| I believe that humans all have a part of themselves | | | | (and many gifted students lack confidence). It's an |
| that is "In reserve". It is a part of us that not everybody | | | | energy in you that you almost have to restrain, until |
| sees right upfront, and often we don't either. But as life | | | | you get into one of those big roles. The audience, and |
| demands unexpected things of us, "more of us" | | | | an experienced director knows exactly what they're |
| shows up to meet the demands. Part of this is | | | | looking at when they see it. |
| growing up and learning, but part of it is our own unique | | | | If you are not physically capable of becoming |
| energy, or personal power, that comes forth to deal | | | | technically adept to do the roles that your talent, or gift, |
| with life in a new and creative way. | | | | can accommodate, you should go into a field of |
| I think that for some reason artists know about this | | | | performance where you do not need that technique. |
| part of themselves more than other people. Usually as | | | | Why waste yourself? |
| a small child, an artist starts to either drift in a certain | | | | I trained with two students who each had an almost |
| direction, or KNOWS exactly what they want to do, | | | | perfect body for ballet. Flexible, long legs, nice arches |
| and won't do much else. Adults can be quite | | | | and all that. One was spotted as a prima ballerina |
| impressed - or distressed! - when a child is focused | | | | when she was 12, it was so obvious. The other was |
| this way. | | | | capable, and became a soloist after a few years, but |
| You, a dancer, you have a special challenge. A dancer | | | | didn't really shine. She was well trained and could do |
| must learn all the corps de ballet roles and blend into | | | | everything, but - not special. A few years before she |
| the style of the company she or he is in. And at the | | | | retired she decided to take acting lessons. After that |
| same time, the dancer must be able to show that she | | | | she came out on stage and everything disappeared |
| he is somehow "more" unique than the other dancers | | | | but her, when she danced her solo. She just stole the |
| in the corps. How is that supposed to be revealed? | | | | scene, so to speak. Something "got out" that she had |
| Usually the talent shows up when a child is selected | | | | not been able to release before. I don't know how she |
| for training. Being physically gifted helps, but teachers | | | | would describe it, but that's what I saw. I thought then, |
| and choreographers spot talent because some | | | | that if she had been able to do that as a child, she |
| students you just can't help but watch. There is a | | | | would have become a principal dancer before she |
| magnetism present. | | | | retired. She learned how to "be more" and let the |
| Many teachers instruct students to project out to the | | | | audience in on it. It's something that an audience feels. |
| audience - what does that mean? I would say to a | | | | "She was just electric". "He is mystical". |
| student performer, just completely do what you are | | | | The more you feel, the more the audience feels. If you |
| doing - if you are dancing Giselle, it is your whole world | | | | feel SO MUCH that you restrain it, the audience feels |
| while you are doing it. In other words, you are not a | | | | that too. And they love it. Because they know about |
| dancer in front of an audience, you are totally Giselle, | | | | the "reserve", they have it too. And they have to |
| where she is. You are completely young, naive, and | | | | restrain it sometimes too. But they experience its |
| defenseless with this sophisticated prince, and you | | | | expression through you, the dancer. That's the reason |
| can't hide it. You create this anew, every time, and the | | | | someone will pay $200 a seat for the ballet. You allow |
| audience is enthralled. | | | | them to experience themselves. Even in a |
| If you are dancing an abstract part - say like the corps | | | | non-dramatic role. Because we are all "more" but |
| de ballet in Balanchine's Serenade - you can dance the | | | | someone working in a non-creative field can't express |
| steps like everyone else - but you can also give | | | | it, or thinks he/she can't. |
| yourself a story - who are these ladies dancing behind | | | | Of course there are those who are uniquely creative |
| the leads and why are you with them? You are | | | | in a perceived non-creative line of business. They are |
| physically not going to do anything different, but what | | | | known as "the talents", or "the giants". |
| you are thinking and being while you are there, your | | | | If you stop for a few seconds before every class and |
| intensity and focus on that, is magnetic. | | | | just think about this, it is going to start becoming more |
| Everyday when you go into class, you work as hard | | | | visible. You don't have to push it. "She's just got this |
| as you can, and the teacher sees a student working | | | | thing about her". Isn't that what people say? "He's got |
| hard. But, just as an example, if you are thinking as you | | | | IT". There is no word for it, so we call it talent. |
| work "Giselle, Swan Queen, Coppelia", or "Siegfried, | | | | People who don't have that much ability or opportunity, |
| Romeo" (etc. etc.) "all are inside of me just waiting to | | | | love the arts and will do something on an amateur |
| get out!" - the teacher is looking at something else | | | | level their whole life. They are expressing themselves, |
| besides you - but she/he doesn't know what it is, it's | | | | though they may make their living doing something else. |
| that "extra" thing. You are building up an energy and an | | | | How to define talent will continue as an ongoing |
| intention, and one day the situation will be able to | | | | discussion with those who have a requirement to |
| accommodate it. Ambition may be present, but this is | | | | describe it and measure it and link it to artists' |
| something else. | | | | prosperity (and their own). But knowing yourself and |
| This may sounds like it's confidence I'm describing, but | | | | knowing your own talent is your private sphere. |
| I'm not. If confidence is present, it's still more than that. | | | | |