Ballerina Fashion Shoot

The models for a day were TBT company artists Victoria Simo and Robin Bangert.

The photos will be in the upcoming issue of Patron Magazine.

Backstage Part II: Giselle

                                                                                   

Backstage Part I: Giselle

Corps Warriors

Corps Warriors

    

      Like most dancers, I have always longed for the spotlight, a moment to shine on my own

or with a handsome partner by my side. That is what we all work so hard for, to be The Ballerina, the one in the tutu in the spotlight getting the applause. We work tirelessly as children, teenagers, and young adults up until the day we retire, trying to hone ourselves into the best dancers we can be. We put in endless hours in the studio and at home, literally pouring out our hearts and souls for fleeting moments of delight and triumph onstage.

     While many times I have pictured myself in the spotlight, I never, as a young ballet student, really thought about what it would be like to dance in the Corps. But as I embark on the beginning of my 8th season with TBT, and with more than a few full length ballets under my belt, I really appreciate how rewarding it can be to be a part of the silent foot soldiers of the ballet world. It is a special secret sisterhood and  a true team sport. We Swans, Snowflakes, Willies, Nymphs, and Dryads are an essential part of any classical ballet. We come in and lay the ground work and set the tone and the mood for an entire ballet. While none of us singularly make or break a production, it is our focus and devotion to excellence as a unit that can make a performance go from great to outstanding.

     The concerns of a Corps dancer differ slightly from that of a soloist. While the major

focus of any dancer is technique and artistry, a Soloist focuses on making a role her own, adapting the steps and musicality to look best on her specific body type and personality. Conversely, as Corps de Ballet dancers, we must check our individual preferences at the door. Although we come in all shapes and sizes, our goal is to blend in and look exactly alike. We strive to have all of our arms and legs in the exact same position and our heads tilted just so. Counting the music is a big part of being able to dance together. We painstakingly plot out each movement, sometimes breaking a single count of music down to several separate parts in order to assign a place to be for every single moment. Every movement is accounted for and every misstep noticed. We obsessively dissect each step until each dancer has a total understanding of exactly where they are expected to be at any given moment. Only when we have put in this work and start moving and breathing as one unified organism, does the beauty of Corps work emerge.

     My Corps sisters are my support. During “Nutcracker” season, when we’re up to our

eyeballs in fake snow and tired to the bone, we take turns falling to pieces and being strong for each other. We share both in each other’s well earned successes and frustrating disappointments. The life of a dancer is not easy. It is a masochistic and self critical world and it is be easy to lose sight of what is truly important in our quest for perfection. It is with these benevolent beauties beside me that I find strength and inspiration. What an honor it is to stand beside them, where so many other women have stood generations before. To be part of the living history that is the art form of ballet and in some small way to have contributed to it, is a great joy.

     

     The hours are long and the battle wounds are many. We all suffer from tendonitis, blisters, bruised toe nails, strains, sprains, and permanent butt cramps from standing on one leg for excruciatingly long stretches of time. The accolades are few and far between. But there is nothing like the fantastic energy and focus you feel dancing in the corps; nothing like the last few gentle movements danced to the heartbreakingly beautiful music at the end of “Swan Lake”, nothing like that first magnificent moment when the curtain rises on “Serenade”, and nothing like the ferocious fury of dancing Hilarion to death in “Giselle”. I am profoundly honored to be a warrior of the Corps de Ballet.

Tech rehearsal for the World Premiere of Ben Stevenson's Giselle

TBT company dancer Betsy McBride before Act II Wilis

Giselle Costume Fittings

All the sets and costumes are from American Ballet Theater

The Structure of a Story: Ballet Behind the Scenes of Giselle

The story of Giselle is timeless.  A classic romantic ballet for many generations,  its roots reach far back into the 19th century.  Especially crucial in telling the story of Giselle this weekend are the Corps de Ballet, which literally translates to “body of the ballet”.   Being in the Corps de Ballet is a huge responsibility in most ballets, and even more so in a ballet like Giselle!  An enormous production - with extravagant costumes and sets from American Ballet Theater  - cannot be pulled off without the total commitment of every performer onstage!

Act One is composed of men and women who play villagers in a small peasant town.  They are vital not only in the dancing roles, but also in creating the backdrop and atmosphere in which Giselle and Albrecht fall in love!  Supporting dancers direct attention to the principal dancers, while playing individual roles that make the whole picture work.  Being an actor or dancer in the background can be just as hard as being in the spotlight, and it certainly requires just as much work!


Act Two is comprised mostly of women who have the enormous task of setting the otherworldly tone of the spirit world.  Even before Giselle sets foot onstage the Wilis have made lines, patterns, and shapes while dancing in sync with each other.  While the principal characters are performing the famous Second Act Pas de Deux, the Corps is still onstage providing the frame for the masterpiece they are creating. 

Corps de ballet work is so rewarding because it requires everyone to work as a team and give one hundred percent every show.  At the same time, so much work and rehearsal goes into making it look effortless!   Hours of practice are essential in getting 18 girls to all look the same.  It can be painstaking at times, but it is such an important rite of passage for any ballerina!

I am already so proud to be a member of Texas Ballet Theater, but even more so because every artist in this company gives 100% .  Ben Stevenson is so wonderful at coaching every dancer - and the quality of artistry clearly shows with every performance! 

Don't miss out, grab your tickets today!!  www.texasballettheater.org


By:  Jaclyn Gill

Dancer of the Day: Carolyn Judson

 Rehearsing Act II Giselle

 

Quick change of pointe shoes in between rehearsals

TBT Dancer: Carolyn Judson

Perfect Day: My wedding day!

Unforgettable onstage moment: The first time I performed Ben Stevenson's 3 Preludes with Lucas Priolo.

Wildest dream: To live with my husband and have babies. Pretty wild, huh?

Favorite Indulgence: Truffle Oil

Inspiration: Janie Parker

Couldn't live without: My husband, my friends, and my family

Proudest moment: When I finished dancing my first full-length ballet, Swan Lake.

Favorite Role: Juliet in Ben Stevenson's Romeo and Juliet

Giselle Rehearsals

Clip from Giselle Act II Wilis

     Texas Ballet Theater presents the World Premiere of Ben Stevenson's Giselle for one weekend only! October 21-23, 2011 at Bass Performance Hall. Call 817-828-9200 for tickets.You don't want to miss this!

Dancer of the Day

Heather Kotelentes

TBT was at TCU today!

        TBT dancers performed the World Premier of Ben Stevenson's Giselle at Texas Christian University for their dance department today. You don't want to miss this hauntingly romantic ballet. One weekend only! October 21-23, 2011. Call 817-828-9200 for tickets.

Lights, Camera, Action!

NBC came to TBT's studios yesterday to film some dancers for upcoming news clips. Here is Simon Wexler being filmed !

Ben Stevenson's World Premiere of Giselle

                                                                          
The ballet was first presented at the Paris Opéra's Salle Le Peletier on  June 28, 1841 with Carlotta Grisi as Giselle. Giselle portrays the tale of a young peasant girl who is driven to madness and an untimely death upon discovering that her true love, Albrecht, has deceived her. In spite of her broken heart, Giselle, who now resides in an otherworldly forest of beguiled female spirits, protects her remorseful lover from the wili's evil vengeance.

For one weekend only! October 21-23, 2011 at Bass Performance Hall  Call 877-828-9200 for tickets!