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 Post subject: '6 o'clock' extensions
PostPosted: Sat Mar 24, 2001 4:02 pm 
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Joined: Sun Oct 24, 1999 11:01 pm
Posts: 19975
Location: London, England; Tallinn, Estonia
'Here are the six o'clock views - To the purists, it is more like a gymnast's pose. But for many others, says Ismene Brown, the ballerina's perfect vertical line is one of the most breathtaking positions in modern dance.'<P>I think we may se a range of views on this one.<P><BR><A HREF="http://www.telegraph.co.uk/et?ac=000148269364269&rtmo=3SHx83AM&atmo=99999999&pg=/et/01/3/24/btib24.html" TARGET=_blank><B>more...</B></A><P>


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 Post subject: Re: '6 o'clock' extensions
PostPosted: Sat Mar 24, 2001 6:28 pm 
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Joined: Mon Oct 02, 2000 11:01 pm
Posts: 13071
Location: San Diego, California, USA
I,too, find the "6 o'clock arabesque" quite, quite lovely. But it has to be in context. <P>In my opinion, it is not lovely when it is done by the sylphide in La Sylphide, first act, as she bends over James. And, I feel the same about it in Les Sylphides. To my mind it does not "fit" in those ballets.<P>The 180 degree arabesque is one of many nuances - inflections if you will - of the arabesque vocabulary. Each has its place, purist though I am. Sorta.


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 Post subject: Re: '6 o'clock' extensions
PostPosted: Sat Mar 24, 2001 7:43 pm 
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Joined: Tue Nov 02, 1999 12:01 am
Posts: 2708
Location: Seattle, WA USA
I'm with you guys....but the "6 o'clock" arabesque" and "6 o'clock" side tilt in modern (equivalent to ecarte) have become commonplace. Expected even. At least in most big ballet and modern companies in the US. I find it sad. As my former mentor and teacher Hanya Holm used to say, the quickest way to tell if a choreographer had nothing to say, or couldn't figure our what he/she is trying to convey, you'll see a lot of legs flying up into the air!! I think this statement speaks volumes about the occasional "black hole" in the middle of a lot of choreographic projects. It seems like it's about gymnastics rather than any human/aesthetic statement or point of view.


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 Post subject: Re: '6 o'clock' extensions
PostPosted: Sun Mar 25, 2001 10:19 am 
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Joined: Sat Feb 10, 2001 12:01 am
Posts: 74
Location: San Diego, CA, USA
It's very much like the tag line on a Citibank commercial I've seen recently -- "just because you have the power, doesn't mean you should use it." Over the years dancers have certainly pushed the limits of their flexibility, but loading down a dance piece with flexibility/balancing "tricks" just because the dancers can execute them creates a superficiality that negates artistic vision. When placed correctly, a six o'clock extension is stunning, but when a dance is filled with trick after trick . . . well, I feel like trina, that it's a choreographer's cop out. It's much harder (and more respected in my book) to "wow" the audience with artistic nuance.<P>tura


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 Post subject: Re: '6 o'clock' extensions
PostPosted: Mon May 21, 2001 8:53 am 
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Joined: Mon Apr 23, 2001 11:01 pm
Posts: 218
I think it is very sad that 6 o'clock extensions have become so common that you see <BR>them pop up everywhere even in ballets like Giselle or Swan Lake where they are simply not approbriate. All to often I get the feeling that dance is in danger of deteriorating to acrobatics. Dancers are competing with each other to see who can do the most thrilling tricks.<BR>Last autumn I went to see a couple of different casts in the Royal Ballet's Swan Lake and there I witnessed a clear case of "Anything she can do I can do and better!"<BR>Have dancers forgotten that a lot of people in the audience want to see their interpretation of a role and are not really that interested in acrobatic tricks but in artistic nuances? Any thoughts anyone?<BR>


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 Post subject: Re: '6 o'clock' extensions
PostPosted: Mon May 21, 2001 9:03 am 
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Location: San Diego, California, USA
Another place where it is entirely inappropriate is in "Les Sylphides"....<P>oh...and another is when the sylph leans over James' shoulder in "La Sylphide"....no 6 o'clock extensions, please.


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 Post subject: Re: '6 o'clock' extensions
PostPosted: Mon May 21, 2001 9:08 am 
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Joined: Wed Apr 11, 2001 11:01 pm
Posts: 9645
Location: Paris, France
I'm agree with you Basheva, If some ballets are able to allow Six o' clock like Swan Lake (white swan variation) or Don Quichotte, or Rose Adagio again in Sleeping Beauty, I don't love it in Giselle or Sylphide or all the romantic roles. It breaks the line. And 6' o clock is more modern attitude. It's perfect for Forsythe, Béjart, and all this modern choreography. It possible to raise very high the leg without touch your ear !!!!<BR>

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 Post subject: Re: '6 o'clock' extensions
PostPosted: Mon May 21, 2001 10:57 am 
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Joined: Wed Mar 28, 2001 12:01 am
Posts: 178
Well, here's my own verrryyy personal thoughts on the 6-o'clock:<P>I think Mademoiselle Sylvie Guillem revolutionized the ballet world with her 6-o'clock. Yes, other famous principals before her time had their legs up high as much as her, but it was not her flexibility, but her physical capibility, which brought about this new revolution. Some people have disliked this grotesque, acrobatic use of body, but in my (egotistic) opinion, I must say that I like it when it's the done the "Guillem" way. Has anyone seen her in her black tutu "Grand Pas Classique" with the incredible 6-o'clock balances? Her muscle tone, her extensions that seem to touch the ceilings make this pdd extremely exciting. I prefer not to see them in the Romantic ballets (and I don't think many ballerinas use this technique in those ballets...or at least, I haven't really seen any) but I think the "Guillem" way is often times, quite entertaining in some pdds. I also think it's a way to attract non-ballet goers to the ballet world because people find it a lot more entertaining when seeing something like this. But of course, the downside to this is that, some people forget about the more important qualities in dance. <p>[This message has been edited by Terry (edited May 21, 2001).]


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