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BWW Blog: Andrea D'Annunzio - The Core of Corps Work

BWW Blog: Andrea D'Annunzio - The Core of Corps Work

Every year at Princeton Ballet School's Summer Intensive, the five-week program culminates with a performance. One of the pieces performed is always a section from a full-length Classical ballet set by renowned teacher and former Maria Youskevitch. For the past two summers, Ms. Youskevitch has set sections from Act Two of Swan Lake on the Intensive students, and I have had the privilege of assisting her as she sets the choreography and rehearses the dancers. I am surprised and disappointed however, to say that over these two summers, there have been more students who are disappointed to find themselves in the corps of Swan Lake, than those who are excited. The general feeling is that you don't get to dance when you're in the corps de ballet, and that you just stand there and blend in, so it's boring and tedious. I'm not saying that it isn't tedious, but the skills a dancer learns by experiencing corps de ballet work are vital to their future as an aspiring professional ballet dancer.

The overall beauty of the corps de ballet is when all of the dancers move in a perfectly synchronized and symmetrical way. It creates a magical quality, a dream-like state for the audience when executed to perfection. In order to accomplish this, each individual dancer in the corps must blend together and move as a unit. You learn how to dance around the stage while staying in formations, most likely straight lines. This is extremely difficult since tall dancers in the back of the lines have to match the strides of shorter dancers in the front. Learning how to fully execute each step while traveling very little is a serious challenge, but if a dancer masters this in the corps they will have no problem performing soloist roles on any abnormally small stage space as a professional dancer.

Besides staying in lines, the corps de ballet achieves synchronization by everyone having the exact same body and head angles, as well as the same arm and leg height. This is only possible if the execution of each step is technically correct. It forces everyone to place their arms in a "true" first arabesque, for example, and reinforces correct ballet positions and technique. Also, the musical timing of each movement must be precise so that the lines of corps ladies on either side of the stage move at the same time, especially when they can not see each other. I personally realized the importance of musicality when I first performed in the Swan Corps at the age thirteen. Everyone must leave the floor and land at the same time in any jump and they must lift their legs at the same time and at the same rate of speed and then lower them in the same manner as well. Fitting these puzzle pieces together will create a single unit on stage.

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Guest Blogger: Andrea D?Annunzio Andrea D?Annunzio began her early dance training at the Metropolitan Ballet Academy in Jenkintown, PA and completed summer intensives at Richmond Ballet and with the Paul Taylor Dance Company. She graduated from Jordan College of Fine Arts at Butler University in Indianapolis, with a B.A. in Dance Pedagogy where she received the Freshman Award (most outstanding freshman dancer), the Performance Award, and was on the Dean?s List. Since joining ARB's Trainee program in 2011, she has appeared alongside the company in Matthew Keefe's Fantasy for Violin, Piano and Ballet, Trinette Singleton's Capriccios, Mary Barton's Straight Up With a Twist and Faerie Tyme, Gerald Arpino's Viva Vivaldi, Philip Jerry's Our Town, Douglas Martin's Nutcracker, Rite of Spring and Romeo and Juliet. This is her first season with American Repertory Ballet.



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