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Ballet Physique: with Notes on Stresses and Injuries
Celia Spargers difference is that she is, at once, highly trained to observe the causes of physical strength, weakness, grace and awkwardness, has had an exceptionally long and cogent experience in applying that training to the fledgling talent of the Royal Ballet School and, in the final issue, is less interested in physique than in artistry. To find something of this blended outlook in one person is not rare at all. But what is most rare is to find it in so intense a form-so intense, indeed, that it amounts to an almost unique qualification for the task of helping to discover what child is likely to become a fine dancer and what are the particular physical difficulties which need to be overcome if the promising pupil is not to fall by the wayside.
It will be obvious, therefore, that Celia Sparger writes primarily for the teacher. She is the teachers teacher, one whose exploratory reflections are pregnant with invaluable advice to those who train dancers. Where others have scratched the surface she has tried to dig methodically; and her advice is all the more valuable because she, more than anyone, is aware that the digging has only just begun.
But if she writes for the teacher she also writes for anyone who not only knows what he likes in ballet but also wants to under¬stand why a given dancer has certain attributes. Celia Sparger herself is passionately concerned to understand the why of it. Yet she is very conscious that, after all the careful, experienced assessment of physical evidence, there remains, in the end, that mysterya dancers art.
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| File Size | 4 megabytes |
| File Type | ZIP |