problem with developpe a la seconde

[silvy]

Hi

 

I am experiencing a quite weird problem.

 

I do have nice extensions (meaning my leg goes well above my shoulder level on developpe a la seconde, in adagio).

 

However, when rehearsing Kitri's 3rd act variation (which starts: pique arabesque, failli, glissade from 4th to 4th, cou de pied derriere and finally releve developpe a la seconde), I have found that my developpe goes only at 90 degrees. I wonder what the reason could be.

 

I am pretty baffled!! and or course, I do want to show my nice developpe, which I have found i cannot!!

 

silvy

[Mel Johnson]

What, no pas de chat after the glissade?

[Victoria Leigh]

Are you using a really fast recording, silvy? If so, there might not be time, after the pas de chat, for the leg to get all the way up. Try to slow it down a bit!

[silvy]

thanks

 

I am sorry I forgot about the pas de chat - what I do is the following:

 

1) pique en arabesque

2) failli

3) glissade from 4th to 4th

4) jete par developpe (or saut de chat, as some people call it)

5) After I alight from this saut de chat, I bring back leg to 4th croise

6) I do fondu with cou de pied derriere

7) Developpe a la seconde

8) bring working leg to 5th front

9) 2 passes, first closes back, second passe closes front

 

I dont think the recording is too fast - maybe I am being too fast myself (I havent thought about this - thank you Victoria)

 

Silvy

[Victoria Leigh]

The only other thing I can think of silvy would be maybe not getting your weight far enough forward on the landing from the saut de chat. If you are a little bit back the leg won't go to full height.

 

I mentioned the tempo because most, probably all, of the recordings I have heard are way too fast. Even though the variation should be bright and quick, if the music is too fast, you just can't get everything in, especially if you are tall and long legged! If you are very small and compact, you should be able to do the variation with more speed than a longer, less compact dancer.

[b1]

I would also suggest not opening your leg quite so far to the a la seconde position. Be sure to developpe your leg slightly forward on a diagonal, rather than a 'pure' a la seconde. This is especially helpful when the music is very, very quick and bright. As you perfect this, you can work to open your leg further to the side.

Edited April 2, 2004 by b1

[silvy]

Regarding this developpe I have noticed that in performance it gets worse (because I tend to speed up ahead of the music when dancing allegro).

 

It has suddenly ocurred to me that I might be doing it in the wrong direction - I am sending my leg ecarte devant. Should it be en face? Which is the correct way (if any)?

[Hans]

According to videos, Nina Ananiashvili does it écarté devant.

[Mel Johnson]

I learned it from Mia Slavenska, and if écarté devant were good enough for her, it's good enough for me. Actually, I think it's easier going to that position rather than à la seconde de face.

[b1]

In the Sutton notation for the Don Q female variation, it shows the developpe as en face. I learned it this way and performed it this way. However, I am sure that there are stylistic differences. I think it would be difficult as a student to turn to ecarte for the developpe with such a quick tempo. It would certainly have the ability to throw you off balance.

 

Here is the link to the variation. http://www.dancewriting.org/acrobat/ballet...t_Variation.pdf It is on page 15.

 

Hope that helped some.

 

b1

 

sorry Major Mel, I didn't see your post up there I think it might be good enough for Mia, but rather difficult for a student in training. But, that is what is so wonderful about adding stylistic differences.

Edited April 30, 2004 by b1