In the September 1968 issue of Dance Magazine, we caught up with Erik Bruhn as he reflected on his first year as artistic director of the Royal Swedish Ballet. Throughout his career as a dancer, choreographer and director, Bruhn came to be heralded as one of the most poetic, expressive artists of his time. Rather than exchange performing for directing when he joined the Royal Swedish Ballet, Bruhn decided he had enough virtuosity for both. Whether it was himself or his dancers onstage, he demanded the same artistry. He told us, "I've said to my dancers that you have a theatre, a floor, an audience, a life-long job, and a pension, too. But you have a responsibility, too, towards that floor, that space, that audience. You have a responsibility to fill it not just with adequate dancing, but with the very fiber of your lives."
Originally from Central Florida, Jessica is a senior journalism major at the University of Florida. She began dancing at the age of four and has studied at Orlando Ballet School, Nutmeg Conservatory for the Arts and University of South Carolina's Department of Theatre and Dance.
Every dancer wants to open their competition score packet and see high marks that sing their praises. But a less-than-stellar score can quickly sour what was meant to be a positive learning experience.
While winners walk away with cash prizes, glistening trophies and scholarships to their dream schools, it can be tempting to let a low score be your one-way ticket to self-pity city. But with the right mindset, even a lackluster competition performance can be made into a constructive rather than destructive experience.
Turnout can be a tricky thing. Perfect 180 degrees can make your lines look gorgeous, but gripping, forcing and twisting to get it there can lead to injuries down the road.
"It's a struggle because the demands of ballet positioning, to really do it properly you need to be turned out," says former American Ballet Theatre principal and master ballet teacher Ashley Tuttle. "If your body's not quite as turned out as the steps require then you have to find a way to make it look turned out but not hurt yourself."
While gripping may seem harmless, this bad habit can manifest in a host of different lower-extremity injuries, says Sarah Edery-Altas, PT, DPT, OCS at the Harkness Center for Dance Injuries at NYU Langone Health.
At a time when the political climate is increasingly divisive, it's no wonder people want to compartmentalize. Some want their pirouettes separate from their politics, and can be quick to protest when dancers challenge that both on and off the stage.
Most recently, American Ballet Theatre principal Isabella Boylston was scrutinized when she shared this post on her Instagram.
Savannah Lowery is about as well acquainted with the inner workings of a hospital as she is with the intricate footwork of Dewdrop.
As a child, the former New York City Ballet soloist would roam the hospital where her parents worked, pushing buttons and probably getting into too much trouble, she says. While other girls her age were clad in tutus playing ballerina, she was playing doctor.
"It just felt like home. I think it made me not scared of medicine, not scared of a hospital," she says. "I thought it was fascinating what they did."
Ukrainian ballet dancer Sergei Polunin doesn't appear to have completely shed his bad-boy skin. A new video from Rankin Hunger Magazine, "Sergei x Rankin," shows us what happens when Polunin is given total freedom to explore his tendency for raw, emotional movement. Paired with British photographer Rankin, the duo creates a captivating video that explores our primal need for unrestrained expression set to an alternative rock soundtrack by Husky Loops.
Whether it's your first time jumping into the audition scene or you have hundreds of crinkled numbers to prove you're a seasoned pro, having a panel of judges eyeing your every move makes everyone's mind race a little.
Here are eight thoughts you're bound to have when you step into the studio for an audition.