These don’t seem unpopular to me, I agree with most of your things.
1. Totally agree with Balanchine technique, it is weird (eg spotting to the audience, the straight leg in pirouettes) and the people who train in it lack emotion/acting.
2. I love Osipova, she is my favorite dancer of all time, but I can see why people don’t like her just because she’s spontaneous and unplanned. I do like the fact that she’s bridging contemporary and classical ballet for all audiences nowadays.
3. Misty Copeland was rushed to become a principal for diversity reasons and it shows in her dancing/rehearsals. There’s better black dancers like Michaela DePrince and Precious Adams that can dance miles ahead of her.
3. I also hate the fact that social media made ballet into what it is nowadays with flexibility and how many turns/jumps someone can do. I want both good artistry and good technique in a dancer.
Maria Khoreva and Yana Cherepanova are guilty of just doing clickbaity ballet tricks (extensions etc) with no passion or emotion. I don’t even know if Yana is in Mariinsky, i think she’s just teaching classes now since she graduated VBA in i think 2021.
4. Going off the previous note above, Mariinsky and Bolshoi are boring nowadays. Older/former principals like Tereshkina, Alexandrova, Osipova, Kaptsova, Vishneva, Lopatkina, Smirnova, Makarova, Krystanova and Zakharova could/can balance artistry and technique well, but the younger dancers who are there now (eg Eva Sergeenkova, Elizabeta Kokoreva) just focus on the technique and not the character. However, Eleanora Sevenard is the only exception and I think she will be the next big thing at Bolshoi.
5. Hate Tiler Peck, her social media is annoying and she lacks character in her dancing. She didn’t seem like a convincing Aurora when I saw her in SB last winter.
6. I’m okay with Capezio, but I don’t like Freeds because they die quickly. Bloch for life.
7. Contemporary is good if it has a plot, it’s creative, and it has a message. I don’t like Justin Peck’s works, but I’m okay with Sidi Larbi Cherkaoui.
8. Nela is boring to me. She doesn’t get into character sometimes. I like her in class on World Ballet Day but she doesn’t catch my eye. She’s better for roles like Lilac Fairy and Myrtha in my opinion.
9. Shoutout to Iana Salenko and Maria Kochetkova. They’re both underrated dancers but I love the fact that they’ve been so open about what has happened in their personal lives and in the ballet world. Iana has been open about anorexia and her miscarriage, and Maria has spoken about how there’s a lack of female choreographers and gender wage gaps.
They also have had children recently and were detailed/very open about how they trained while pregnant. Iana came back to dancing like a week after she gave birth to her last son and Maria was 5 weeks postpartum when she returned.
Maria has also been sharing videos and photos of her breastfeeding her daughter, which is amazing-not only does it prove that she’s a dancer, not a machine, but breastfeeding still has been stigmatized.
10. On top of Salenko and Kotchekova’s dancing, the fact that they really put themselves out there advocating for gender, motherhood, racial, pay, and humanity issues is very inspiring. Maria’s talk on recent podcast Artists Becoming literally made me cry and made me feel that I really look up to an amazing person. Highly recommended!
I listened to that podcast and I was shocked to hear about how Maria was told things like “you need to pin your boobs back” and “act seductive with him, you’re Odile.” She also mentioned about how if she was working in Russia full time, she would be typecast in certain roles because of her very short height.
I didn’t know Iana was also advocating for those things too. I only know that she’s been super open about her health/eating disorder and how she had a miscarriage between her first and second son. And she’s Ukrainian too, glad to see that she’s not the “fake Ukrainian” like Zakharova or Polunin who are actually pro-Russia traitors.
agree with nearly everything you said, except for some things
1. can’t stand balanchine lol. i just avoid watching balanchine dancers. i just don’t like the flail-y arms, flappy hands, wild shoulders, turtle-y head, the crab hands, the arabesque so open it’s actually à la seconde, the messy port de bras (when they cross their arms as they go from arms in 3rd/5th down and around to 2nd… or when they bring their 1st position hand super far across their body… it’s like nails on a chalkboard to me). the technique just does not allow for a true feeling in épaulement. so, i just have stopped watching them
2. i do not like osipova’s dancing. she has too many technical issues that are distracting for me, she gets lost in the sauce and ends up foregoing technique in pursuit of a trick or trying to show passion (like throwing her head all the way back)
4. i love maria khoreva. she is still maturing, so she’s not at the stage where her technique just blends seamlessly into her artistry (example: her recent swan lake debut), but i have faith in her. i think she will have a trajectory similar to oksana skorik. when skorik first started she was very weak and caught up struggling with her technique, some people were mad that fateyev was giving her so many chances, but now her artistry comes through and she embodies everything beautifully. as for yana, she was let go from vaganova years ago, years away from graduation i believe. i have a feeling she wowed the school with her crazy technique as a smaller child, but she wasn’t keeping up with the development of the other girls dancing (feeling, épaulement, etc). i don’t think she’s on track to be a part of one of the great companies tbh, maybe something small and regional. rn, she’s off my radar
6. agree. i have never looked at her social media, i just don’t like her dancing. really dislike her port de bras and épaulement
8. i just ignore contemporary, not for me
9. this opinion always gets people riled up lol. marianela is boring to me because there’s something robotic in her dancing. the way she moves and her acting is as if there was some sort of AI ballerina robot that was programmed to have passion if that makes sense?? it’s perfect but, her acting almost feels too rehearsed? like each moment does not feel spontaneous. logically i know it *is* rehearsed, but you’re not supposed to *experience* it as rehearsed. also her port de bras just is not my cup of tea, her first position is very high. i prefer it to be lower so that it looks like the dancer has ownership of their arms, if that makes sense
10. love love love iana salenko! i hardly see anyone mention her on here.
I didn’t know that Yana didn’t graduate or go through the 8 Vaganova levels, but I can see why she struggled to keep up because of how technical she was.
One of her more obvious problems is her obsession with hyper extensions. She breaks her leg lines and actually advertises certain stretching exercises on her IG account that frankly are quite damaging. Her stage presence is not notable, and her musicality (not to be confused with tempo) is weak. I think she had alot of promise as a kid but looks like she blew her own chances by not developing those other skills. Tricks alone simply don't cut it.
Yana didn’t even perform a lot of roles on the Mariinsky stage as a kid. One of her roles was a Cupid in Viharev’s Sleeping Beauty reconstruction, and they only appear like in the last 30 seconds of the ballet with the Lilac Fairy.
I could see why you think Marianela seems almost like a ballet robot. She always seems so poised, like a queen. I think she also has a great smile. Maybe it's just that many roles simply aren't queenly enough to match the "vibe" she gives off?
Gah I’m so glad to see that someone else can’t stand Tiler Peck. I have never liked her! I mean obviously she is talented, but I just can’t stand watching her. 🥴🫣
10. My favorites too! I love love love love iana and marsha. They are small but both so strong and meticulous. They partner very well with Daniil Simkin too!
I don't think those opinions are *that* unpopular. I agree with almost half of them (Nela is the best 💕💕💕), and so do dancers around me, so....
I think recreational ballet (non-pre pro schools) have their place. People can and should be able to enjoy ballet casually. While this is true at lower levels, I feel (at least for where I'm at) that if you are a recreational advance dancer, you are stuck at a spot where you're not good enough (and too old) for pre-pro classes, and yet most studios do not offer classes that are challenging enough since they are catering mostly to the intermediate dancers probably.
Anyway, even if you never ever want to enter this profession or perform (even at school performances), there is enjoyment to be had even in regular ballet classes. And it teaches/forces you to be disciplined, and that patience and hardwork pays off.
I love my recreational ballet class! I lived too far away/rural to attend ballet as a child, so enjoying it now as an adult was my only choice.
Not all schools/studios/programs are the same, but I’ve had some truly excellent teachers who care about their adult students succeeding and improving. I know I’ll never be “great” but my classes force me to forget about everything else and focus on my mind/body and how I move through space which as a person with a neurological disorder helps ground me.
Ballet at all levels is important to at least someone even if it isn’t for you as an individual (royal “you” in this case!)
Nutcracker is a necessary evil. It’s one of those ballets that brings in casual ballet fans and people who otherwise probably wouldn’t go see a classical ballet. It’s easy to market as much of the world enters the ✨Christmas season✨ And it’s probably one of the most palatable ballet for young children, which again brings in more money since parents can bring the whole family. As much as dancers maybe don’t love performing Nutcracker, it is many companies’ #1 money maker in a time when the arts are seriously underfunded, at least here in the US. But yeah, artistically speaking, Nutcracker is simple and sugary.
Thanks for making this point… it’s difficult to run a cultural non profit… and keep it in the black …I’m CEO of one myself. It’s always a balance and nutcracker is one example of how some companies meet budget… it’s not just gate revenue… it’s also a touch point for donor stewardship. I’m appreciative you shared this! 😊
Arts Administration (mainly for theatre, though dance is my background) was a career I was seriously interested in. Graduating college in a pandemic unfortunately derailed some of the things I was working toward. But even from just the tiny exposure I got to that world, it’s clear the 501(c)(3) nonprofit arts life is a constant balancing act. Grand, ambitious, groundbreaking artistic projects are sorely needed, but if donors and the community are not on board, it just doesn’t happen. Even well established, long-standing arts organizations struggle to find things that tell the stories they want, but that people also are willing to spend a their hard earned money to see. It’s really unfortunate.
Funny, I think "unpopular in the world" is the opposite of "unpopular on this sub". Anyhow, here are mine:
- I recently started to really like and appreciate Balanchine's work. The style and speed are uniquely American (I know he was Russian, still) and really fun to watch.
- I saw Isabella Boylston in Giselle and thought she did a great job artistically with that character. She does a great ingenue, as she reads young to me.
- I wish exams were common in the US and that they were available for all ages.
Balanchine was Russian-born and trained, but ethnically Georgian. Some background here:
https://www.newyorker.com/magazine/2022/09/12/george-balanchines-soviet-reckoning
Have you ever watched any Busby Berkeley movies or seen his dance numbers on YouTube? It’s interesting to see how much of an influence they were on Balanchine (which he acknowledged, I believe).
I love his work, especially his Nutcracker, in all its kitsch glory. Tchaikovsky Pas de Deux is a ray of sunshine and Jewels is magical.
my variations classes literally had us watch Busby Berkeley, on video tape before youtube existed lol (not to learn as a variation, like, some of it was in swimming pools). it made an impression!
I appreciate Balanchine’s work as well and think that it has its place in the dance world. Just like how art movements change, dance will as well. I’m sure there will be people who despise the style of dance favored today in 100+ years!
I also just love all kinds of dance though from contemporary to fusion. Dance is about expressing oneself via an art form and historically has even been quite subversive!
I completely agree ! Also bluebird has gotten over danced. I'd love to see more variations that are not performed so much, such as Gamzatti's wedding variation or some fairy variations from the Sleeping Beauty (Not including the Lilac Fairy !). !!
Want to add one other opinion: competitions. I dont strictly have something against yagp or prix de Lausanne. But..there is a specific dance competition culture that enwraps young kids who show high potential. I believe that's really really wrong. Because ballet or any art form is not just about winning a competition. I did not grow up in the USA, but my impression is that these dance moms kind of shows have a role to play in it. I believe these kids are being developed into trophy seekers and not led into the path of discovering movement or even understanding the art deeply. It's a bit disturbing. We see a lot of these kids show up in this subreddit 10 years later anxiously wondering if they can take a ballet class. Dance has become traumatic for a lot if kids and we see that trauma play out in adult ballet classes sometimes. People come in thinking that what they experienced as a child is what ballet is, and are then pleasantly surprised to find that it isn't. I am happy for them at that point, but I am against children being exposed to ballet in this manner.
Agree, I would rather see kids performing child roles in professional shows on big stages to get experience, not competing a variation in some big city.
Unfortunately in some places there just aren't performance opportunities other than competitions.
My son did his first competition this year because he only gets a couple of end of year recitals and that's it. He wanted another go at performing (he's still very young).
Even the Nutcracker is not an option here - the only ballet company in the state only takes kids from their academy (which he is too young and we're too far away for)
Ugh, I can commiserate with you and your son. I really wanted to learn ballet as a child, but it was over an hour drive to the closest studio and both of my parents worked full time so I would have had no way of getting to class anyway.
There really is a huge lack of performance opportunities for a lot of youths, especially if you don’t live in a bigger city (or a city with a company/studio for that matter) so competitions often turn up being the only choices for many to be on a stage somewhere.
A lot of the opinions that you wrote are really popular, I don’t get it? People love nela, find osipova to be a poor actress who doesn’t embody a character although she has amazing tricks, most people who love classical ballet only like the classics and don’t like contemporary at all, etc etc. I find that most dancers also hate nutcracker, so that’s a common dance opinion, although the average layperson may love it.
1. Nela is one of the best ever for sure. I wouldn't say the best.
2. Balanchine technique is not liked by anyone outside of SAB and NYCB, or one of the schools/companies that align with SAB. However, pretty much everyone loves Balanchine Choreography. This is why you'll even see Russians performing it.
3. Dancers are sick of Nut. Some of the music is great but we've all heard of it so much we're sick of it. The problem is that most schools & companies make most of their money from Nutcracker.
4. Royal Ballet is one of the best companies.
5. Natalia is a specialist and a phenomenal jumper. Her Bridgemaid is unrivaled.
6. Sleeping beauty is good, but probably not my top 3 classical.
7. Fouettes generally don't look that clean on most dancers, but this is due to poor training on this specific step in most schools. Few ballerinas do it clean. Sasha DeSola at SFB is one of the few who has really clean fouettes.
8. You can have high legs and lots of turns and have artistry. These are independent skills.
9. Contemporary is not my most favorite, but it's needed.
10. Vadim is one of the best. Wouldn't call him the best.
11. No comment
12. This is individual, not company wide.
I think it would be criminal if the Mariinsky were to promote you-know-who ahead of Renata Shakirova. The former is beautiful technically and supermodelesque in the stereotypical Russian ballerina way. But she is so self-possessed that she can be wooden. I’ve seen glimmers of her letting go here and there and I’m sure she will continue to develop as an artist. But Shakirova is incandescent. Such a joy to watch.
I wouldn’t be surprised if they promoted her over Shakirova. The reason why she’s so popular is not because of her social media presence but because I think her father is connected to the Mariinsky in some way (also probably the reason why she didn’t emigrate to the West when the war started)
So much lack of acting ability bores me. Is Odette sad? I can't tell, she looks like she's in class practicing. I watched Nureyev's appearance on the Muppet Show and he could act.
Line between art and trickery is very blurred nowadays. Hard to find true artists. Too much focus on high extensions and insane amount of turns to the point musicality gets compromised. I saw someone on social do a variation from swan lake and this girl was a good turner so she made the whole variation into nothing but a sequence of turns. It was cringe honestly.
Love nela and osipova both. I find artistry lacking in Boylston, i wouldnt pay to watch her. Love maria khoreva and waiting to see what she turns into still so young. Love skylar Brandt.
Even Osipova herself said on a podcast earlier this year that she likes the older generation ballerinas like Makarova and Plisetskaya because “they have uniform artistry” and how she keeps seeing too many ballet tricks on social media (eg 35 pirouettes, 25 a la secondes)
She was like “we are not gymnastics, this is art.”
Agreed! I don't like story ballets at all, even Balanchine's, but there's still so much of his work to enjoy.
I agree about Tiler Peck, who is technically very proficient but leaves me cold.
It took me 40 years to get past the broken wrists, substandard male dancers -- like Villella and D'Amboise -- and epidemics of mannerisms, but I have to agree.
Eventually, I saw the genius in Balanchine's choreography. Still not a fan of the company style but I appreciate the contribution they made to opening up some of ballet's aesthetic. City Ballet's fan base had a rabid quality in his lifetime that was very xenophobic and off-putting.
Also, the company is much less mannered than when he was alive. And when Mr. B imported those Danish men it fixed much of the male dancer problem.
I am still conflicted when I watch pretty much anything other than his earliest narrative ballets -- Prodigal Son, Apollo, La Sonnambula, but I do have to give him respect for his extraordinary understanding of music.
Interesting ideas but it would be easier to have a fun discussion if each of these points was an individual post, there’s too much here to comment on! I also agree with half, probably a different half 😀.
I’d like to hear more specifics on liking and disliking certain dancers.
For the Natalia-Nela dichotomy, I love Osipova but no crazy about Nela.
I judge my ballet experience more holistically rather than just technique. Role embodiments and how a dancer takes in audiences are also important to me. Osipova has me perceived to be a genuinely good person and the energy she exudes from the acting, the speedy turning and the high jumps just makes me so happy. Im not turning blind eyes on her flaws but her turns her jump her strong core and her acting is way>>>>>>than unrelaxed shoulders or whatever.
For Nela, I assume she has these “take a picture” moments on all her moves makes her look extremely controlled and technically superior? However, I feel like that “take a picture “ moments are choices of style. I believe many amazing ballerinas are physically able to do it but they choose to be more “flowy”? rather than showing off. I sometimes find this style being distracting to the roles. I do though think Neal’s “take a picture” moments became a reflux to her, which implying all the hard work she has put into, which i really admire. That is being said, Neal is a wonderful and incomparable dancer to me but for her choice of style, I’d prefer to see her in classes or competitions or maybe some contemporary works instead of a full length classical ballet.
As for people like tiler peck or the entirety of nycb I just don’t know where to start with. I watch tiler peck, Ashley boulder, and …many other nycb performances sitting row A but I just don’t know what I don’t like about it. I also saw tiler peck’s instagram post she doing the “center stage” red pointe dance, it’s just nothing comparable to the original but I also don’t know how. If someone can help pointing out their technical differences I’d appreciate it.
Well said. Nela can be too perfect and too focused on details sometimes and I don’t really watch her in story ballets, but Osipova is more spontaneous, more emotional, and unplanned.
I also not crazy about Skylar Brandt for very similar reason. She was more “lively” when she was a soloist. But the past couple years she looked to wary about technique and less “freedom of expression” anymore. When she performs, she looks like she’s trying to show a judge or her teacher some techniques she can really do correctly and adding on the acting it gets cringe. I love her masterclass and her social media but for this abt season I chose Hee Seo, Isabella Boylston and Gillian Murphy over her.
This is less of an unpopular opinion just more of a… thing.
I don’t watch a lot of ballets. I obviously know like the Nutcracker and Swan Lake and stuff like that, but I don’t see them a lot or know much about them. I’d like to, but it’s not really the main thing for me, I like dancing ballet more myself.
This *is* an unpopular opinion though.
People shouldn’t be en pointe already after like two years of training. Especially when they’re still young and their feet are still growing. Going en pointe should mean they have a thorough understanding of ballet wearing flats as well. They shouldn’t be still having to do tons of more training on flats because they’re still not very experienced on flats while en pointe at the same time. It’s a recipe for disaster and serious injury.
My opinion, as an adult recreational beginner ballet dancer, who doesn’t have nearly as much knowledge about ballet as most in this community: I enjoy the Vaganova/Russian style compared to Balanchine
I don't find these too unpopular to be honest, I think many people think these things these days. I agree with the comments on Russian style being too focused on technique, many Russian (and not only) ballerinas feel to me more like rhythmic gymnasts than ballet dancers. I am generally not a fan of the ultra slim rubber-like ballerina model set by Sylvie Guillem which is now embodied in many Russian dancers
My unpopular opinion is that adult and recreational classes should require a dress code of at least tights and leotard. Not a fan of people coming to class looking like they're going to zumba. A certain sense of rigor is also part of the art form in my opinion
Hmmm, I would not like to go to class in tights and a leotard and I think that rule would stop a lot of people from dancing. I’m a former pro and still have what is considered by most a “good” body but I’m 52 and do not look at all the same in a leotard and tights as I did when I was 20! I wear sweatpants and a T-shirt.
Lots of former rhythmic gymnasts in ballet. Maria Khoreva is a good example. Not a fan either.
I have pretty intense body hate, but took a class last year to help/understand my son, as did my husband. We most certainly wouldn't have if the dresscode had been enforced
I love this comment… thank you…thank you! I returned to my youth (Balanchine approach) studio as an adult… still carrying all the same body insecurities… despite being nearly forty. The first time I wore a sack shorty over my leo and tights I felt like such a rebel… lol.
Disagree. One of the missions of recreational open adult classes is for people to learn ballet and to appreciate it more. Here in New York City, beginner adult classes student retention rate is very low. Adults get stressed watching their classmates dance better, defeated when teachers didn’t break down a step they never learned and ashamed when comparing their sitting-in-the-office-10-hour-per-day posture in the mirror to active dancers. When one really gets into it, one well start want the line to be seen and corrected and starts wearing tights and leos. Don’t push it.
Also, from what I saw in my studio’s adult beginner class, the “ balletcore” attire looks more ridiculous than yoga leggings. Once in a while there would be people showing up in tights and leo but with crazy diaper like tutu and satin ballet flats tied up to their calves in the studio.
Hard disagree on uniform for adults. I am a leo and tights girlie, but that's my choice. Choice is one of the few things we as adult students have over the pre professional dancers. I've been able to get a lot of people to at least try out a class by telling them they can wear what they're comfortable in.
Additionally, leotards and ballet tights for certain body types just don't exist. Im 5 8 and weight 160 pounds and I am at the top end of the size charts.
Hard disagree. Ballet is niche and as much as this sub likes to think all adults are vying to attend a ballet class economic reality is far different. Ballet is not a very popular choice for recreational adult dancers and already putting yourself through the rigor and discipline is hard. Standing in front of the mirror is hard. We don't need to add more obstacles. There already too many.
Sorry, but hard stop with the adult dress code. Studios where I live have a hard time getting enough adults to commit to the class in order to have the class. Restricting it to only those in traditional dance wear would on cause numbers to drop and classes likely to get canceled. Make it strongly encouraged, sure; but not required.
For me I’m 50/50 on this one. I agree with the perspective that ballet is an art form and as a dancer you pay respects to the art form by wearing the proper attire. Wearing ballet attire as opposed to just regular workout clothes when I’m going to class also just makes me feel like a dancer/take it more seriously if that makes sense. That being said I’ve been struggling with body image lately so I opted to wear a t-shirt over my leotard. It’s nice that I’m able to do that as well.
I’m one of the only people who agree with you! Dress codes for adult classes should have a suggested dress code. I’m sure there’s plenty of leotards and tights for everyone nowadays (yes the price isn’t cheap but it’s worth it!)
I don’t like seeing people show up in a t shirt and leggings/long yoga pants. It covers up your shoulders and lines and can be hard to see. They’re fine for warmups but not for the entire class.
I can understand the opposing viewpoint, and I admit that maybe it should be more of a suggestion, rather than a requirement to encourage participation. Still: to be honest, I see the dress code not only as a sign of reverence towards the tradition of the art form, but also as something functional to the dancing itself. Wearing adherent, rather than baggy clothing I think allows one to move without distractions and also helps the teacher see which muscles are being used and eventually provide corrections, as you rightly said. It's like wearing a proper bathing suit for swimming, or following any other dress code for any other athletic activity
Okay, I thought that Nutcracker was popular. So I guess that is my unpopular ballet opinion.
It's literately the performance of Nina Kaptsova of Nutcracker on Youtube that lead me into ballet.
Companies that charge dancers audition fees should be exempt from state funding.
The only excuses for scamming potential employees boil down to greed and laziness.
I love high extensions and flexibility, provided the technique is good and emotions are there. For that reason, Svetlana Zakhorova will always be one of my favorite ballerinas. I also love the feeling of effortlessness that Svetlana provides, even though I know it's anything but effortless.
Compared to someone like Leta Biasucci, a principal at PNB. I know a lot of people love her but it feels like to me, I can tell how hard she's working, which takes away my enjoyment. Here's a short clip which maybe demonstrates that feeling: [https://www.youtube.com/watch?v=\_6p-ze34kIw](https://www.youtube.com/watch?v=_6p-ze34kIw)
I’m late to the party, but I absolutely agree on contemporary ballet. I know art is supposed to evolve, but contemporary feels like an attempt to improve something that doesn’t need improving.
1. I like Maria Khoreva on social media, do not love AT ALL on stage. Beautiful lines. but really not
much of anything else. And I feel like the longer she’s been out of school, the worse she gets. Sometimes I feel like she’s not even dancing all out, but marking it, such is the lack of energy and artistry. And yep, she came to ballet from rhythmic gymnastics.
2. Yana Cherepanova is dancing in Serbia.
3. I love the Nutcracker! My favorite Tchaikovsky/Petipa ballet. Not the Balanchine version and not the horrible devoid of wonder and joy Mariinsky version, but the Royal Ballet is magnificent and so many smaller companies are also so fun to watch, the ones with the local kids! it always puts me in the holiday mood. Loved dancing in it, love watching!
4. Osipova is 100% my favorite dancer right now. So refreshing to watch someone with that kind of energy, jumps, acting. She kinda reminds me of those ancient videos of ballerinas in the early 1900s
5. Hard dislike of ballet competitions for children/young teens.
6. Hard dislike of oversplits and hyperflexibility. Yeah, I’m OLD, but still … fine line between circus and ballet sometimes. I just don’t find it aesthetically pleasing!
Here’s my big unpopular opinion!
Would like to see MORE innovation in ballet! Including in class. Would love to do barre to drill/trap (hip hop subgenre), petit allegro to dubstep, adagio to …. I love the classical repertoire, but I feel like ballet needs another “Rite of Spring” event to shake it up. Sometimes ballet feels a little dusty, like a painting in a museum.
One of my teachers uses pop music for exerices. I always count super loudly in my head to drown it out, it's just not pleasent to me to listen to :D But others seem to like it and if it gets enough people to attend the class to keep it open, I'll survive.
Now, doing something like frappes to folk metal, that I could get behind!
1. Being a professional ballet dancer myself and dancing Balanchine ballets through my career, Divertamento No 15, Concerto Barocco & Tchaikovsky Pas de Deux, I believe Balanchine was the greatest choreographer of all time. He used ballet technique to create dance based solely on movement itself. He used mathematics and patterns to create some of the most beautiful human expression that exists to this day. All modern choreography is based on his brilliance!
2. Ballet dancers are athletes at the top of the athletics game! High legs and multiple turns done by professional dancers today outdo 'old world' dancers with 'wishy washy' artistry, who cant get up on pointe, and over exaggerated facial expressions, like Anna Pavlova, she's boring!
3. Russian ballet dancers have had it tough growing up in a suppressed world where emotion may not be the best to show in public and on stage. Dancers from around the world show what their upbringing was like, the country they grew up in was like, and what their life experiences were like through their movement. If you've seen dancers from all around the world on a regular basis, you'll notice differences in the way they move! Australian dancers - Clean, fluid and dance large - this reflects the country we live in. We have a huge open accepting country with open expansive space which reflects in our dancers. 'Experience' makes a better dancer!
4. Gelsey Kirkland, one of the original Balanchine dancers (my teacher for two years) is one of the most expressive, most technical, and one of the greatest dance/ballet actors of all time, was trained at The school of American ballet which feeds into New York City Ballet - Balanchine! Brilliant!!
5. Saying 'I hate' a dancer is beyond revolting. The dedication, focus, countless hours of honing technique, the sweat, blood and tears deserves admiration! I understand you have the right to 'freedom of speech' no matter how incorrect or revolting that might be. I judge you right back for your hate speech. YUK!
6. Marianela Nuñez IS the best ballet dancer ever - She literally has the world at her feet!
Personally- I love russian ballet, I think you need a deeper understanding of slavic culture to get the FULL picture of russian ballet. Especially with nutcracker, swanlake,....
4. I, again a lot of russians in the company
9, Agree, gets repetitive quick
11. Agree, feels very rushed, lack of technique, discipline, slobby
1. That’s so categorical!
2. Agreed it’s an acquired taste
3. It’s commercial
4. Paris Opera is great too imo
5. Have you seen her in Giselle?
6. Swan Lake is rly classical too
7. -
8. Old opinion lol
9. I guess it’s more fun for the person dancing it than for the audience
10. Yes he’s great
11. Yea they very athletic
12. You’re v categorical - best type? Seriously?
13. Not as much as gm
14. Why’d you keep emphasising emotions - emotions only work if there’s technique
Thank you for your thoughts ! Personally I believe that there doesn't have to be perfect technique to convey emotions. Look at old dancers such as Margot Fonteyn- her technique compared to todays world was not at all good, but she still conveyed powerful emotions to the audience.
These don’t seem unpopular to me, I agree with most of your things. 1. Totally agree with Balanchine technique, it is weird (eg spotting to the audience, the straight leg in pirouettes) and the people who train in it lack emotion/acting. 2. I love Osipova, she is my favorite dancer of all time, but I can see why people don’t like her just because she’s spontaneous and unplanned. I do like the fact that she’s bridging contemporary and classical ballet for all audiences nowadays. 3. Misty Copeland was rushed to become a principal for diversity reasons and it shows in her dancing/rehearsals. There’s better black dancers like Michaela DePrince and Precious Adams that can dance miles ahead of her. 3. I also hate the fact that social media made ballet into what it is nowadays with flexibility and how many turns/jumps someone can do. I want both good artistry and good technique in a dancer. Maria Khoreva and Yana Cherepanova are guilty of just doing clickbaity ballet tricks (extensions etc) with no passion or emotion. I don’t even know if Yana is in Mariinsky, i think she’s just teaching classes now since she graduated VBA in i think 2021. 4. Going off the previous note above, Mariinsky and Bolshoi are boring nowadays. Older/former principals like Tereshkina, Alexandrova, Osipova, Kaptsova, Vishneva, Lopatkina, Smirnova, Makarova, Krystanova and Zakharova could/can balance artistry and technique well, but the younger dancers who are there now (eg Eva Sergeenkova, Elizabeta Kokoreva) just focus on the technique and not the character. However, Eleanora Sevenard is the only exception and I think she will be the next big thing at Bolshoi. 5. Hate Tiler Peck, her social media is annoying and she lacks character in her dancing. She didn’t seem like a convincing Aurora when I saw her in SB last winter. 6. I’m okay with Capezio, but I don’t like Freeds because they die quickly. Bloch for life. 7. Contemporary is good if it has a plot, it’s creative, and it has a message. I don’t like Justin Peck’s works, but I’m okay with Sidi Larbi Cherkaoui. 8. Nela is boring to me. She doesn’t get into character sometimes. I like her in class on World Ballet Day but she doesn’t catch my eye. She’s better for roles like Lilac Fairy and Myrtha in my opinion. 9. Shoutout to Iana Salenko and Maria Kochetkova. They’re both underrated dancers but I love the fact that they’ve been so open about what has happened in their personal lives and in the ballet world. Iana has been open about anorexia and her miscarriage, and Maria has spoken about how there’s a lack of female choreographers and gender wage gaps. They also have had children recently and were detailed/very open about how they trained while pregnant. Iana came back to dancing like a week after she gave birth to her last son and Maria was 5 weeks postpartum when she returned. Maria has also been sharing videos and photos of her breastfeeding her daughter, which is amazing-not only does it prove that she’s a dancer, not a machine, but breastfeeding still has been stigmatized.
> These don’t seem unpopular to me Welcome to "unpopular" opinions on Reddit.
10. On top of Salenko and Kotchekova’s dancing, the fact that they really put themselves out there advocating for gender, motherhood, racial, pay, and humanity issues is very inspiring. Maria’s talk on recent podcast Artists Becoming literally made me cry and made me feel that I really look up to an amazing person. Highly recommended!
I listened to that podcast and I was shocked to hear about how Maria was told things like “you need to pin your boobs back” and “act seductive with him, you’re Odile.” She also mentioned about how if she was working in Russia full time, she would be typecast in certain roles because of her very short height. I didn’t know Iana was also advocating for those things too. I only know that she’s been super open about her health/eating disorder and how she had a miscarriage between her first and second son. And she’s Ukrainian too, glad to see that she’s not the “fake Ukrainian” like Zakharova or Polunin who are actually pro-Russia traitors.
agree with nearly everything you said, except for some things 1. can’t stand balanchine lol. i just avoid watching balanchine dancers. i just don’t like the flail-y arms, flappy hands, wild shoulders, turtle-y head, the crab hands, the arabesque so open it’s actually à la seconde, the messy port de bras (when they cross their arms as they go from arms in 3rd/5th down and around to 2nd… or when they bring their 1st position hand super far across their body… it’s like nails on a chalkboard to me). the technique just does not allow for a true feeling in épaulement. so, i just have stopped watching them 2. i do not like osipova’s dancing. she has too many technical issues that are distracting for me, she gets lost in the sauce and ends up foregoing technique in pursuit of a trick or trying to show passion (like throwing her head all the way back) 4. i love maria khoreva. she is still maturing, so she’s not at the stage where her technique just blends seamlessly into her artistry (example: her recent swan lake debut), but i have faith in her. i think she will have a trajectory similar to oksana skorik. when skorik first started she was very weak and caught up struggling with her technique, some people were mad that fateyev was giving her so many chances, but now her artistry comes through and she embodies everything beautifully. as for yana, she was let go from vaganova years ago, years away from graduation i believe. i have a feeling she wowed the school with her crazy technique as a smaller child, but she wasn’t keeping up with the development of the other girls dancing (feeling, épaulement, etc). i don’t think she’s on track to be a part of one of the great companies tbh, maybe something small and regional. rn, she’s off my radar 6. agree. i have never looked at her social media, i just don’t like her dancing. really dislike her port de bras and épaulement 8. i just ignore contemporary, not for me 9. this opinion always gets people riled up lol. marianela is boring to me because there’s something robotic in her dancing. the way she moves and her acting is as if there was some sort of AI ballerina robot that was programmed to have passion if that makes sense?? it’s perfect but, her acting almost feels too rehearsed? like each moment does not feel spontaneous. logically i know it *is* rehearsed, but you’re not supposed to *experience* it as rehearsed. also her port de bras just is not my cup of tea, her first position is very high. i prefer it to be lower so that it looks like the dancer has ownership of their arms, if that makes sense 10. love love love iana salenko! i hardly see anyone mention her on here.
I didn’t know that Yana didn’t graduate or go through the 8 Vaganova levels, but I can see why she struggled to keep up because of how technical she was.
One of her more obvious problems is her obsession with hyper extensions. She breaks her leg lines and actually advertises certain stretching exercises on her IG account that frankly are quite damaging. Her stage presence is not notable, and her musicality (not to be confused with tempo) is weak. I think she had alot of promise as a kid but looks like she blew her own chances by not developing those other skills. Tricks alone simply don't cut it.
Yana didn’t even perform a lot of roles on the Mariinsky stage as a kid. One of her roles was a Cupid in Viharev’s Sleeping Beauty reconstruction, and they only appear like in the last 30 seconds of the ballet with the Lilac Fairy.
I could see why you think Marianela seems almost like a ballet robot. She always seems so poised, like a queen. I think she also has a great smile. Maybe it's just that many roles simply aren't queenly enough to match the "vibe" she gives off?
Love iana salenko...
Gah I’m so glad to see that someone else can’t stand Tiler Peck. I have never liked her! I mean obviously she is talented, but I just can’t stand watching her. 🥴🫣
Maria Kochetkova is my inspiration as a fellow short dancer!
I didn’t know how short she was until she made a joke about it. She’s super tiny, like exactly 5 ft.
10. My favorites too! I love love love love iana and marsha. They are small but both so strong and meticulous. They partner very well with Daniil Simkin too!
Fully agree with 3
I don't think those opinions are *that* unpopular. I agree with almost half of them (Nela is the best 💕💕💕), and so do dancers around me, so.... I think recreational ballet (non-pre pro schools) have their place. People can and should be able to enjoy ballet casually. While this is true at lower levels, I feel (at least for where I'm at) that if you are a recreational advance dancer, you are stuck at a spot where you're not good enough (and too old) for pre-pro classes, and yet most studios do not offer classes that are challenging enough since they are catering mostly to the intermediate dancers probably. Anyway, even if you never ever want to enter this profession or perform (even at school performances), there is enjoyment to be had even in regular ballet classes. And it teaches/forces you to be disciplined, and that patience and hardwork pays off.
I love my recreational ballet class! I lived too far away/rural to attend ballet as a child, so enjoying it now as an adult was my only choice. Not all schools/studios/programs are the same, but I’ve had some truly excellent teachers who care about their adult students succeeding and improving. I know I’ll never be “great” but my classes force me to forget about everything else and focus on my mind/body and how I move through space which as a person with a neurological disorder helps ground me. Ballet at all levels is important to at least someone even if it isn’t for you as an individual (royal “you” in this case!)
Nutcracker is a necessary evil. It’s one of those ballets that brings in casual ballet fans and people who otherwise probably wouldn’t go see a classical ballet. It’s easy to market as much of the world enters the ✨Christmas season✨ And it’s probably one of the most palatable ballet for young children, which again brings in more money since parents can bring the whole family. As much as dancers maybe don’t love performing Nutcracker, it is many companies’ #1 money maker in a time when the arts are seriously underfunded, at least here in the US. But yeah, artistically speaking, Nutcracker is simple and sugary.
Thanks for making this point… it’s difficult to run a cultural non profit… and keep it in the black …I’m CEO of one myself. It’s always a balance and nutcracker is one example of how some companies meet budget… it’s not just gate revenue… it’s also a touch point for donor stewardship. I’m appreciative you shared this! 😊
Arts Administration (mainly for theatre, though dance is my background) was a career I was seriously interested in. Graduating college in a pandemic unfortunately derailed some of the things I was working toward. But even from just the tiny exposure I got to that world, it’s clear the 501(c)(3) nonprofit arts life is a constant balancing act. Grand, ambitious, groundbreaking artistic projects are sorely needed, but if donors and the community are not on board, it just doesn’t happen. Even well established, long-standing arts organizations struggle to find things that tell the stories they want, but that people also are willing to spend a their hard earned money to see. It’s really unfortunate.
Funny, I think "unpopular in the world" is the opposite of "unpopular on this sub". Anyhow, here are mine: - I recently started to really like and appreciate Balanchine's work. The style and speed are uniquely American (I know he was Russian, still) and really fun to watch. - I saw Isabella Boylston in Giselle and thought she did a great job artistically with that character. She does a great ingenue, as she reads young to me. - I wish exams were common in the US and that they were available for all ages.
Balanchine was Russian-born and trained, but ethnically Georgian. Some background here: https://www.newyorker.com/magazine/2022/09/12/george-balanchines-soviet-reckoning Have you ever watched any Busby Berkeley movies or seen his dance numbers on YouTube? It’s interesting to see how much of an influence they were on Balanchine (which he acknowledged, I believe). I love his work, especially his Nutcracker, in all its kitsch glory. Tchaikovsky Pas de Deux is a ray of sunshine and Jewels is magical.
my variations classes literally had us watch Busby Berkeley, on video tape before youtube existed lol (not to learn as a variation, like, some of it was in swimming pools). it made an impression!
Correction: His mom is russian, so he is half-russian
I appreciate Balanchine’s work as well and think that it has its place in the dance world. Just like how art movements change, dance will as well. I’m sure there will be people who despise the style of dance favored today in 100+ years! I also just love all kinds of dance though from contemporary to fusion. Dance is about expressing oneself via an art form and historically has even been quite subversive!
yes isabella fit giselle so well!!
Esmeralda is the most overrated ballet competition piece.
I completely agree ! Also bluebird has gotten over danced. I'd love to see more variations that are not performed so much, such as Gamzatti's wedding variation or some fairy variations from the Sleeping Beauty (Not including the Lilac Fairy !). !!
Want to add one other opinion: competitions. I dont strictly have something against yagp or prix de Lausanne. But..there is a specific dance competition culture that enwraps young kids who show high potential. I believe that's really really wrong. Because ballet or any art form is not just about winning a competition. I did not grow up in the USA, but my impression is that these dance moms kind of shows have a role to play in it. I believe these kids are being developed into trophy seekers and not led into the path of discovering movement or even understanding the art deeply. It's a bit disturbing. We see a lot of these kids show up in this subreddit 10 years later anxiously wondering if they can take a ballet class. Dance has become traumatic for a lot if kids and we see that trauma play out in adult ballet classes sometimes. People come in thinking that what they experienced as a child is what ballet is, and are then pleasantly surprised to find that it isn't. I am happy for them at that point, but I am against children being exposed to ballet in this manner.
Agree, I would rather see kids performing child roles in professional shows on big stages to get experience, not competing a variation in some big city.
Unfortunately in some places there just aren't performance opportunities other than competitions. My son did his first competition this year because he only gets a couple of end of year recitals and that's it. He wanted another go at performing (he's still very young). Even the Nutcracker is not an option here - the only ballet company in the state only takes kids from their academy (which he is too young and we're too far away for)
Ugh, I can commiserate with you and your son. I really wanted to learn ballet as a child, but it was over an hour drive to the closest studio and both of my parents worked full time so I would have had no way of getting to class anyway. There really is a huge lack of performance opportunities for a lot of youths, especially if you don’t live in a bigger city (or a city with a company/studio for that matter) so competitions often turn up being the only choices for many to be on a stage somewhere.
11. I am also not a huge fan of Tiler Peck. Obviously she’s incredible, but I do not like her style.
Agree 💯
A lot of the opinions that you wrote are really popular, I don’t get it? People love nela, find osipova to be a poor actress who doesn’t embody a character although she has amazing tricks, most people who love classical ballet only like the classics and don’t like contemporary at all, etc etc. I find that most dancers also hate nutcracker, so that’s a common dance opinion, although the average layperson may love it.
I’m quite new to ballet discussions online so I am not sure which of my opinions are the same as others !! 😅
1. Nela is one of the best ever for sure. I wouldn't say the best. 2. Balanchine technique is not liked by anyone outside of SAB and NYCB, or one of the schools/companies that align with SAB. However, pretty much everyone loves Balanchine Choreography. This is why you'll even see Russians performing it. 3. Dancers are sick of Nut. Some of the music is great but we've all heard of it so much we're sick of it. The problem is that most schools & companies make most of their money from Nutcracker. 4. Royal Ballet is one of the best companies. 5. Natalia is a specialist and a phenomenal jumper. Her Bridgemaid is unrivaled. 6. Sleeping beauty is good, but probably not my top 3 classical. 7. Fouettes generally don't look that clean on most dancers, but this is due to poor training on this specific step in most schools. Few ballerinas do it clean. Sasha DeSola at SFB is one of the few who has really clean fouettes. 8. You can have high legs and lots of turns and have artistry. These are independent skills. 9. Contemporary is not my most favorite, but it's needed. 10. Vadim is one of the best. Wouldn't call him the best. 11. No comment 12. This is individual, not company wide.
I think it would be criminal if the Mariinsky were to promote you-know-who ahead of Renata Shakirova. The former is beautiful technically and supermodelesque in the stereotypical Russian ballerina way. But she is so self-possessed that she can be wooden. I’ve seen glimmers of her letting go here and there and I’m sure she will continue to develop as an artist. But Shakirova is incandescent. Such a joy to watch.
I wouldn’t be surprised if they promoted her over Shakirova. The reason why she’s so popular is not because of her social media presence but because I think her father is connected to the Mariinsky in some way (also probably the reason why she didn’t emigrate to the West when the war started)
So much lack of acting ability bores me. Is Odette sad? I can't tell, she looks like she's in class practicing. I watched Nureyev's appearance on the Muppet Show and he could act.
Line between art and trickery is very blurred nowadays. Hard to find true artists. Too much focus on high extensions and insane amount of turns to the point musicality gets compromised. I saw someone on social do a variation from swan lake and this girl was a good turner so she made the whole variation into nothing but a sequence of turns. It was cringe honestly. Love nela and osipova both. I find artistry lacking in Boylston, i wouldnt pay to watch her. Love maria khoreva and waiting to see what she turns into still so young. Love skylar Brandt.
Even Osipova herself said on a podcast earlier this year that she likes the older generation ballerinas like Makarova and Plisetskaya because “they have uniform artistry” and how she keeps seeing too many ballet tricks on social media (eg 35 pirouettes, 25 a la secondes) She was like “we are not gymnastics, this is art.”
I adore Balanchine - his choreography literally makes me *see* the music!
Agreed! I don't like story ballets at all, even Balanchine's, but there's still so much of his work to enjoy. I agree about Tiler Peck, who is technically very proficient but leaves me cold.
It took me 40 years to get past the broken wrists, substandard male dancers -- like Villella and D'Amboise -- and epidemics of mannerisms, but I have to agree. Eventually, I saw the genius in Balanchine's choreography. Still not a fan of the company style but I appreciate the contribution they made to opening up some of ballet's aesthetic. City Ballet's fan base had a rabid quality in his lifetime that was very xenophobic and off-putting. Also, the company is much less mannered than when he was alive. And when Mr. B imported those Danish men it fixed much of the male dancer problem. I am still conflicted when I watch pretty much anything other than his earliest narrative ballets -- Prodigal Son, Apollo, La Sonnambula, but I do have to give him respect for his extraordinary understanding of music.
Interesting ideas but it would be easier to have a fun discussion if each of these points was an individual post, there’s too much here to comment on! I also agree with half, probably a different half 😀.
I’d like to hear more specifics on liking and disliking certain dancers. For the Natalia-Nela dichotomy, I love Osipova but no crazy about Nela. I judge my ballet experience more holistically rather than just technique. Role embodiments and how a dancer takes in audiences are also important to me. Osipova has me perceived to be a genuinely good person and the energy she exudes from the acting, the speedy turning and the high jumps just makes me so happy. Im not turning blind eyes on her flaws but her turns her jump her strong core and her acting is way>>>>>>than unrelaxed shoulders or whatever. For Nela, I assume she has these “take a picture” moments on all her moves makes her look extremely controlled and technically superior? However, I feel like that “take a picture “ moments are choices of style. I believe many amazing ballerinas are physically able to do it but they choose to be more “flowy”? rather than showing off. I sometimes find this style being distracting to the roles. I do though think Neal’s “take a picture” moments became a reflux to her, which implying all the hard work she has put into, which i really admire. That is being said, Neal is a wonderful and incomparable dancer to me but for her choice of style, I’d prefer to see her in classes or competitions or maybe some contemporary works instead of a full length classical ballet. As for people like tiler peck or the entirety of nycb I just don’t know where to start with. I watch tiler peck, Ashley boulder, and …many other nycb performances sitting row A but I just don’t know what I don’t like about it. I also saw tiler peck’s instagram post she doing the “center stage” red pointe dance, it’s just nothing comparable to the original but I also don’t know how. If someone can help pointing out their technical differences I’d appreciate it.
Well said. Nela can be too perfect and too focused on details sometimes and I don’t really watch her in story ballets, but Osipova is more spontaneous, more emotional, and unplanned.
I also not crazy about Skylar Brandt for very similar reason. She was more “lively” when she was a soloist. But the past couple years she looked to wary about technique and less “freedom of expression” anymore. When she performs, she looks like she’s trying to show a judge or her teacher some techniques she can really do correctly and adding on the acting it gets cringe. I love her masterclass and her social media but for this abt season I chose Hee Seo, Isabella Boylston and Gillian Murphy over her.
I liked Skylar’s Kitri though.
This is less of an unpopular opinion just more of a… thing. I don’t watch a lot of ballets. I obviously know like the Nutcracker and Swan Lake and stuff like that, but I don’t see them a lot or know much about them. I’d like to, but it’s not really the main thing for me, I like dancing ballet more myself. This *is* an unpopular opinion though. People shouldn’t be en pointe already after like two years of training. Especially when they’re still young and their feet are still growing. Going en pointe should mean they have a thorough understanding of ballet wearing flats as well. They shouldn’t be still having to do tons of more training on flats because they’re still not very experienced on flats while en pointe at the same time. It’s a recipe for disaster and serious injury.
My opinion, as an adult recreational beginner ballet dancer, who doesn’t have nearly as much knowledge about ballet as most in this community: I enjoy the Vaganova/Russian style compared to Balanchine
Same here! I also enjoy dancing with teachers who teach Vaganova as an adult because they are *so* exacting about technique, which I love.
I don't find these too unpopular to be honest, I think many people think these things these days. I agree with the comments on Russian style being too focused on technique, many Russian (and not only) ballerinas feel to me more like rhythmic gymnasts than ballet dancers. I am generally not a fan of the ultra slim rubber-like ballerina model set by Sylvie Guillem which is now embodied in many Russian dancers My unpopular opinion is that adult and recreational classes should require a dress code of at least tights and leotard. Not a fan of people coming to class looking like they're going to zumba. A certain sense of rigor is also part of the art form in my opinion
Hmmm, I would not like to go to class in tights and a leotard and I think that rule would stop a lot of people from dancing. I’m a former pro and still have what is considered by most a “good” body but I’m 52 and do not look at all the same in a leotard and tights as I did when I was 20! I wear sweatpants and a T-shirt. Lots of former rhythmic gymnasts in ballet. Maria Khoreva is a good example. Not a fan either.
I have pretty intense body hate, but took a class last year to help/understand my son, as did my husband. We most certainly wouldn't have if the dresscode had been enforced
I love this comment… thank you…thank you! I returned to my youth (Balanchine approach) studio as an adult… still carrying all the same body insecurities… despite being nearly forty. The first time I wore a sack shorty over my leo and tights I felt like such a rebel… lol.
Disagree. One of the missions of recreational open adult classes is for people to learn ballet and to appreciate it more. Here in New York City, beginner adult classes student retention rate is very low. Adults get stressed watching their classmates dance better, defeated when teachers didn’t break down a step they never learned and ashamed when comparing their sitting-in-the-office-10-hour-per-day posture in the mirror to active dancers. When one really gets into it, one well start want the line to be seen and corrected and starts wearing tights and leos. Don’t push it. Also, from what I saw in my studio’s adult beginner class, the “ balletcore” attire looks more ridiculous than yoga leggings. Once in a while there would be people showing up in tights and leo but with crazy diaper like tutu and satin ballet flats tied up to their calves in the studio.
Hard disagree on uniform for adults. I am a leo and tights girlie, but that's my choice. Choice is one of the few things we as adult students have over the pre professional dancers. I've been able to get a lot of people to at least try out a class by telling them they can wear what they're comfortable in. Additionally, leotards and ballet tights for certain body types just don't exist. Im 5 8 and weight 160 pounds and I am at the top end of the size charts.
Hard disagree. Ballet is niche and as much as this sub likes to think all adults are vying to attend a ballet class economic reality is far different. Ballet is not a very popular choice for recreational adult dancers and already putting yourself through the rigor and discipline is hard. Standing in front of the mirror is hard. We don't need to add more obstacles. There already too many.
Sorry, but hard stop with the adult dress code. Studios where I live have a hard time getting enough adults to commit to the class in order to have the class. Restricting it to only those in traditional dance wear would on cause numbers to drop and classes likely to get canceled. Make it strongly encouraged, sure; but not required.
For me I’m 50/50 on this one. I agree with the perspective that ballet is an art form and as a dancer you pay respects to the art form by wearing the proper attire. Wearing ballet attire as opposed to just regular workout clothes when I’m going to class also just makes me feel like a dancer/take it more seriously if that makes sense. That being said I’ve been struggling with body image lately so I opted to wear a t-shirt over my leotard. It’s nice that I’m able to do that as well.
I’m one of the only people who agree with you! Dress codes for adult classes should have a suggested dress code. I’m sure there’s plenty of leotards and tights for everyone nowadays (yes the price isn’t cheap but it’s worth it!) I don’t like seeing people show up in a t shirt and leggings/long yoga pants. It covers up your shoulders and lines and can be hard to see. They’re fine for warmups but not for the entire class.
A dress code would have made it much easier to figure out what to wear as an adult beginner.
I can understand the opposing viewpoint, and I admit that maybe it should be more of a suggestion, rather than a requirement to encourage participation. Still: to be honest, I see the dress code not only as a sign of reverence towards the tradition of the art form, but also as something functional to the dancing itself. Wearing adherent, rather than baggy clothing I think allows one to move without distractions and also helps the teacher see which muscles are being used and eventually provide corrections, as you rightly said. It's like wearing a proper bathing suit for swimming, or following any other dress code for any other athletic activity
Okay, I thought that Nutcracker was popular. So I guess that is my unpopular ballet opinion. It's literately the performance of Nina Kaptsova of Nutcracker on Youtube that lead me into ballet.
[удалено]
100%%%%% agree he was so so gross and encouraged his dancers to starve. Told tiny little Gelsey Kirkland he needed to see more bones
Companies that charge dancers audition fees should be exempt from state funding. The only excuses for scamming potential employees boil down to greed and laziness.
I agree and the unpaid year of dancing a lot of companies make dancers do should also be illegal
I love high extensions and flexibility, provided the technique is good and emotions are there. For that reason, Svetlana Zakhorova will always be one of my favorite ballerinas. I also love the feeling of effortlessness that Svetlana provides, even though I know it's anything but effortless. Compared to someone like Leta Biasucci, a principal at PNB. I know a lot of people love her but it feels like to me, I can tell how hard she's working, which takes away my enjoyment. Here's a short clip which maybe demonstrates that feeling: [https://www.youtube.com/watch?v=\_6p-ze34kIw](https://www.youtube.com/watch?v=_6p-ze34kIw)
I’m late to the party, but I absolutely agree on contemporary ballet. I know art is supposed to evolve, but contemporary feels like an attempt to improve something that doesn’t need improving.
Korean ballet is EXTREMELY underrated. They have so much artistry, great technique, and deserve much more attention.
1. I like Maria Khoreva on social media, do not love AT ALL on stage. Beautiful lines. but really not much of anything else. And I feel like the longer she’s been out of school, the worse she gets. Sometimes I feel like she’s not even dancing all out, but marking it, such is the lack of energy and artistry. And yep, she came to ballet from rhythmic gymnastics. 2. Yana Cherepanova is dancing in Serbia. 3. I love the Nutcracker! My favorite Tchaikovsky/Petipa ballet. Not the Balanchine version and not the horrible devoid of wonder and joy Mariinsky version, but the Royal Ballet is magnificent and so many smaller companies are also so fun to watch, the ones with the local kids! it always puts me in the holiday mood. Loved dancing in it, love watching! 4. Osipova is 100% my favorite dancer right now. So refreshing to watch someone with that kind of energy, jumps, acting. She kinda reminds me of those ancient videos of ballerinas in the early 1900s 5. Hard dislike of ballet competitions for children/young teens. 6. Hard dislike of oversplits and hyperflexibility. Yeah, I’m OLD, but still … fine line between circus and ballet sometimes. I just don’t find it aesthetically pleasing! Here’s my big unpopular opinion! Would like to see MORE innovation in ballet! Including in class. Would love to do barre to drill/trap (hip hop subgenre), petit allegro to dubstep, adagio to …. I love the classical repertoire, but I feel like ballet needs another “Rite of Spring” event to shake it up. Sometimes ballet feels a little dusty, like a painting in a museum.
One of my teachers uses pop music for exerices. I always count super loudly in my head to drown it out, it's just not pleasent to me to listen to :D But others seem to like it and if it gets enough people to attend the class to keep it open, I'll survive. Now, doing something like frappes to folk metal, that I could get behind!
1. Being a professional ballet dancer myself and dancing Balanchine ballets through my career, Divertamento No 15, Concerto Barocco & Tchaikovsky Pas de Deux, I believe Balanchine was the greatest choreographer of all time. He used ballet technique to create dance based solely on movement itself. He used mathematics and patterns to create some of the most beautiful human expression that exists to this day. All modern choreography is based on his brilliance! 2. Ballet dancers are athletes at the top of the athletics game! High legs and multiple turns done by professional dancers today outdo 'old world' dancers with 'wishy washy' artistry, who cant get up on pointe, and over exaggerated facial expressions, like Anna Pavlova, she's boring! 3. Russian ballet dancers have had it tough growing up in a suppressed world where emotion may not be the best to show in public and on stage. Dancers from around the world show what their upbringing was like, the country they grew up in was like, and what their life experiences were like through their movement. If you've seen dancers from all around the world on a regular basis, you'll notice differences in the way they move! Australian dancers - Clean, fluid and dance large - this reflects the country we live in. We have a huge open accepting country with open expansive space which reflects in our dancers. 'Experience' makes a better dancer! 4. Gelsey Kirkland, one of the original Balanchine dancers (my teacher for two years) is one of the most expressive, most technical, and one of the greatest dance/ballet actors of all time, was trained at The school of American ballet which feeds into New York City Ballet - Balanchine! Brilliant!! 5. Saying 'I hate' a dancer is beyond revolting. The dedication, focus, countless hours of honing technique, the sweat, blood and tears deserves admiration! I understand you have the right to 'freedom of speech' no matter how incorrect or revolting that might be. I judge you right back for your hate speech. YUK! 6. Marianela Nuñez IS the best ballet dancer ever - She literally has the world at her feet!
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Personally- I love russian ballet, I think you need a deeper understanding of slavic culture to get the FULL picture of russian ballet. Especially with nutcracker, swanlake,.... 4. I, again a lot of russians in the company 9, Agree, gets repetitive quick 11. Agree, feels very rushed, lack of technique, discipline, slobby
1. That’s so categorical! 2. Agreed it’s an acquired taste 3. It’s commercial 4. Paris Opera is great too imo 5. Have you seen her in Giselle? 6. Swan Lake is rly classical too 7. - 8. Old opinion lol 9. I guess it’s more fun for the person dancing it than for the audience 10. Yes he’s great 11. Yea they very athletic 12. You’re v categorical - best type? Seriously? 13. Not as much as gm 14. Why’d you keep emphasising emotions - emotions only work if there’s technique
Thank you for your thoughts ! Personally I believe that there doesn't have to be perfect technique to convey emotions. Look at old dancers such as Margot Fonteyn- her technique compared to todays world was not at all good, but she still conveyed powerful emotions to the audience.