What an unnerving time we are all currently living in around the world. I hope you and your families are safe and healthy. Truly.
To help me stay in shape, as close to ballerina shape as I can, I currently do these 5 things:
1- Run. I run 5k every other day. Running gets my
heartbeat up, helps me maintain some sort of level of stamina, and the
hard landings keep my ankles used to impact when jumping is rather
limited without a studio. I do run on a dirt path so it isn’t as rough
for my ankles. If you aren’t a runner, I do recommend it but start slow.
Shin splints, knee problems, and ankle issues can appear if you do too
much to soon.
2- Ballet Barre. On the days that I don’t run, I do a
ballet barre. I was doing barre everyday but now the Royal Danish
Ballet is officially on summer holiday so I’ve given myself a bit of a
break. I want to keep my feet and legs moving but to also allow them to
get a rest so they are ready for the 2020/2021 exciting season.
3- Single Leg Heel Raise Exercise. Many injuries
start from a weak calf… I have found that by just adding this exercise
into my daily routine, it is helping me maintain better calf shape and
it helps prevent injuries when we eventually get back to a full time
dance schedule.
The exercise is to stand on one leg
with your other foot off of the ground. Slowly count to four to raise up
to a demi point and then slowly count to four to lower down again
without ever allowing your heel to touch the floor. If you can do 27 in a
row then they say that you have a healthy and strong calf. It’s pretty
tough though! I’m only at 17 in a row!
4- 3-5 minute plank. This one I do after my run. I’m currently building up to 5 min. Trying to keep my abs strong and my arms sculpted.
5- Stretch. Especially my calves from all the
running and the leg heel raises. But I also do the splits, and some hip
stretches. Trying to keep things loose.
These are the five things that I do
religiously but there are so many different types of exercises that can
also keep you in a good shape during these tricky times. Maybe you
prefer the jump rope instead of running. Or a workout class with squats
and weights. Or even learning a dance routine off of the internet. I’ve
done these things too! They are fun. Take advantage of all the classes on social media. It’s a great distraction and maybe you’ll discover a new love!
This is a great question because it is a little tricky and there are many different opinions. When working at the barre your heels shouldn’t be lifting off the ground but you should be imaging that they are in order to create the feeling that your body weight is over the balls of your feet. We are training our bodies to have our weight NOT on our heels and therefore it can sometimes be seen as a exaggeration by lifting the heels off of the ground.
First position
Imagine that you have only one piece of paper that could slide underneath your heel. That is how much your heel should be off of the ground. It really shouldn’t be visible.
If you pile with your heels coming completely off of the ground then the calf and leg muscles aren’t being used or strengthened in a way that will benefit you.
When you are dancing a variation, you still want to use your full pile with your heels on the ground but sometimes you will see the heels slightly lifted as the dancer is changing or prepping positions. This is normal. Especially when you are working with speed because that is when it is even more important to have your body weight on the balls of your feet. You can’t move quickly if your weight is positioned incorrectly.
Jumps. Well… technically it should come from a pile with your heels on the ground. Honestly, it is common to see dancers jumping from a visible but slightly lifted heel. It’s again about your body weight. Getting your weight in to your heels is death to a jump.
The prep for a saute in the fast ballet, Ballo Della Regina. (the right foot heel is on the ground)
Top of the Saute.
All fifth positions, all pile’s, and all preparations for jumps, if done correctly, should have the heel down but with the weight on the balls of your feet. That way your legs are ready for any step that comes your way!
Thank you for the question, Ingrid & Hanne Kuhlman
In August Bournonville’s ballet, Napoli, there is one character that can be a little tricky to figure out. The ballet opens up with a scene of the streets of Napoli. A charming, busy, dirty city on the sea in Italy. You meet the two main characters, Teresina & Gennaro. They are very much in love with each other. Teresina’s mother, Veronica, doesn’t want her daughter to marry Gennaro, a poor fisherman. Veronica introduces her daughter to two other possible suitors, Peppo and Giacamo, much wealthier options. Teresina will not have it and begs for her mother’s approval. BUT! Amid all of this, a woman dressed in a blue robe comes on stage and has a short dialogue with Teresina and Gennaro.
Teresina: Alexandra LoSardo, Gennaro: Alban Lendorf, Blue Angel: Josephine Berggreen
This character, in the newest version by Nikolaj Hubbe and Sorella Englund is called the Blue Angel. Originally the Blue Angel was in fact, a Catholic monk. Nikolaj and Sorella wanted to take a step away from having only one form of religion represented and decided to incorporate all religions by having her represent love.
The Blue Angel can ONLY be seen by Teresina and Gennaro. This is because they are the ones fighting for their love. The Blue Angel guides the couple throughout the ballet. You’ll see the Blue Angel in first act, have Teresina give her necklace to Gennaro, representing her choice in love.
Teresina: Holly Dorger, Gennaro: Jonathan Chmelensky, Blue Angel: Viktoria Brandt
Later, once Teresina has drowned and Gennaro is on the cusp of committing suicide, the Blue Angel reappears to Gennaro and tells him to search for Teresina in the Blue Grotto. She will not allow him to give up on love.
Gennaro: Alban Lendorf, Blue Angel: Josephine Berggreen
Gennaro: Jonathan Chmelensky, Blue Angel: Viktoria Brandt
At the end of the ballet, you’ll see the blue angel cross the stage on the infamous bridge, at the couples wedding festivities. She is watching over them. Love prevailed.
Gennaro: Alban Lendorf, Blue Angel: Josephine Berggreen
In the original version with the Catholic Pilgrim, in first act, you see Teresina give the monk her heart necklace instead of Gennaro. The monk then blesses Teresina and Gennaro and their love. The monk also is the character to stop Gennaro from committing suicide when they learn that Teresina has disappeared.
Teresina: Holly Dorger, Gennaro: Jonathan Chmelensky, Blue Angel: Viktoria Brandt
There is a version on YouTube from 1986, that is of a pretty good filming quality, following closer to the original version, including the Pigrim. https://www.youtube.com/watch?v=YdR2N4u3r5A
Teresina: Linda Hindberg, Gennaro: Arne Villumsen, Monk: ?
TRUTH: Nobody
has everything. Nobody has the perfect body to be a ballet dancer
because ballet wasn’t designed for our bodies. Ballet asks for turned
out legs 100% of the time but we are built to walk with our legs
parallel. Degrees of turn out will vary, people’s insteps will be
different, some people are naturally flexible.. some really have to work
for it. So what is the right physique? No one really has the right
physique.
BUT when I
hear you ask about having the “right” physicality, I’m assuming that you
picture in your head a dancer with perfect 180 degree turn out, a
naturally thin body, high arched feet, flexibility above their head, an
easy turn and a flying jump. Those are qualities that ballerinas have
become known for over the years creating the definition of a “right”
physique.
Photo: Jan Christensen
Do you have to
have all of those qualities to be a professional ballet dancer? No. Do
you need to have some of those qualities… well.. honestly… it helps.
But, those qualities are the cherries on top. They aren’t absolutely
necessary in order to become a professional. The average audience member
doesn’t know anything about the ideal foot or line. They go in to the
theater to escape reality and to dream.
Meaning, it is
your movement quality that is the most important thing. If you can
touch people, if you can make things look effortless… if you can
transpire people away from their reality, then no one is going to be
asking if you have the “right” physique. They will just be asking, when
do you perform again!?
Photo: Jacob Jonas
I get that there are some ideals in the ballet world that we will all forever strive to have. Everyday in ballet class that is what we are working towards. You and me. Try and put your concentration on the larger picture, the love of dance and spreading the love of dance. That is what will take you the furthest to becoming a professional ballet dancer.
There are a few differences but truly not as many as you might think. In Denmark, about once every few months, the public is invited in to the Royal Theater to watch the ballet company take morning class on the stage for free, while they can enjoy a croissant and some coffee.
The teacher varies but more often then not, for a Brunch and Ballet class we have our boss, Nikolaj Hubbe. He is quite charismatic and he always keeps the audience completely entertained with his jokes and Dan-glish way of speaking. For everyday class, we don’t actually have Nikolaj that often. Maybe twice a month… maybe. Some months less, some months more. Former Principal Dancer with RDB, Jean-Lucien Massot, former dancer and character dancer with RDB, Mogens Boesen, and former Principal dancer with NYCB, Adam Luders are our more typical teachers for everyday class. The past year or so, management has been bringing in more guest teachers from all around the world which is also super fun. Teachers such as, Taina Morales, Johnny Eliasen and Eva Draw.
For our everyday classes we never take it on stage. We always start the day in one of our studios backstage. The teacher also isn’t miked up but Nik, or whoever is teaching doesn’t change their steps, or behavior just because there is an audience for Brunch and Ballet. Who they are without an audience is the same as who they are when there is one.
The last fifteen minutes of a Brunch and Ballet, there is always a little demonstration of what we are currently working on, in hopes that we inspire a few audience members to come and see our next show.
A typical class is a full one hour and a half with no demonstration. Usually class ends with people trying out all sorts of steps they are working on, fouette turns, or boys jumping around.
Photo: KGl Teater
The outfits that we come in, the weird stretches you see us do, the leg warmers, the rolling out, the hair down, the messy buns, the side talking, the laughing, the jokes, the focus…. that is everyday. What you see is, what you get with RDB. 😉
I use four main tools everyday. An elastic theraband, a bouncy ball cut in half, warm boots, and my make shift ankle warmers.
Before I start
ballet class in the morning I pull out my elastic theraband and I do at
least 10 reps of pointing and flexing each foot. By adding the
resistance, I’m waking up my muscles for the day.
Flexed Foot with Theraband.
Pointed Foot with Theraband.
The bouncy ball cut in half, was given to me from my great colleague, Jon Axel. This half ball I’ll step on throughout the entire barre releasing tightness in my feet.
Warm boots. Yup. Just to keep my feet warm. I live in them at the theater. I will wear them at the very beginning of class but only for maximum two combinations. I really don’t like the feeling of having anything extra on my feet when I’m dancing. But they are great to have on everywhere else. Especially as the days get colder! You’ll catch me in my boots throughout the day between rehearsals, at lunch, putting on my makeup, walking to a costume fitting or before a show. Basically anytime I’m not dancing.
I’m wearing my green pair of boots as I put on makeup for a Swan Lake show.
Backstage in full costume for Diamonds and my boots.
Lastly, my make shift ankle warmers. I really like my ankles to stay warm. I buy those really fluffy socks from Tiger and then cut the toe off and the heel away. I do this instead of using ballet legwarmers because 1- they are super cheap. About 15kr. 2- They hug my ankle nicely as they are made to be socks. You will always find me with ankle warmers on.
Having fun in the Gym after hours with my ankle warmers on.
Learning Giselle’s Mad Scene from Sorella Englund with of course, some ankle warmers on.
I will use a foam roller but I’m not religious about it. It’s more if I remember or if I’m killing time.
At the Royal Danish Ballet, a dancer, regardless of rank has to retire when he or she turns 40 years old. Once you turn 40, you are allowed to finish that season which goes until June.
I think many of us don’t even think about our retirement if we are happy and inspired at work. Every year though, at the end of the season party, there are always speeches to those who have decided to either leave the company or to those that are retiring from the company. Those speeches always brings that looming question to the front of your mind.
To be completely honest, I don’t know. I don’t know how to cope with such an early retirement age. My brain can’t even comprehend the idea of not dancing and performing… ever. Let alone stopping in ten years, for me. (I turned 30 this past October)
Ulrik Birkkjær and I after a performance of Theme & Variations.
Some days you really feel the pressure. For instance, when a cast list goes up and maybe you didn’t get the role you hoped for… one of your first thoughts may be, will this ballet come back in time for me to have another shot at it!? Will I ever get to dance that role in my career?
These are very real questions. And all I can really say is that you have to put your faith in that everything happens for a reason. The management does have plans that you aren’t aware of. Trust the timing of your life. I do realize that that is much easier said than done.
At the same time, I would encourage any dancer to not just sit back and leave everything to the unknown. Reach out and try to get a few gigs or get involved in another project that interests you. Then, perhaps you can choose what pas de deux you dance and the stress of never getting to dance something can be calmed. It’s always worth a try!
The dancers that I have seen retire are at first usually grateful for a rest. It’s a hard career, on your body, on your mind, and on your soul. To step away from that pressure to be pretty much, “perfect” is welcomed.
I’ve seen a lot of wonderful ballerina’s become mothers at age 38, 39, and 40 years old. Maybe for society that is considered late but for a ballerina it’s the perfect timing. It’s so wonderful to see. Motherhood is a common route taken after retirement or just before retirement.
Gudrun Bojesen back from her retirement pictured as Karen Blixen.
Many dancers teach ballet either as a full time job or just until they figure out what exactly they want to do next. I would say most stay in the world of ballet. Some have gone on to become Pilates teachers, ballet teachers, gym/workout teachers, or ballet masters… Sometimes, the theater will offer a dancer to come back for a production or two as a character dancer. For example, right now in the wonderful ballet Blixen, by Gregory Dean, several retired, beloved dancers are back on stage performing with us. It’s so nice to have them and they are absolutely excelling!
Mads Blangstrup, a retired dancer, back in the current production of Blixen.
There are also those that step completely out of the business. Starting up coffee shops, renting out apartments, film director… The sky is the limit. It’s just tricky to figure out which path to take when all you’ve ever pretty much known is ballet.
Usually the dancers that decide to go back to school stop earlier then their retirement age. Although, of course, one could go back to school at the age of 40. No problem whatsoever. One is still quite young. But, it is common to see dancers around the age of 23-25, who have been a professional for a few years, to decide that they’d like to give school a go. Again around age 30 you might see another wave of dancers deciding to leave the company and go to school.
We don’t really talk that much about retirement. It isn’t until your dad or someone close to you asks “what is next?” Even now, for me, ten years away from retirement, I have no idea. I’ve had a few ideas running through the back of my brain but none of them are concrete. I would love to become an author. I’ve thought about becoming a grade-school teacher. I’m very interested in the film and Broadway world… maybe something there. ??? Time will tell.
The theater does have a fund where a dancer can send in an application describing what they want to try and see if it could be their next career. I don’t know that much about it because I’ve never sent anything in. I do know that you receive a certain amount of money to try something out either on the side of working as a dancer or you can request for some time off to discover more.
During a rehearsal of Etudes.
I think, for a dancers mind, the retirement has to be actually super close to start accepting the idea to start thinking about leaving our magical world. We all love it so much. Then, maybe, one would start to reach out to the previous generations that have already retired and have those conversations. It’s a thought that we push aside for years. Whether we should or not.
In many ways it feels like after 12 years of being a professional I’m only just starting to really figure a few things out. I don’t know if at 40 years old if I’ll feel like I actually did figure anything out or if I’ll feel like I never quite did figure anything out. That is why every picture is so meaningful. Every performance is such a victory! Every moment on stage with your partner, with the entire company is so touching. It’s all memories you never want to forget. You can’t take this career for granted. You never know when your last day will actually be. Injury or just life in general could always take it.
I guess I’ll be better equipt to answer this question in a few years time, when I’m closer to 40. In the meantime, retirement is kept in the way way way back of my mind.
With fellow Principal dancer, Jonathan Chmelensky after a Gala Performance.
Thank you so much for the question @rendezvous_at_midnight
There are actually three particular performances that come to mind. The first was the live stream filming of Alice In Wonderland in to the movie theaters all around Denmark. I don’t think I’ve ever danced better in my life. The second was my second show of Giselle with Jonathan Chmelensky. We had had a five day warning, and then two shows back to back. Our second show together was when we were the most tired but… something magical happened. There was something eternal in the air. We both danced our hearts out. But the most life changing performance, that most definitely left a lasting mark on me, was the night I was promoted to Principal Ballerina.
Performing Theme & Variations with Ulrik Birkkjær Photo: Brian Larsen
I was promoted to Principal Ballerina on stage after I danced George Balanchine’s, Theme and Variations with my partner Ulrik Birkkjær. The life changing day was February 27th, 2016.
We had learned the ballet a few months before the premiere. Then we moved on and started rehearsing our Dance To Go program which included the white swan pas de deux.
I remember it was a day that I wasn’t supposed to dance in the rehearsal. So I had just been sitting and watching the rehearsal. Then, last minute, the ballet master finished early and surprised me by asking me to run the white swan variation. I was young, ambitious, and wanted to please everyone, so when asked to do it, despite being cold, I said yes… That was when I hurt my ankle.
I rolled my ankle and I kept dancing on it. Oh, how I could hit myself if I could go back today to that moment! The coming days came and went and my ankle just kept getting weaker. I dropped out of Nutcracker all together. I stopped dancing to try and get as strong as possible for the premiere of Theme in January.
Ulrik Birkkjær and I dancing Theme & Variaitons. Photo: China Magazine
In first cast, I was dancing the demi- soloist role and then in second cast, I was dancing the lead. Doing the ballet back to back like that was very hard on my foot. The demi-soloist role was tougher on my foot then the principal. I talked to my ballet masters at that time in hopes of figuring out what to do with my load. I hoped that I could post pone my demi-soloist role until I was stronger to do the two parts back to back.
I also had the pressure of my entire family flying out to see me dance Theme. They had already bought their tickets. I didn’t want their dollars and time to be wasted.
At that time, the position I was in, I was not allowed to take the night off before doing a principal role. It was either, do both or do none. I.. was.. absolutely.. heart broken. I knew that if I did the demi-soloist role the first night then my foot would be screaming at me the next day. Some days, I struggled even walking after running the demi-soloist part. I wanted to perform the principal of Theme at my best! I didn’t want my family to see a half baked version. I dropped out.
When I was doubtful, I had been encouraged to drop out. Everyone stressed to me that I should want to look my best when I step out there for Theme. But I tell you now, if I could go back… I would have told myself to do it. The depression that followed that decision created a very dark world for me.This might sound dramatic, but in that moment in my life something died inside of me. I hurt so badly in my heart. I was angry that that had been my only option, that my family had wasted thousands of dollars to see nothing and that I didn’t even get to dance my dream role. I really can’t even describe how dark those days were for me.
The ballet company then had a two or three week vacation. My family was going to Italy. I canceled my entire trip with my family so I could do intense rehab in Copenhagen and make sure that I could get back and dance Theme. I worked everyday. Almost to the point of crazy. Every exercise, every treatment… whatever I could do, I did.
The run of Theme started again. I was ready. I had made it back. My mom flew back over from the USA to see my premiere. (ummm best mom ever) She knew that Theme meant more to me then even Swan Queen. Growing up I wanted to be a Balanchine ballerina! So this was it!
I remember being very nervous. I didn’t quite trust my body in the same way as before due to the injury and I hadn’t been on stage for months. No stage call. No dress rehearsal. Just go!
But I did it!
I did about five shows and then on my last show, Nikolaj Hubbe came out on to the stage after the bows and announced to the entire audience that he had decided to promote me to Principal Ballerina.
My Promotion!
Especially since it had been such a struggle to even get to perform Theme, my first emotion was gratitude. I was so happy. My smile was so big and so sincere. I was proud of my body, proud of beating the injury and all the obstacles that came in my way. I did a fist bump in to the air as if screaming, I did it!
My fist bump.
I really wasn’t sure if I was ever going to get to dance Theme, let alone get promoted. That show without a doubt left the most lasting mark on me and it always will.
xoxo -Hol
Backstage with the boss, Nikolaj Hubbe after my Principal Promotion.
Awww…
performing. Without a doubt, my most favorite thing to do. I love
stepping out in to the lights and sharing an evening with an audience.
Magic happens. I swear, there is magic in the air at a theater. It is
just waiting for you to ignite it.
My favorite
moment when performing is when you are so “in” to the show that you can
just play. The mind no longer has to focus on everything it has been
instructed to do from the previous weeks. Everything clicks. All
emotions become pure and your own physical boundaries get pushed! It’s
just you up there without your coaches helping hand. Time to own the
stage. It’s exhilarating.
Photo: Tejs ‘Olm
For weeks
before a performance your head is filled with a lot of input from your
coaches. Corrections, portrayal, emotions, counts, stage left, stage
right, downstage, upstage… It can become numbing when you have so many
things to remember in the same second.
But, this part
of the process cannot be skipped. You need to know all of these things
in order to present your best self and in order to reach the best
overall production. Some days are frustrating. Some days are tiring. But
in the end you are always very grateful for having a team working with
you and helping you along the way. You couldn’t do it without them.
When you
finally get to the performing step of the process, the mind starts to
calm. That’s when you can start to lose yourself in the moment. It is
the most amazing moment when performing. It may not happen on your first
performance. Usually, you need at least one run under your belt. But
then, an extra boost of confidence comes. Your body is automatically
doing the steps, you know all your cues like the back of your hand and
the opportunity to play has arrived. Play with holding a balance here,
stretch the musicality there, add an extra turn where you can, when you
can, steal another glance at your partner… There is nothing more joyous
then getting to the level of playing on stage. It brings you on a high
that you don’t ever want to come down from.
Photo: Brian Larsen
As I was writing this, the ballet that kept creeping in to my mind was, Alice’s Adventures In Wonderland by Christopher Wheeldon. This ballet was a huge challenge to take on. The role of Alice has many specific instructions and steps. Have to look at the clock on count 2, of the fifth 8…. etc. And Alice is always moving. Always! It took a long time to learn all of it and then to remember all of it, and then again to become comfortable with all of it. But I’ve never felt more rewarded by a role then Alice. Especially the second time the Royal Danish Ballet put up Alice, I found that I was really able to start to play on stage. I still crave that feeling after performances. I had some of my best performances to date. Out doing my own expectations of myself, which I’d never experienced before. I can be a pretty tough cookie on myself. 😉 And I was having so much fun! Every night after I played Alice, I couldn’t sleep. I was still so much in Alice’s world… replaying the night’s highlights over and over again in my head. Those shows felt like magic. Igniting that magic that exists in a theater so one can play, live on stage, is the best moment of performing.
Pirouettes, pique turns, lame ducks, fouette turns, chaines, soutenu’s… I sure do love to turn! There is something about that feeling of being so on balance that you can make the world spin around you, while you stay put!
In my dreams I can turn 6, 7, 8 times around.
Reality always hits! I’ve NEVER done 6, 7, or 8 turns in real life. The dream lives on…
My average is 3 turns. I can consistently do 3 turns to my right. To the left, not nearly as consistent. More, every once in awhile.
3 turns in various ballets.
I can do 4 turns! But I’ve only ever done 4 turns in the studio. Whereas I have done 3 turns on stage multiple times. When I’m in the studio and go around 4 times I always have a little moment of, Did anyone just see that!? It’s exciting. 🙂
Today in the studio!
When you turn
on stage and go for more then just two, you are taking a risk. It’s
liberating. You can’t save a turn if you go for an additional rotation
without being on balance. You will fall out of it. Consequently,
possibly making a bit of a mess of your variation…
On stage there is a lot more pressure then just in class. I tend to thrive on the stress! I love the idea of pushing beyond your own limits in front of an audience. I’m a true believer of now or never! I always take the risk and go for 3 turns on stage.
I wouldn’t take this risk though if I didn’t believe in my turns. The faith comes from all the hard work done in class. I’ve analyzed how much force I need, (less is more in my case) and I use my personal corrections to keep my turns turning. Corrections such as, higher passe, don’t over open my left arm (when turning to the right), and to feel my arms being lifted up from underneath them.
How many turns can you do!? What corrections help your turns!?
Keep in mind
that a single turn that is placed, turned out and controlled can be just
as beautiful as multiple turns. It isn’t about the number, but the
quality.
