-Schoenberg Quartet, 193, 194–95
Harlequinade, 92–93
Ivesiana, 90–91
Kammermusik No. 2, 178
The Nutcracker, 64–68
Robert Schumann’s “Davidsbündlertänze,” 182
Serenade, see Serenade
La Sonnambula, 209
Stars and Stripes, 113, 129, 148
Symphony in C, 42, 43, 50
Symphony in Three Movements, 183, 184
Tschaikovsky Suite No. 3, 61–64
Valse-Fantasie, 52
Vienna Waltzes, 170–71
Balanchine “look,” 86
Balanchine technique, 30, 35–36, 57, 186–87
ballet:
audience for, 144, 174, 250
ballonnées, 50
bird lifts, 33, 243
“blanking” in performance, 180–84
changes in, 87, 249
classes, 8, 9, 11–12, 14–16, 19–22
community of, 13, 26, 73–74, 244
coupés jetés, 178–79
discipline of, 15–16
eating disorders in, 107–8, 219–20, 224
en pointe, 14, 26, 37
facing away, 245
fifth position, 28–29
flying tombé coupé grand jeté, 242
glossary, 261–63
grand battement, 28–29
grand jeté, 21–22, 136
hair for, 165–66, 167
individual artistry in, 38, 55–56, 167, 170, 174, 250
learning a new ballet, 169–70
marking rehearsals, 79
and motherhood, 208–10
music for, 169–73; see also music
neoclassical style, 35–36, 184
orchestra, 169, 171–72
“paragraphs” in, 37
pas de deux (partnering), 21–22, 83–84, 124
pliés, 30, 60
pointe shoes for, 163, 166–67, 168
port de bras, 37, 40
preparation for performance, 162–69
resin box, 168, 179
retirement ages in, 193, 195, 206
Russian classical style, 20
stage calls, 169
stage makeup for, 16–17, 157, 158, 163–64, 167
summer intensives, 28
technical foundation for, 36–37, 173, 174, 250
unique world of, 162
variations classes, 36, 37, 38
warming up for, 167, 168, 169
and weight, see weight
working with choreographers, 86, 87, 129, 200–204; see also specific choreographers
ballet masters, 170
Ballet Russe de Monte Carlo, 20
Ballo della Regina (Balanchine), 69–72
Barber Violin Concerto (Martins), 193–94
beauty, 119, 144, 153, 217, 220, 254, 257
Beethoven’s Seventh (Tharp), 181, 182
Berrand, Patricia, 26
Bielski, Nancy, 117–20, 150, 208
binge-purge cycle, 91, 92, 93, 97, 98, 104, 108; see also eating disorders
Bittencourt, Julio de, 25
Black, Clint, 127
Black Swan (movie), 216, 220, 227, 230
Boal, Peter, 83–85, 92, 181, 182, 233
body:
appearance of, 53, 86, 88, 89–91, 94, 95, 96, 98, 119, 154, 158, 216–17, 220, 230, 249–50, 255–57
author’s acceptance of, 119–20, 151, 158, 256–57
changes in, 53–55
perfect for ballet, 54, 86, 89, 153, 220, 248
sacrificing for the dance, 81, 153, 175
shape of, 53, 89, 119, 209, 220, 250
teen concerns about, 53–55
Bolshoi Ballet, 200
Borree, Yvonne, 82–83, 92, 98–99, 242
Bournonville, August, pas de trois, 42
Brahms-Schoenberg Quartet (Balanchine), 193, 194–95
Brooks, Garth, 126
Brown, Marie, 29
Calegari, Maria, 233, 241
Calvert, Stacey, 88, 94
Carpenter, Mary Chapin, 127
Castelli, Victor, 234, 235
Cathedral of Saint John the Divine, New York, 188–89
Chatauqua program, 28
Choo San Goh, 23
Chopin, Frédéric, 232
choreography:
and ballet masters, 170
and City Ballet, 56, 70–71
and the music, 169, 171–72, 174, 201, 242, 252
in summer workshops, 32–33
working with choreographers, 86, 87, 129, 200–204
see also specific choreographers
Christian faith:
All Angels’ Church, 31, 40–41, 105–6
author’s baptism into, 13
of author’s family, 8–9, 12–13, 18, 40, 105
Bible study, 106
counseling in, 111–12
dance ministry, 40–41, 105
and despair, 114–15
developing and growing, 197
giving God control, 46, 56, 115, 140, 156, 161, 211
healing in, 107, 112, 117, 119–20, 151, 158, 213, 231
House Church, 106–7, 111, 117
intellectual side of, 88
and perfection, 5, 111, 120, 254
and prayer, 8–9, 18, 22, 25, 46, 55, 91, 106, 112, 168, 176
Redeemer Presbyterian Church, 196–97
search for inspiration, 56
seeking God’s plan, 115, 134, 144
slipping away, 78, 87–88, 91–92, 103, 113
testing of, 40
competition, 16, 24, 26, 32, 39–40, 57, 82
The Concert (Robbins), 94
critical reviews:
ballets defined by, 201
bias in, 214, 215
effect on dancers, 215
and Internet, 215–16, 218, 221, 222, 230
by Macaulay, 212–17, 218, 220–21, 224
opening-night performances, 211–12
see also Sugar Plumgate
Cummings, Dorothy, 137–38, 191–92
Curry, Ann, 218, 219–21
Dance On, 73
Dancers’ Emergency Fund, 43
Dances at a Gathering (Robbins), 164, 182–84, 232–44
Blue Girl, 233–34, 240
Grand Waltz, 239–40
Green Girl, 234–36
improvisations in, 183–84
last movement, 252–53
pas de deux, 242, 243
Pink Girl, 242–43
Purple [Mauve] Girl, 182, 241–42
satisfying experience of, 244
Scherzo, 241, 242–43
unique performances of, 253
Wind Waltz, 236–37
working with Robbins on, 233–39, 242, 251–52
Yellow Girl, 236–41
Dances Patrelle, 150–51
Dance Spirit, 249–50
dancing:
and adrenaline, 33, 169, 173, 205, 234
auditions for, 28–29, 57–58
as author’s calling, 55
author’s entry into world of, 2–3, 12
ballet, see ballet
ballroom classes, 36
character, 25
in childhood, 6–7, 13–16
to country music, 127–28
and falling in performance, 175–80, 251
joy of, 4, 5, 7, 49, 114, 118, 152, 158, 159, 187, 206, 208, 250
muscle memory in, 173
performance as reward in, 74, 173–74
and pregnancy, 205–7, 246, 247–49, 250–51
professional jobs available in, 57
and recovery from injuries, 52, 55
through pain, 21–22, 51, 80–81, 87, 185, 197–99
weight for, 3–4, 54–55, 86–87, 104, 107–9, 136, 151, 153, 159–60, 219–20, 248–49
Daniels, Rob:
and Oprah, 223, 226, 228, 230
and Today, 216, 217–18, 221
Danilova, Madame [Alexandra], 37–38
David H. Koch Theater, New York, 47
see also New York State Theater
Day, Mary, 18–19, 26, 28, 176–77
dedication, 34, 43
Denim and Diamonds, New York, 126–27
Desyatnikov, Leonid, 203
Diamond Project, 86, 200, 202
Dirty Dancing (movie), 33
Dixie Chicks, 163
Dronova, Alina, 203
Dunleavy, Rosemary:
and author’s career, 72, 107, 154–56
and Ballo della Regina, 69–72
and The Nutcracker, 64–65
and rehearsals, 46, 61–62, 70–71, 80
and Tschaikovsky Suite No. 3, 61–62
as teacher, 70–71
eating disorders:
anorexia, 3, 87, 220
author’s admission of, 102, 106
in ballet world, 107–8, 219–20, 224
binge-purge cycle, 91, 92, 93, 97, 98, 104, 108
and control of food, 86
and denial, 3, 93–94, 100, 103, 104, 109–10, 129
finding tools for fighting, 115–16, 225
overcoming, 5, 117, 151, 160
Overeaters Anonymous, 101–3, 104–5, 109, 110
public attention to, 216, 219–21, 224, 225, 231
Erlon, Suzanne, 25, 34, 177
Evans, Albert, 203
Fairchild, Robert, 209
falling in performance, 175–80, 251
Fayette, Deena, 149
Fayette, Grace Rebecca (daughter), 207, 208–10, 226, 245–48, 254, 257
Fayette, James:
author’s engagement to, 160
and country music, 127–28
and dancers’ union, 128, 192
in Dances at a Gathering, 240
and dating, 125–26, 130, 145–48, 149, 150, 151–52, 160
final performance at Saratoga, 193–95
freelance dance projects with, 112–13, 128–29, 133, 134–44
and married life, 192
and New Paltz Nutcracker, 134, 138–44
and parenthood, 205, 207–8, 245
promoted to principal dancer, 193
and religion, 128, 131–33, 136, 151, 188
and retirement, 192–96
in Romeo and Juliet, 150, 180–81
in Serenade, 159
and Sugar Plumgate, 212–13
in Waltz Project, 95–98
wedding of Jenifer and, 188–91
Fayette, James and Benita, 188
Fayette, Luke Douglas (son), 247, 250, 251, 254, 257
Fearful Symmetries (Martins), 78–81
Feld, Elliot, Intermezzo No. 1, 202
Fondiller, Fay, 111–12, 117
food:
celebrating with, 103–4
and control, 86, 151, 152, 160
misuse of, 53, 102, 104, 109
Fordham University, 73, 89, 124, 138, 150
The Four Seasons (Robbins), 178–79, 226, 230
Fracci, Carla, 184–86
Frolich, Jean-Pierre, 207
Galli, Louis, 51
Garcia-Stefanovich, Tatiana, 40, 43, 45
Gingerich, Tanya, 44
Giselle (Adolphe Adam), 185
Gordon, Alan, 192–93
Gould, Morton, 81
Hamilton, Linda, 86
Harlequinade (Balanchine), 92–93
Hauser, Lauren, 236
health and wellness, 87
hemp house, 143
Hendl, Susan, 28, 96, 97
Higgins, Arch, 43, 44, 45, 48–49, 57
Hilton, Perez, 216
Hindemith, Paul, 178
Hoag, Michelle, 225, 246
Holland, SAB trip to, 52–53
House Church, New York, 106–7, 111, 117
Houston, Kipling, 239–40
Hübbe, Nikolaj, 184–87
imagination, 7, 10, 15
insecurity, 87, 91, 92, 93, 94, 136
Internet, 215–16, 218, 221, 222, 230
Interplay (Robbins), 81–83
Ivesiana (Balanchine), 90–91
Jackson, Michael, 66
Jaffe, Bryce, 43–44
Jaffe, Susan, 185–86
Joffrey Ballet, 56, 227
Judds, 126–27
Juilliard School, performances in, 32
Kaiser, Russell, 109
Kammermusik No. 2 (Balanchine), 178
Kennedy Center, Washington, DC, 27, 28–29
King, Rev. Jonathan, 188–89
Kirov Ballet, 56
Kirov Ballet School, 52
Kistler, Darci, 194
Kowroski, Maria, 162
Kramerevsky, Andre, 37
Lacarra, Lucia, 185–86
Lauer, Matt, 218, 219–21
Lavery, Sean, 44, 83–84
Lincoln Center, New York, 47
Lipp, Robert, 73
Lopez, Lourdes, 233, 241
Macaulay, Alastair, 212–17, 218, 220–21, 224
makeup, 16–17, 157, 158, 163–64, 167
Martins, Peter:
and author’s career, 56–58, 93, 156, 161, 199
and author’s injuries, 198–99
and author’s return, 153–56
and author’s weight problems, 108, 109–10, 112
as ballet master in chief, 46, 79, 81, 197, 200
> choreography, see Martins, Peter, choreography by
and parenthood, 207
and rehearsals, 46–47, 91, 96–97
roles assigned by, 50, 86, 211
Martins, Peter, choreography by:
Barber Violin Concerto, 193–94
Fearful Symmetries, 78–81
Naïve and Sentimental Music, 172–73
Sinfonia, 94–95
Swan Lake, 197–99
The Waltz Project, 95–98
Maryland Youth Ballet School, 20
metabolism, 54, 88
Metropolitan Opera House, New York, 47
Metzger, Rebecca, 115
Meunier, Monique, 33, 40, 50, 65, 70–71, 72
Mihok, Kathy, 111–12, 117
Minns, Martyn, 41
mirrors, 255–57
and body shape, 54, 89, 94, 118–19
flaws seen in, 86, 89, 119, 245, 256–57
and stage makeup, 16, 157, 163
Moore, Cornelia, 41
Moves (Robbins), 89–90
muscle memory, 173
music, 169–73
blanking in performance, 181–82, 183–84
and choreography, 169, 171–72, 174, 201, 242, 252
country, 127–28
joy of, 4, 220, 241
and movement, 4, 5, 209
rehearsal pianists, 171
Naïve and Sentimental Music (Martins), 172–73
Nantucket, performances in, 129–31
National Ballet of Canada, 207
Naumann, Lisa, 138–44
Naumann, Peter, 134, 138–44
Naval Criminal Investigative Service (NCIS), 9, 17
Nelson, Willie, 126, 127, 163
neoclassical style, 35–36, 178, 184, 262
New Paltz, New York, Nutcracker in, 134, 137–44
New Paltz School of Ballet, 138
New York City:
author’s first apartment in, 76–77, 104
Christmas in, 41–42, 64, 146
First Night, 149
job opportunities in, 115–17
life in, 29, 38, 39, 68–69, 76
Ringer family’s move to, 30–31
Riverside Park, 151, 160
Rose Building, 153
wedding in, 188–92
Wollman Rink, Central Park, 146
New York City Ballet:
appearance as important to, 89, 91, 220, 249
apprentices with, 56–58, 59–60, 68–69
author as corps member of, 72–74, 77–78
as author’s goal, 55
author’s promotion to principal in, 161, 188
author’s promotion to soloist in, 3, 93, 159
author’s release from, 109–10, 111, 113, 115, 118, 128
author’s return to, 4, 152–60
and Balanchine, 27, 187
and choreography, 56, 70–71
company class, 59–60