A Month of Sundays
Barre In a class that emphasized solid placement, stability, upper torso refinement and exactness, Irina Dvorovenko taught 36 intermediate students from various parts of the Northeast at a session of "A Month of Sundays" in January. Her directions were clear, the level intermediate and the system Vaganova ... or rather, the Kiev (pronounced Keev) version based upon the Bolshoi system which is also Vaganova. Dvorovenko, a principal dancer with American Ballet Theatre since 2000, charmed the students by her example of pure form. With her beauty of face and quiet instructions, she became an irresistible force to emulate.
The Kiev Ballet School located in the Ukraine, Russia, is a city rich in folkloric dance legacy. Currently, it has gained more recognition in the West because of the excellent dancers in various international companies who had studied there. Its first ballet group was formed in 1816, but it was the opening of its opera house in 1867, with a resident ballet, that brought it to the attention of Maryinsky and Bolshoi dancers who began to perform there. In 1935, the school became an official Choreographic Institute (meaning an academy in the Vaganova system) and was eventually named the Kiev Ballet School.
Entering the school at the age of 10, Dvorovenko joined the National Opera Ballet of Kiev in 1990, and proceeded to win awards at international competitions in the Ukraine, Moscow, Osaka and Jackson, Mississippi. Her style on stage is assertive, technically virtuosic, elegant and lyrical. Her repertoire is diverse and extensive. She has appeared throughout the world as a guest in major companies. "The Kiev style is more dynamic;" she explains, "the Kirov, softer, more lyrical."
She is fluent in English, a non-stop talker, who shows simple exercises at the barre with no tricky changes, corrects directly as she goes around the classroom. The exercises are basic, but she demands they be done perfectly, in their correct inherent rhythms. "Check," she suggests frequently, as she takes her hands off the barre to demonstrate a way to check her balance. With demi-pliés facing the barre (heels firmly down) followed by ports de bras to each side, she admonishes the group to keep the arms from obscuring the face. Her emphasis continues in balance on demi-pointe through an élevé (slow rise) to the metatarsals. Balance. Check. "Rib cage together."
Tendus follow using the inner thighs to Fifth Position in demi-plié. "The body goes up as both knees go out. Enjoy," she adds. To her, each movement is beautiful. Ronds de jambes with one hand on the barre required frequent "checks." Use of the upper body with a slight incline of the head along with the preparatory and closing arm movement at the beginning and end of each exercise is typical of the Vaganova system. Every exercise has a clear beginning and a deliberate end.
Ronds de jambs and frappés move the class along until grands battements, where the upbeat is quick, the lowering slower into a solid Fifth Position. The big toe of the supporting foot must not show. The barre lasts 1 hour.
Center After a few tendue combinations, Dvorovenko gave a 64-count
adagio using épaulement positions, placements that seem a mystery in most classes everywhere. Lack of awareness of the 8 sections of the room leads to constant staring in the mirror, as if loss of eye contact with oneself will lead to disappearance. Fouettés followed in an unusually early section of the class (they are usually last) followed by pirouettes. Her explanation of the force in the arms for turning to the right or en dehors, was in the left arm meeting the right in First Position, unlike earlier Vaganova instructions to open the right arm to Second Position before a forceful closing into First Position. Class proceeded to assemblés and larger movements on the diagonal, combinations for boys and some pointe work beginning at the barre. "I think placement of the torso and upper body is the most important part of the class. If you don't begin with a solid and correct position, nothing will go the way you want."
Variations class was taught by Eleanor D'Antuono, who followed her famous career at American Ballet Theatre by becoming an internationally known teacher and coach, artistic director of the New York International Ballet Competition and one of the initial teachers at A Month of Sundays, now in its sixth year. "The variation that I choose for girls this year was from "Ramonda," in a version I have always loved, as choreographed by Balanchine. "The purpose was to introduce style, an element that these youngsters have probably not had to face as yet, and show them the 19th century inclusion of character dance in Petipa's ballets. Here again, épaulement not only shows the character dance style, it accentuates the charm of the female dance by using beautiful arm positions, articulate feet and a charming presentation of the movements to the audience."
The structure of the variation from "Raymonda Variations" (used by Balanchine in his "Pas de Dix"), as well as the Glazunov music, meld beautifully from a cheerful entrance that builds to a gracious ending. It was a perfect choice for the young dancers. "In addition to teaching the group to take center stage and fill the space, there is a quality that emerges when the female dancer remains feminine and doesn't try to include any contemporary technical displays." Remaining true to the style of any period requires integrity and knowledge. Choosing the right variation for a competitor is one of DAntuono's fortes.
The boys in the class were taught the male variation from the same work, where again, earlier education would have been an advantage, particularly in the use of a soft, deep plié. "If that is in the male dancer, it makes life easier and more injury-free. The class has to observe the difference between male and female dancing. Some girls are strong enough to do male tours and other steps, but the muscular advantage of the male dancer comes from control of that strength; the female dancer more or less obscures her strength by showing ease."
Sharon Wagner, who coordinates venues, faculty, funding, marketing and publicity for A Month of Sundays, was a performer at the Metropolitan Opera in New York and studied with noted teachers: Anatole Vilzak, Margaret Craske and Edward Caton. The Sundays program of master classes and seminars for students age 12 through 20, 2006 included: teachers David Howard, Virginia Johnson, Irina Dvorovenko and Heather Hawk; Jamie Jackson (hip-hop), Robert Garland (Lester Horton technique), D'Antuono (variations) and Cynthia Khoury (Pilates), Davis Robertson (choreography), Mathews/Kajiya (pas de deux) and Diana Laurenson (theater dance).
"Our mission," says Wagner, "is to present different points of view in technique and forms of dance and to encourage the students to keep an open mind. We don't advocate that the student change their school or teacher. Actually, our classes reinforce, in many cases, the teaching at home. Although the students are young and some of them not up to the level of technique offered, we haven't had any injuries.
"The program is growing and expanding in what we have to offer. The advantage of coming to New York during the January school intercessions with a parent is attractive to both parents and teachers. There are many returnees each year and some students have gone off to college. As a not for profit organization we are funded by the David Howard Foundation and the Harkness Foundation for Dance. Next year we will be in a different building from this site of the legendary New Dance Group Arts Center. It will be on Eighth Avenue, between 38th and 39th streets, where it is advantageous to transportation."
A Month of Sundays, can be reached at: Sharon Wagner Artists service, 150 west End Avenue, New York. NY 10023 or through e-mail at wags@ren.com.