#boudering

[balanchine-ballet-master]

Balanchine's Stars & Stripes, with Ashley Bouder and Andrew Veyette.

Photo: Paul Kolnik

[lovelyballetandmore]

Kleber Rebello | Ashley Bouder

[dance-world]

Ashley Bouder - photo by NYC Dance Project - Ken Browar and Deborah Ory

[perduedansmatete]

du coup hier sur le trajet, vers minuit mon ami platonique me dit qu'il vient juste de se réveiller et m'engueule à moitié quand je lui dis où je vais avec entre autre ma cousine qui ne le supporte pas, en mode t'aurais du me dire je serais pas venu pour ne pas créer de problème mais je ne pouvais pas savoir que la première chose qu'il ferait en se réveillant serait de sortir avec tous ses potes au même endroit que moi. bref je suis un peu en stress mais ça a le mérite de nous réveiller avec mon amie et surtout ça la fait rire. on arrive et je rencontre des cousins inconnus au bataillon de ma cousine sortis de je ne sais où (enfin si, de suisse) je vois aussi directement tous les potes de mon ami platonique, son meilleur ami me dit ouin je croyais que tu m'avais pas reconnu mais j'étais juste en panique. enfin bon c'est très cool on s'amuse bien, je vais voir l'ami platonique quand ma cousine regarde ailleurs (d'ailleurs j'adore ses cousins), on se fait des sourires et on rigole de loin. puis à un moment je parle à un gars, pour une fois qu'ils me soûlent pas ici, franchement sympa je l'aime bien on danse un peu quand passe baccara parce qu'il adore comme moi et après un long moment je vois que l'ami platonique nous regarde en mode un peu vener mais bon on parlait juste sauf que d'un coup le gars m'embrasse et vraiment à ce moment je me dit: merde, encore une fois et je me dis: re merde, du coup j'essaie de me barrer diplomatiquement mais je me sens trop mal j'ai vu son regard et je sais que c'est la merde, il m'envoie "ça va tu t'amuses bien" suivi de "me parle plus" ou un truc comme ça et je m'amuse plus du tout je m'en veux après j'ai plus toute la chronologie mais je me souviens que son meilleur ami m'a dit qu'il était trop hypocrite que je faisais ce que je voulais et que je pouvais lui dire d'aller se faire foutre de sa part (???) mais bon je l'ai pas fait car je ne le pensais pas. entre temps ma cousine et ses cousins qui nous ont payé des tournées de shots toutes les heures étaient partis donc la voie était libre on pouvait traîner comme on voulait avec tout le monde. on a discuté des deux bisous, il me regardait trop mal donc j'ai chouiné deux fois la première dans les toilettes avec lui qui toquait comme un malade pour que je sorte et la deuxième fois c'était devant lui je fixais un point sur le sol pour m'arrêter mais ça marchait pas trop donc il a fini par essuyer mes larmes en me disant de m'amuser et que ça allait. ensuite son ami le garçon de café a pris de la coke et il voulait m'en filer mais j'ai dit non ou alors c'était peut-être avant car j'ai aussi un peu pleuré avec lui, il était trop mignon il voulait me rassurer sauf que déjà quand il parle français je comprends que la moitié de ce qu'il dit mais là c'était incompréhensible. ensuite ça n'a pas vraiment de sens mais l'ami platonique me dit que sa pote avec qui j'avais dansé me veut donc ni une ni deux je suis tombée dans ses bras, j'embrassais l'une j'embrassais l'autre j'étais au max il me faisait plus du tout la gueule et on est restées collées longtemps avec jeanne. j'ai fini par gueuler à un mec d'aller se faire foutre et de dégager parce qu'il passait son temps à nous mater à nous coller et à nous applaudir avec un sourire de gros con en plus il m'avait déjà grave touché alors que j'essayais d'aider une meuf à retrouver ses amis parce qu'elle était toute seule et vraiment trop bourrée (et défoncée, je suspecte le garçon de café pour ça) entre temps je danse avec le centaure, je tourne dans tous les sens (il ressemblait un peu à un triton aussi) puis c'est passé vite en fait: engueulade + sauvetage meuf + centaure + jeanne + danser avec le garçon de café aussi obligatoirement. quand c'était fini je vois un gars qui me fixe et en fait ça faisait mille ans qu'il me fixait déjà, je croyais que c'était celui qui m'avait embrassé mais non, il me demande mon nom et il me dit "merveilleuse mathilde..." il m'a fait trop peur mais voilà belle conclusion je suis merveilleuse même quand je fais de la merde

[we-can-be-heroes]

🐈‍⬛

[valleedulys]

Monsieur est supérieur aux autres se dit-il, mais Monsieur boude encore comme les enfants en bas âge.

[monempathieetmoi]

Mon chat me fait la tête parcequ'il n'a pas eu de saumon au réveillon.

[catiaadao]

Vancouver Driveway Driveway

Design ideas for a mid-sized craftsman full sun backyard stone landscaping in spring.

[oberynmaartell]

Contemporary Landscape Inspiration for a medium-sized, modern backyard oasis with a water feature.

[kitaston]

Paris | France

@_hmelena_

[selidren]

Automne 1926 - Champs-les-Sims

3/3

J'espère pouvoir t'annoncer une bonne nouvelle sous peu, et qui sais, peut-être que cela te fera plaisir car tu ne pense pas (comme Antoine), que j'ai en quelques sortes gâché ma vie. J'ai été surprise, car de tous mes proches, c'est sans doute lui qui l'a pris le plus mal. Papa a estimé que j'étais un peu jeune pour déjà me marier, mais il n'a pas insisté quand je lui ai dit que c'était mon souhait.

J'ai heureusement pu rencontrer mes petites soeurs ! Elles sont adorables, surtout Julienne, et elles se ressemblent autant que Cléo et moi. C'est vraiment étrange de les voir et de constater que mes propres enfants auront sensiblement le même âge.

Je voulais conclure en revenant sur ce que tu mentionnais à propos de vos problèmes financiers. Par expérience, je sais que ce n'est pas facile à admettre comme genre de problème. Je suis flattée que tu te confies à moi et je veux que tu saches qu'en cas de besoin, je peux y pourvoir. Je ne pense pas me vanter ou être impudente en affirmant que les affaires familiales vont assez bien pour entretenir le nouveau foyer de mes parents à Alexandrie, les chambres d'Antoine et Cléo à Paris, le pensionnat de Jean-François ou encore les besoins de Sélène (en tous cas jusqu'à son mariage). Sache que tu n'as qu'à demander.

Je te souhaites le meilleur,

Ta cousine, la nouvellement nommée Arsinoé Le Bris de Chastel

P.S. Vois-tu, je porte une particule désormais ! Je pense que si notre ancêtre commun en était témoin, il ne le croirait pas.

Transcription :

Arsinoé « Antoine. Je comprends tes inquiétudes. Mais tu n’étais pas là. Il fallait que je réagisse rapidement. »

Marc-Antoine « Pourquoi tu ne m’a pas appelé ? Nous aurions trouvé une solution tous les deux… Tu sais que je suis là, que tu peux me demander ce que tu veux et que j’aurais fait n’importe quoi... »

Arsinoé « Tu n’aurais rien pu faire. Il faut que tu acceptes que cette fois-ci, tu ne pouvais rien pour moi. Tu ne m’as ni trahie, ni laissée tomber. Sans compter que la situation aurais pu être pire. Cette solution est idéale, même si elle ne te convient pas. »

Marc-Antoine « C’est juste que voir Grand-Mère jubiler à ce point, ça m’a mis tellement en colère. »

Arsinoé « Mais pourquoi ? »

Marc-Antoine « Je… ça ne semblait pas bien. C’est ta vie, pas la sienne. »

Arsinoé « Antoine… Accepte qu’il n’y avait pas d’autre solution. Tu sais, nous avons discuté avec Ange. Longuement. De toute ce qui allait se passer, de ce que nous voulions tous les deux. Nous sommes satisfaits. »

Marc-Antoine « Alors… C’est vraiment ce que tu veux ? »

Arsinoé « Oui, vraiment. Mais de toute façon, ce serait un peu tard pour renoncer. J’aurais pu te le dire si tu m’avais parlé avant plutôt que de bouder comme un enfant jusqu’à la cérémonie. »

Marc-Antoine « Pardon... »

Marc-Antoine « Et maintenant ? »

Arsinoé « Maintenant ? Je vais retourner à mon travail jusqu’à ce que je sois trop fatiguée, puis je prendrai de longues semaines de repos dans le jardin d’hiver jusqu’à la naissance. Et après, je commencerai ma vie de mère. Et toi alors ? »

Marc-Antoine « Et bien… Je vais retourner à Paris terminer l’école. Puis je reviendrai ici le plus tôt possible. Pour Aurore bien sur, mais aussi parce que Kleber et Raoul veulent créer une liste communiste pour la mairie et que je pense saisir ma chance. Avec mes connaissances à Paris, je vais gagner une vraie légitimité. »

Arsinoé « Avec un tel programme, tu seras député avant trente ans. »

Marc-Antoine « N’exagère rien ! Mais je pense qu’il faut faire une différence, se battre pour ses convictions. Et t’épauler bien sur. Il ne sera jamais dit que je laisse tomber ma grand-sœur, jamais ! C’est ce que Grand-Père Maximilien a toujours fait, veiller sur sa famille, et je vais prendre le relai. »

Arsinoé « Alors c’est formidable ! Tous les enfants Le Bris vont suivre leur rêve. Oh, ne me regardes pas comme ça, je m’incluais dans le lot ! »

[patricedumonde]

The Young Prima of the Bolshoi: Elizaveta Kokoreva

I have to preface this with the fact that I have been an avid Mariinsky watcher ever since my childhood. I grew up watching and studying the likes of Altynai Asylmuratova, Ulyana Lopatkina, Diana Vishneva, and Alina Somova. These dancers, to me, are the standard of classical ballet. The grace, the cleanliness of Mariinsky primas and the corps, has always felt transcendent. However, I have also found that Mariinsky dancers can sometimes lack passion and emotion on stage.

Bolshoi was a sharp contrast to this, as I found their dancers to be passionate and often, bravura. Sometimes though, in performing an exhibition of tricks (this, of course, is not exclusive to Bolshoi dancers), artistry and technique can get compromised.

One dancer I have been watching since her days at the Bolshoi Ballet Academy is Elizaveta Kokoreva. I think it's rare to find a dancer who has impeccable technique, charisma, showmanship, and vulnerability on stage.

I think you all know by now that I am a stickler to rules. I don't care for extra turns nor extremely high jumps if dancers are unable to start and finish in fifth. I think Liza makes terrific decisions on when to add embellishments. I think she's perfect for the Bolshoi because she has THAT showmanship.

Surprisingly, of all the variations she has performed through the years, her dream scene from Raymonda always stuck out to me because of her precision. If you were to cut her movement frame by frame, she is always picture perfect. If you are familiar with Lea Salonga and her diction, Liza is her equivalent in ballet! The clarity in each movement, it makes each step feel so crisp.

As always, there's still room to grow for prima ballerinas. Two observations for Liza, first is she's very controlled with her center. We can see how strong her core is from her balancing acts, those heavenly arabesques! Sometimes though, there are dances that require more softness and flexibility with the torso. Think, Ashley Bouder as Dew Drop for Balanchine's The Nutcracker. I think the slight stiffness can be seen in these steps from Grand Pas Classique and Coppelia. A more pronounced cambré would elevate the step.

Second, everything feels monotonous at times. She's already very reliable in executing every step with precision; she adds embellishments mostly by holding a balance a second or two longer or by slowing down a movement like an Italian fouetté. I would love to see stronger accents here and there, almost like an exclamation point. See below, when she prepares for her series of pique turns at the end of the Kitri variation. It's very soft when it could use more force.

Although it isn't pictured here, I think she has made significant strides in terms of artistry. She has proven to be versatile. I thought that her personality would be limited to more bravura roles, but I have genuinely enjoyed seeing her in Giselle and Chopiniana, and even more modern works like The Seagull and The Winter's Tale.

I think a lot of dancers can learn from Liza. It is evident that she is a thoughtful dancer as all her movements feel so sure. For those of you who don't know, Elizaveta Kokoreva graduated from BBA in 2019 and is now a prima ballerina with the Bolshoi Ballet. She is, in my opinion, still an underrated dancer.

Credits to TheBunduBallerina on Youtube for all of these clips

[laurearte]

J’ai dû mettre en pause un dessin de Meruem en train de bouder pour faire cela rendez vous compte 😤😤😤 merci pour votre aide JE DOIS TOUT FAIRE MOI MÊME vous servez a beaucoup je vous jure 😤😤😤😤

[e642]

Les trucs qui me dépriment:

- les neuf longues heures de trajet en voiture avec ma mère, jcrois la règle c'était la première qui parle c'est une pute

- être dans le groupe WhatsApp famille de mon mec mais pas dans le mien, pk faire ptdrrr

- que mes deux chats m'ignorent actuellement, jsp pour qui elles se prennent

- de la pluie et 40 degrés en même temps, normalement c'est soit l'un soit l'autre

- mon mec qui boude, alors que genre on a 20 ans et +, on peut plus se permettre ça, il va bouder aussi quand il faudra payer ses impôts, hallucinant

- mon père qui m'a pas dit bonjour mais olala tes trop moche, mec ça fait 2 semaines qu'on s'est pas vus, modère toi pitié

- le gamin qui a fait tomber sa glace sur ma pompe sur l'aire d'autoroute taleur.. si yavait pas eu les parents à côté.. ils auraient dû en refaire un

[tmvoldemort]

"Pain? Pleasure? They're the same to me."

((Hey bby. Miss you. Have some fun with Bella xx💘))

Voldemort buried his face into the nook of her neck. Breathing in her rich slightly sweaty scent. Pulling out with a sigh.

"And what pleasures I have in store."

He said half straddling her with both of her hands cross from behind her back. The skin beneath the binds growing raw the more she moved. Creating imprints as she twisted to look behind her.

It thrilled him to no end to lower his head. Such as in a prayer to her shoulder once more. Kissing the expose skin. Lapping at her salty skin. Running his teeth across that goosepimple flesh and bitting down. Kneading her between his teeth to suck in her essences. Feeling her shudder under him.

There, lower he went, to a small bruise upon her forearm. Outlining its expanding bouders. Nursing it to bring to surface the purple coloring. Exploring more to chomp and nom at the chooses bits. Wanting not only to possess her but to consume her.

Corrupt her body from behind to taste her euphoria off each of his fingers. But those of her tears as well. Longing for their blood tospill together, to mingle and forever rot in his gut.

"Oh the sights I long to show you."

His excitment grew with his dainty task of slowly cutting her free from her gown. Such small cuts down the center with her own blade no less. Her lush flesh spilling out. So creamy and pale in the dim light. Using the rags to shove into her moaning mouth.

Now his perfect doll.

His little voodoo doll slowly planting it with her own pins. Thin as a hair and as long as his small finger. Twisting it in to the ample bits of flesh. Sampling the pinprick of blood as he went. Teasing her with the slightly of breath upon the pins head. Freeing the spell by pulling them out with his teeth.

Pinching the abuse grind left there.

"One last one." He said bringing up another pin before he would bring about his own climax, "To bind your heart to me forever."

Leveling it to breast.

"Mine."

[ballet-symphonie]

I’m pretty sure there’s nepotism and other shit going on at New York City Ballet, and I’ve stopped following them:

-there’s children and grandchildren of former dancers who got into the company. Roman Mejia is Paul Mejia’s son, Shelby Mann is the granddaughter of Jacques d’Amboise and the daughter of Charlotte d’Amboise and Terrence Mann (Broadway legends!) it makes me suspicious. I mean, Nilas Martins was in the company too, so I’m not surprised nepotism is still going on with the younger dancers.

-apparently there was/is body shaming? even at SAB I’ve heard rumors of kids having eating disorders. Also not surprising considering that the people who worked with Balanchine wanted a look and it was Balanchine himself who started the “skinny ballerina” trend that quickly spread worldwide. Ashley Bouder spoke up about how the higher ups body shamed her on Instagram live like a year ago, and none/few of the company members commented for support. They just posted it on their story. In general, Balanchine companies/schools tend to have a lot of body shaming, especially with how they treated Kathryn Morgan at Miami CB. CPYB (Central Pennsylvania Youth Ballet) has a bunch of horror stories on Instagram account called @/cpybstories if anyone wants to read.

-I don’t know if this is really BS, but they still cast roles based on height/size rather than talent. I was hoping for Tiler Peck to do Diamonds but she got Rubies. Same with Midsummer, she didn’t/doesn’t really get Titania because she’s on the shorter side and from what I’ve heard, NYCB likes their Titanias to be tall. (I’m guessing she probably will never get Titania, just because she lacks emotion in her dancing. Saw her in Sleeping Beauty and Nutcracker and she barely acts.)

-the company is still predominantly white. Even PNB is more diverse than them. The BIPOC dancers like Nadon, Mejia, Furlan, Chan etc are only popular just because they fit Eurocentric views of POC (they have lighter skin and straighter hair) plus Nadon is only half South Asian, Mejia is half Peruvian, so they aren’t full blooded POC. The only POC in recent years that didn’t fit those ideals was Amar Ramasar. The kids who appear on stage for Nutcracker, Midsummer, Sleeping Beauty etc are more diverse than the actual company members.

-They didn’t handle Alexandra Waterbury’s case well. Ramasar should’ve been fired and in prison before the pandemic and from the West Side Story revival (that didn’t do well regardless). It also makes me mad that Alexa Malone (soloist) is still dating him and the fact that he’s now a stager too…like he might mess around with the underaged apprentices/corps and the cycle will start again

-Don’t get me started on people like John Clifford and how he wrote public, sexist comments on how he hates crotch shots because of platter tutus. He and a bunch of other older trust people still defend these beliefs to the death.

Hello, there's a lot in here!

Regarding nepotism, the company definitely has a history of hiring both siblings and relatives. I would extend this to ballet in general, many successful dancers today are from dance families, such as Chloe Misseldine, Daniil Simkin, Maia Makhatelli, Vadim Muntigirov, Dmitri Smilevsky, Issac Hernandez etc. But I don't think that inherently means that the dancers benefiting from that knowledge base (knowing what to do, where to train, how to structure their day, exta tips and coaching etc) are undeserving of there spots. I don't think you can watch Meija dance and think he doesn't deserve to be where he is.

On body shaming. Yes, none of this is positive and none of it is news either. There has been a history of toxic body shaming culture at nearly every major ballet school worldwide. Balanchine companies have had a nasty history but so have numerous Russian, European, and Asian schools. It's not a problem exclusive to SAB/NYCB.

Yes, NYCB typecasts. I'm honestly quite a fan of it because I don't think it's realistic or responsible to expect every dancer to do everything well and it results in dancers on stage in roles that they're confident in and suit their strengths- which generally leads to better performances. I don't think there's a single dancer at City Ballet who has done all three leading roles in Jewels, Peck is not an exception. I don't believe it's height/size over talent, but a complementary mix of both. Some roles have been designated by the choreographer for X skills and others have been historically dominated by dancers with X skills. And like you mention, there are lots of other factors affecting casting besides just height, acting, vulnerability, partnership, and logistics, which all play a role.

I'm not sure I agree with you that the dancers you mentioned get attention because they are POC who fit Eurocentric standards. Chan and Nadon rightfully got attention for breaking barriers and becoming the first Asian principals at the company. Both have spoken at length aobut how their cultural background and upbringing has both helped and hindered their path. I'd argue Meija gets far more attention from his father than he does from his race and Furlan (if we're considering him popular which I probably wouldn't) for his technical merit. I also think you aren't looking at NYCB's soloist rank fairly, they have Black, Asian, and Hispanic dancers at this rank. Of course, the company certainly could be more diverse but they have the self-imposed limitation of hiring nearly exclusively out of SAB. You yourself noted that the school is more diverse, this is a result of several of their scholarship and outreach programs that have been implemented in the past decade or so. Those programs are long-term investments, they are building a more diverse company now - but these dancers are still in the school. And for what it's worth, PNB is not a low bar, it is by far the most diverse major company in the US and has made hiring decisions accordingly. Approximately 50% of the company is POC which is awesome- but this realistically isn't possible at NYCB because they're not going to be hiring from outside as frequently.

Of course, if not following NYCB would make you happier, then by all means do it. But if these issues are what's causing you distress, I don't think the solution is to simply follow other companies- many of these problems exist across the industy.

Regarding the Waterbury Case, I don't disagree with you but the law is complicated. I remeber reading the case when it came out and I think the main problem is that the case wasn't able to get to discovery because she didn't have enough facutal evidence. If that had happened, I imagine things would have looked a lot different. While I absolutley believe her, she was trying to fight too many battles at once, some of which weren't directly hers, and she didn't have hard concrete proof for most of it. Everything got muddled and I don't think she had the best council either. I don't have any doubt that there's so much more here that exists only in the memories of the individuals involved. But that doesn't count in front of a court - it's about what you can prove not what happened. And NYCB's liability is limited because she was neither an employee nor a student at the time of firing.

However, while I have no comment about his personal life, I agree with you about Ramasar's line of work. It's unfortunate and incredibly disappointing how the dance world regularly absolves men like Ramasar (he's not alone) and basically gifts them back their careers. I could list a whole troupe of men who've been given second chances they don't deserve. Winning in court is an uphill battle, especially when the prosecution is often not coming from a place of strength. I just hope that the slow but steady changes happening in the industry now will prevent history from repeating itself.

And Clifford....I don't have the energy to start with. There's a reason NYCB hasn't hired him back , he's not consistently teaching or running a company, and he's just running his mouth on IG.