One of the things that bothers me as a serious, but late-starting dancer, is that if you are not in a Conservatory then chances are slim that you will ever get to really work with a Legend, or get to delve into the Artistic MAterial behind all your ballet classes. This alone makes Ballet a daunting form to study, because after all, without the Great Teachers and The Artistic Study, what can come of all these classes? Even if you are lucky to be a serious student with a Renowned Teacher, unles you are luckier still, you often have to wait YEARS before anyone will teach you the Repertoire (except for The Nutcracker, of course). Its sort of like a Girl Scout Badge.... you have to prove yourself before you are "granted" the opportunity to even try. UGH.
Personally I find this very frustrating. Ballet is already one of the most difficult endeavors on the planet and well, no one sets out to do it for exercise alone....right? I mean as far as exercise goes its far too DEMANDING, takes years of practice to even look reasonable and doesn't even burn that many calories! Aerobics is easier, burns more fat per hour and you have half a chance of keeping up, ya know? We set out to learn Ballet because we are inspired by what we've seen on the Stage, because we dream of putting on those pink satin slippers and tutus (I HEART TUTUS!). Even as Top Coaches wax poetic that Ballet is becoming too singularly focused on athleticism, there is still this long dues-paying process of physical labor, sweat and tears before they allow the student to study the Artistic Part. My idea is, can we move this along people? These Tendu's are killing me over here -- and if I have to feel like I'm dying, can't I pretend to be a Dying Swan, ya know, to make it more, fun? How can even a serious, professionally bound student be motivated to work as hard as required without any "role in sight"? I think if an Athlete were asked to train years before ever competing in their sport, they'd all quit in less than a year! Even a Baby Gymnast gets to experience the thrill of the meet in the very beginning stages -- before they hardly know anything of substance! Definitely there would be no Olympics if it were run this way, because they all would have given up their dreams to do something more fun, more motivating and more, well, rewarding!
But this isn't Athletics, where motivation to do hard work is built into the process -- this is ART....the long-suffering Art known as BALLET!..........and that's exactly why when a Legend such as Susan Jaffe, former Principal Phenomenon of ABT, as well as a World Renowned Coach such as Elena Kunikova, a Kirov Graduate and former principal dancer of The Maly Theatre, (USSR) both open up decades of knowledge of the Classics to almost anyone who dares,
all in the same week, you better call in
really sick to work for a week and get to Steps On Broadway for a mini-intensive! NO EXCUSES!
Classes with Mdme. Jaffe who is subbing for David Howard, are literally at the SAME PRICE AS ALL THE OTHER CLASSES -- and she is teaching THE ENTIRE WEEK -- M-F 10:00-11:30am!
Mdme. Kunikova's workshop is also a steal at just $100-120 for the entire workshop, which runs four days for 2 hours each day.... Again--this is worth calling off of work for....and space will likely fill up fast, so don't delay! Click
here for Purchase Details!
ALL CLASSES ARE AT STEPS ON BROADWAY
West 74th & Bway-- above Fairway's (2/3 Train to 72nd Street)
SUSAN JAFFE:
M-F April 18-22, 10:00am - 11:30 AM Regular Class Prices Apply
ELENA KUNIKOVA CLASSICAL REPERTOIRE:
A workshop focusing on Technique, Style & Artistry
April 18 – 21
Mon & Wed 4:30-6:30pm
Tue & Thu 4:00-6:00pm
4 session workshop • for intermediate & advanced dancers
• Full workshop pre-pay discount $100
• Full workshop day of $120
ABOUT ELENA Elena Kunikova is a graduate of Vaganova Ballet Academy (the Kirov Ballet School), in St. Petersburg, Russia. At Maly Theatre, where Elena started her career, she performed more than thirty principal and soloist roles in classical and contemporary ballets including Swan Lake, Nutcracker, Giselle, Paquita, Serenade (by Balanchine), and many others.
In the U.S. Elena performed as a guest star. She was well received by audiences and very favourably reviewed by the press (New York Times, Dance Magazine). Subsequently, Elena pursued teaching and choreography.
In NYC Elena taught ballet and repertoire at School of American Ballet, Joffrey, The Juilliard, and Columbia University/Barnard College. At Barnard Elena taught technique and academic courses in repertoire/history. Other engagement included American and Japanese ballet companies, as well as art festivals.
In addition to master classes Elena conducts Vaganova Technique seminars, and coaches professional dancers. Many of Elena's students became well-known performers with the best ballet companies (NYC Ballet, ABT, Boston Ballet, Joffrey, Dutch National, Berlin Ballet, Kirov Ballet, and many others). A large number of them were noted for their exceptional artistic achievements.
Over the past few years, Elena was active in staging of classical repertoire. Most recently Elena staged and rehearsed a number of pieces for The Ballet Trocadero. As a result, "The Trocks" popularity has grown considerably. Flattering press in NYC, London and Tokyo would always mention choreographic and stylistic authenticity accentuated by a healthy dose of irreverent humour in their performances. Stagings included full-length productions of Don Quixote, Giselle, Sleeping Beauty and Les Sylphides as well as Grand Pas from Paquita, Little Humpback Horse, Esmeralda, Harlequinade, Pas de Quatre, Pas des Odalisque and other staples of Russian classical ballet.
Interviews with Elena have appeared on BBC, in Ballet Review, Dance Spirit, and Dance View.
As a dance writer Elena has been contributing to Dance Magazine, Pointe and Wall Street Journal Europe.
“Kunikova is a taskmaster, overseeing the exactness of the porte de bras,
the pointe work, the expression, the line, and the perfection of all of it.”
(Phyllis Goldman, Dancer Magazine)
