Grace

Marie Taglioni. Coloured Lithograph, circa 1831. From the V&A Theatre Museum © Source: Wikipedia

Marie Taglioni. Coloured Lithograph, circa 1831. From the V&A Theatre Museum © Source: Wikipedia

From the moment Marie Taglioni put on her ballet shoes and stood on pointe the cult of the ballerina took flight. The ballerina, the female expert in the art of ballet who lives and suffers for her art, is forever associated with intrinsic qualities of lightness and grace. But just like Mr. Darcy’s remarks on truly accomplished women (“no one can be really esteemed accomplished who does not greatly surpass what is usually met with… she must possess a certain something in her air and manner of walking, the tone of her voice, her address and expressions, or the word will be but half-deserved”), should we not also comprehend a great deal in our idea of a graceful dancer?

A while ago we were asked by one of our Facebook group members to write a comment on what makes a dancer graceful. This post attempts to approach this delicate topic (since not every ballerina is a synonym for gracefulness) from an audience perspective. Technique, which forms the basis, the backbone of a dancer’s art, is an objective measure. But grace, like artistry, is subjective and largely depends on the eye of the beholder. For evidence of that one only needs to take a tour of ballet on YouTube.

Pick a male or female dancer you like, watch a selection of videos featuring that dancer and try to form your own views. Then read the various comments in reaction to his or her performance: for every person who finds your chosen dancer graceful there will always be a dissenting voice. The FT critic Peter Aspden remarked on this when he wrote a very interesting article about the Mariinsky’s Alina Somova, a controversial dancer who continues to spark inflamed debate on YouTube and on ballet related web boards because of her use of extreme extensions in classical ballet. Some, like Aspden, perceive her as extremely graceful, while others see exactly the opposite.

Ballet is a contemplative art and to use another visual art parallel, there is no way to convince someone who prefers Impressionism to Cubism that Picasso is artistically superior to Monet. There are ways, however, to draw an observer’s attention to details they might have previously overlooked in a painting, to steer his or her eyes towards features which might lead to a reassessment of that work of art. So whilst we cannot define grace, here are some elements which we think would naturally emanate from a graceful dancer:

  • Good Line – as Robert Greskovic notes: “true ballet line has little to do with the dancer’s limbs and everything to do with the harmonious coordination of each part seen as a totality.” A good line emanates from the dancer’s centre to reach out to all compass points of his or her body, think a beacon irradiating from the lighthouse. For an example of good line see Anthony Dowell executing Des Grieux‘s first act solo [link]
  • Port de Bras (carriage of the arms) – of course a good dancer must display perfect coordination between legs, feet, torso, arms, hands, neck and head, but soft, pliant arms help accentuate the gracefulness of the whole movement, to emphasize its poetry. Here one can draw an interesting comparison between male and female dancers: male port de bras is simpler and sharper to make them look more virile, stronger, their line more visible, while the female arms are more laboured, making them look more delicate (see this post for more Port de Bras comparisons). For an example of graceful arms, see Ulyana Lopatkina in Swan Lake [link]
  • Musicality – the most obvious way to define a musical dancer is to think of the music box ballerina cliché. A highly musical dancer will trick you into forgetting about the orchestra pit and thinking that his or her movement is creating the music, so well they are matched. It goes beyond being technically precise. Of course, it should be noted that choreographers will treat music differently and the dance can either be on top of the melody or purposefully dissociated from the music, as is the case in certain modern choreography (ie. Merce Cunningham). A dancer that is often acknowledged as having been extremely musical was Balanchine‘s muse, Suzanne Farrell.
  • Physical qualities – one cannot underestimate the importance of well proportioned limbs and a beautiful face in ballet. On the other hand there are dancers who have broken the mold, redefining the concept of perfect proportions. These can be some of the most exciting dancers to watch because they transform what might have been perceived as a drawback into strength and create a form of unconventional grace. For examples of dancers who break the mold, see Alina Somova and Edward Watson making the most of their elastic and slender physiques in, respectively, Ratmansky’s The Little Humpbacked Horse [link] and Wayne McGregor’s production of Händel’s Acis & Galatea [link].

And here we feature some of our favorite graceful dancers who combine all the elements above. Feel free to post yours if you have one!

Sarah Lamb as Princess Florine (Bluebird Pas de Deux)

Sarah seems to be floating on a cloud of dance, her movements so light and fluid, every step a music note.

Alina Cojocaru as Cinderella

This is probably one of the most enchanting ballet videos on YouTube, Alina is simply radiant, never exposing to the audience the pitfalls of Ashton’s choreograpy (which demands from the dancer coordination between a soft upper body and fast feet)

Gelsey Kirkland as Giselle

This is a beautiful rendition of the famous Spessivtseva solo (Giselle’s first act variation) in which every single movement is linked into a whole. Notice how softly she gets down from arabesque into penché, her arms lingering with the music.

Viktoria Tereshkina as “Diamond” one of the Jewels solos in The Sleeping Beauty, Act III

While the dancers above represent the “ethereal and petite ballerina” we have a contrasting example in Tereshkina, a tall dancer who has attack but looks elegant and delicate.

Natalia Makarova as Odette (Swan Lake)

Around 3:39 you can see Odette’s variation. Makarova was the quintessential ballerina, a perfect match between technique and artistry: every step is used as a means for conveying emotion. A really graceful and touching performance.

Likes ballets that taste like 85% cocoa: pure, extra bitter, dark or intense. Her favorites are La Sylphide, Manon, Mayerling, Ondine, Symphonic Variations and McGregor's Chroma. A self-confessed Alexei Ratmansky devotee, she chases his ballets around the globe. Non ballet: literature, theatre, opera, rock, art, food, travel, fashion, translating and interpreting.

9 Comments

  • April 11, 2013

    Sara

    Diana Vishneva as Giselle: http://www.youtube.com/watch?v=B3uO9fHhtNc and Natalia Osipova as Kitri: http://www.youtube.com/watch?v=SOvXo841L1o – also examples of big ballerinas, with all ballet qualities. They are big artists which have great technique.

  • July 13, 2011

    Beatriz

    marianela is absolutely my favorite ballerina ever, shes got everything that a perfect ballerina must have, she and thiago are soooo cute together. another ballerina that i truly love is roberta marquez, shes so delicate dancing. agnès letestu is also amazing, her technique is incredible. my favorite male dancer is thiago soares, but i also love steven mcrae.

  • June 9, 2011

    Musicality

    [...] few months ago we wrote about what makes a dancer graceful. When looking at elements of Grace, we mentioned  musicality as a quality in dancers that [...]

  • [...] Grace + Edward Watson & the Way into MacMillan + Frederick Ashton: One Step Closer + Rambert Dance Company in Rehearsal: Monolith + Bridge Over Troubled Water: Ballet on YouTube = [...]

  • June 22, 2010

    Emilia

    Thanks Eileen. Yes please do keep in touch, we love a good sense of humor : )

  • June 21, 2010

    Eileen Pixley

    I actually write because I want to remain in contact with this blog and since I’m computer illiterate, this seems the only way. Does being born on Tuesday mean I have grace? Or just a good sense of humor?

  • April 29, 2010

    Two Cinderellas.

    [...] solid technique to perform flawless variations. Her emphasis on the purity of classical line and graceful dancing make her a very natural Cinderella. You can see some beautiful pictures of her in this Ballet.co [...]

  • February 10, 2010

    La Sylphide

    [...] a Highlands fisherman’s wife away from her husband. Inspired by it and with legendary ballerina Marie Taglioni in mind, Adolphe Nourrit, an operatic tenor and arts sponsor decided to create a ballet reversing [...]

  • December 30, 2009

    Kool Thing « The Ballet Bag

    [...] Grace – This was a tough cookie. Someone asked in our Facebook group if we could write something about the ballerina’s grace. It was hard to put a subjective concept into words but we really liked the final product, not least because it gave us a chance to quote from Pride and Prejudice. [...]