From head to toe, Finis Jhung gives you a fresh new view of the essential ideas of classical ballet that will transform your physique — and your psyche. The emphasis here is on learning ballet from the inside-out. Instead of merely assuming textbook positions and memorizing terminology, all the exercises in this class are designed to develop kinesthesia — the sense that detects bodily position, weight, or movement of the muscles, tendons, and joints.
Your elevation work includes petit pas de chats, changements, sissone simple, and échappé sauté. After you've mastered these centered exercises, you'll find you've gained strength, speed, and range of movement. To dance is to live.
These exercises will show you how to move with the purity, musical precision, and energy that define the essence of classical ballet dancing. Each exercise is first shown and explained by Finis, danced by Kelley, analyzed and discussed, and then repeated by Kelley. You’ll notice that Finis constantly reminds Kelley to stretch out her supporting shoulder and arm in order to balance her movements.
Set in the exotic surroundings of the Ottoman Empire and with a narrative encompassing abduction, murder and shipwreck, Le Corsaire is a swashbuckling pirate drama that delights for its spectacular nature and which includes some of the most bravura male dancing in the ballet repertoire. The work’s evolution has been a complex one, its libretto and choreography subject to numerous revisions since its first appearance in Paris in 1856, and in this English National Ballet production – the first British staging of the work – former-ballerina-turned-choreographer Anna-Marie Holmes adapts the 1974 Petipa-Sergeyev Kirov version to create ‘brisk, stylish entertainment’ (Guardian) that is visually enhanced by Hollywood designer Bob Ringwood’s ‘superb’ (Daily Telegraph) Orientalist sets and costumes. First-rate dancing by the company and its soloists – including Alina Cojocaru’s ‘radiant performance’ as Medora (Independent), Yonah Acosta’s ‘vividly drawn and villainous’ Birbanto (Financial Times) and Vadim Muntagirov’s ‘compelling’ (Daily Telegraph) portrayal of Conrad – underscores the ‘roaring, madcap success’ (Financial Times) of this production.