Chronus24 Posted September 29, 2008 Report Share Posted September 29, 2008 Surprisingly, I'm not asking for tips on improving double tours, but rather trying to uncover their aesthetic purpose in classical ballet and better understand the veritable obsession with them. This is brought upon by recently seeing a popular and very well-funded full-length ballet classic (re-choreographed/tweaked by a present day AD) in which almost all the male roles, soloist and corps, and of which there were quite a few, consisted of either some kind of grand jete or a double tour. It got to the point that by the end of the ballet, I was making little remarks to myself like "oh, I wonder what's next? DOUBLE TOUR! omg, I so did not see that coming! UNPRECEDENTED!...and another! wow, they just keep you guessing!". But seriously, it wasn't "bad" per se, just horribly predictable and repetitive. So being the type of male dancer that likes to dance (I'm sorry?), I was left wondering why the choreographer limited his men's performances to revolve around only one of the classical male steps. Sure, they're impressive and afford some amount of variation (ex: how it lands), and I think they're fun as much as the next guy, but why are they so focused upon in the classical repertoire as well as so used (or overused) in choreography? And I suppose if I get all "artsy-fartsy", I would also question their ability to project emotion and or artistic depth since they don't come off as being the type of step you'd use to carry the story or be able to add much gravitas to (ex: an expansive, regal balance' to project a "princely" aura). Discuss! Quote Link to comment
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