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#la bayadere
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My Nikiya’s death inspired pointe shoes are complete!
I couldn’t figure out what I wanted to do with my first pair of pointe shoes, so I decided to decorate them based on La Bayadere. The red shoe is inspired by the traditional red costume Nikiya wears and the black shoe is the flower basket with the snake. 🐍🗡️🩰
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dozydawn · 3 months
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“Darcey Bussell, aged 20 years old, prepares for her leading role in La Bayadère at the Hippodrome Theatre, Birmingham, 26th February 1990. Darcey is the youngest principal dancer with the Royal Ballet.”
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Ballet is not just movement, it is a language.
- Carla Fracci
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patricedumonde · 5 months
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Deep Dive: Maria Koshkaryova’s Debut as Gamzatti
21 October 2023 — Masha's debut as Gamzatti in La Bayadere was a shock to many, and for good reason. This role requires not just technical proficiency but also maturity, and heavy acting. To make things more interesting, she was side by side Ekaterina Krysanova who became principal in 2011 and Vladislav Lantratov who became principal in 2013. For a dancer who just graduated 4 months ago, this wasn't just a challenging task, it was also impossible.
That said, let's go through some scenes that could have easily been corrected prior to the debut.
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On the left, Maria Koshkaryova and on the right, Eleonora Sevenard.
This might be a hot take, but despite male dancers not being the center of attention in a pas de deux, I actually fully expect them to lead (Like in ballroom dancing.) In the movement above, I expected Vladislav to at least initiate eye-contact with Masha; this way, Masha would feel more comfortable to look at him as well. You'll notice the difference with the partnering of Elya. Instead of the movements looking hurried, you can see that there is a slight pause when they look at each other.
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Here, there is clearly a lack of blocking. Masha should have turned instead of shuffling back. This way she can 1. See where she should go and 2. Look confident in doing so. This was likely from a hasty preparation for the role. There's simply too many moving parts for her to learn.
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On the bright side, I thought her Italian fouettés were good. Excruciatingly slow, just how I like them! The fouettés, she played it safe by going with all single turns and honestly, I thought that was a smart decision. Incoming explanation on why.
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Falling off balance here wasn't an accident, it was a blunder. She went for the 2.5 turns instead of a clean 1.5 you see on the right side. The clip on the right is perfect. Good preparation, clear spot, and solid landing.
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One of the things I love about Gamzatti is that you can add a lot of embelishment to every movement. Maybe it comes with time and experience, but instead of just switching profiles here, Masha could have really emphasized more with her hands. Literally, a swish and flick could have added a lot.
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JUMPS. The height is there. The look to the audience on the second jump could have been held much longer. Most importantly, the arms should be more controlled. When Masha braces herself before each jump, it isn't clear if she's passing through first position or even at a bras bas. When there's too much change and lack of clarity with the arm movements, the jumps don't seem effortless.
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Here's a clip of Elya in the same part of the variation and she chose to be more consistent. (This is the part where the author realizes that she is a big fan of cleanliness and clarity which extends to her preference of risk-averse dancers)
Let's move on to arguably the hardest part, which is why I won't dwell on it too long. I will stand by my earlier statement, I cannot believe they would let her go against Ekaterina Krysanova, who is 20 years her senior. Especially in a confrontation scene like this, the disparity is palpable. Masha needed more confidence here and instead, it looked a bit apprehensive.
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On the left, she should have been more "in your face" and she should have invaded Ekaterina Krysanova's space a lot more. After the first arabesque, that must have been 2-3 feet, she should have approached much closer than that.
Throughout this scene, I felt that Masha's facial expression remained unchanged. At the beginning, Gamzatti should be more accusatory and by the end, she should be full on, taunting. In all fairness, I can somewhat see it in the movement.
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I saved this for last as it really stood out to me. The fall did not make sense. However, it would have made a lot more sense if she already came from a kneeling position! I would have preferred if she decided to beg on her knees, AND THEN fall in the manner that she did. It just seemed physically weird because of the way Ekaterina pushed her.
Honestly, this is all I am willing to go over. The first person to blame here would be whoever casted this. The second, maybe, would be her coach who agreed with that decision.
I see that the consensus here is that this debut is premature, and it is. Masha is a talented dancer. If you have seen her other debuts and felt that she was unprepared, surely it makes sense now, right? Imagine learning all those new roles on top of learning the entirety of Gamzatti's in La Bayadere.
C'est impossible.
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lovelyballetandmore · 16 days
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Jorge Barani
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ashshmee · 2 months
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marauders era as ballets
james potter - la bayadère
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the story of eternal love and devotion.
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enchanted-keys · 1 year
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Fumi Kaneko and Vadim Muntagirov in La Bayadere (national theatre brno 2022)
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tikitania · 5 months
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This is the most gorgeous La Bayadere...
POB has the most beautiful staging of La Bayadere. The costumes. the set design. The entire staging is gorgeous and makes other versions look fairly cheap in comparison.
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vadreams · 1 year
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Marianela Núñez and Vadim Muntagirov in several classical pas de deux: The Nutcracker (2017), La Bayadère (2018), Don Quixote (2020), Sleeping Beauty (2021) - Royal Opera House
Bonus Nutcracker because ‘tis the season:
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strechanadi · 11 months
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Agnès Letestu
La Bayadère
photo Hidemi Seto
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c-g-t · 5 months
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Olga Smirnova, now a prima ballerina at Het Nationale Ballet, as Nikiya in La Bayadere.
Bolshoi Ballet, 2019.
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Eleonora Sevenard in La Bayadere.
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dozydawn · 2 months
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Natalia Osipova & Marianela Nuñez
Pavla Pećušak & Edina Pilčanić
Mayara Magri & Lauren Cuthbertson
Svetlana Zakharova & Zuzana Zahradnikova
Yuhui Choe & Hikaru Kobayashi
Gillian Murphy & Hee Seo
“Gamzatti has heard that Nikiya is a beautiful temple dancer, but when she lifts up her chin and first sees her face, it’s like, ‘Oh, no.’ She’s stunningly gorgeous.” Gillian Murphy.
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Ballet is like dreaming on your feet.
- Carla Fracci
Yulia Stepanova "La Bayadère" Ballet du Bolchoï
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patricedumonde · 5 months
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Deep dive still in progress... BUT first impression?
I, too, would be awkward and shy if you wanted me to be menacing towards Ekaterina Krysanova.
Me, probably: You mean you want ME to throw HER around??
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In all seriousness though, why would you cast a 19 year old in this role? Opposite someone who's been prima for more than 10 years? Opposite someone who's 20 years her senior? They need to stop doing this to Masha. That poor girl... She has so much potential and there are so many soloist roles she could do well. Prince's friends in Swan Lake was a good start, maybe a shade in La Bayadere instead? First variation in Don Quixote grand pas is also good. I could even see her in the principal role for The Nutcracker. BUT Gamzatti, and Diamonds in Jewels? It's doing her more harm than good.
This deep dive will require extra care because I only want the best for these graduates and I never intended for this blog to be overtly critical and negative. I'll be objective and we'll go through the little nuances that could have made this debut better.
These will be my reference videos if anyone wanted to watch them
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lovelyballetandmore · 24 days
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Yonah Acosta | Bavarian State Ballet (Bayerisches Staatsballett) | Photo by Nicholas MacKay
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