Variations

Okay, there's a reason they're called "variations": pretty much every one is slightly different. Since most classical variations were choreographed before any form of video or film existed, no one really knows what the original steps were. Oh, some of what we see is very close, I'll bet. "Giselle", "Swan Lake", the big ones, are as close to the original choreography as we're going to get. "Variations" have crept in because dancers are different. Some are better turners, some better jumpers, some do one trick REALLY well.


That being said, if a variation has what you do well in it, go for it. If it doesn't, there are some alterations (can't use that "v" word too much) you can make, or contingency plans. I won't criticize any young lady for having a plan B in her tutu if the hops on pointe at the end of Giselle's first act variation don't go off exactly as planned.

What I will criticize is a dancer who keeps doing the same trick in every variation they do.

I was geeking out, watching ballet videos on YouTube, and clicked on one of my favorite male variations, Lankendem's in "Le Corsaire". It was being danced by this fantastic dancer who started with these gorgeous double back cabrioles-

SCREEEEEECCH!

...wait a minute...

If you aren't familiar with that particular variation, the opening jumps are different from other male variations; huge assembles, without beats, that land in grand plie in fifth position. Then the dancer explodes out of that grand plie into a big sissonne that turns so the step can be repeated to the other side. The movement compliments the music quite well. So, why did this dancer change the opening of this very stylized variation?

If you do something really well, like double back cabrioles, do Solor's variation from "La Bayadere". It starts with a series of cabrioles done en manege. Why change a variation when what you do well is in another? This dancer and his coach should be slapped upside the head! Just because you can do one thing really well, doesn't mean it should be in every variation you do. I've seen a number of variations danced by this guy, AND THEY ALL LOOK THE SAME!

SLAP!

Now, as ballet evolves, and technique improves, some steps can be expanded. The first time I saw Ivan Vasiliev do "Flames of Paris" he did a jump I'd never seen before. Well, not never seen, but I had only seen it done with one and a half revolutions; he did it with two full revolutions. That may not seem like much, but it was an revolution evolution (sorry, couldn't resist). This didn't change the choreography, it took it to a higher level. Had he changed the final diagonal to a manege just because he wanted to do a favorite step, then he and I would have to have a talk (yeah, right; I'm sure he's shaking in his ballet boots about that).

At the recent YAGP regionals, I had the opportunity to see many different variations of variations. Some were obviously done with respect to the abilities of the particular dancers, and that's fine; if you can't do two perfect outside attitude turns en pointe, but you can do one beautifully, rolling down through your foot with great control, it's not going to ruin "Black Swan". If you can't throw the 540, but you can nail those double tours to fourth, your "Don Q" is going to be great. If, however, you take out two thirds of the turns at the beginning of Swanhilda's variation from "Coppelia", and just toss in some ridiculously easy steps instead, WHY DO THAT VARIATION?!? DO YOU THINK NO ONE NOTICED?!?

This brings me to the other side of this argument. Up till now, I've been riffing on putting in a pet trick and how that is stupid; now, I'm going to get on my high horse about levels of technique.

For a competition, (or just to have a variation in your back pocket that you can do at a moment's notice should the need arise), you should, 1. Pick a variation you really like (one young man at the YAGP said he hated his variation. Guess what? He didn't do it very well, and he's a good dancer), and 2. Pick one you can do fairly well. Yes, you should always challenge yourself; that's not what I'm getting at. Let me be very specific.

I was watching a competition on YouTube (I told you I was a geek), and several guys were doing Albrecht's second act variation from "Giselle" (as opposed to Albrecht's second act variation from another ballet... a little ballet humor there...). It starts out with double front cabrioles across the stage. Double. Not single. Double. If you can't do double, there is another "variation" that is acceptable, six ouvert (a rose by any other name would come from another syllabus), which is easier than double cabriole, but only slightly less spectacular and, believe me, that opening diagonal has GOT to be spectacular. Albrecht is being forced by Myrtha to dance to his death; single cabrioles ain't gonna cut it.

Not one, but many guys were doing single cabrioles. NOOOOOOOOO! If you can't do doubles, DON'T DO A VARIATION THAT REQUIRES THEM! These guys were good dancers, and could probably have done a great job with the male variation from "Black Swan" for example, or Blue Bird, or ones from "Le Corsaire", but NOOOOOOOO, they had to do "Giselle". Guys, guys...

The Ancient Greeks said, "Know Thyself". Clint Eastwood said, "A man's got to know his limitations." He also asked, "Do you feel lucky?" Where am I going with that... Anyway, know what you can do. Push yourself, yes, but in a competition, or pressure situation, put your best (turned out) foot forward, and don't change the choreography to fit your tricks. You don't have to reinvent the wheel, the perfect variation for you already exists, and it's out there on YouTube. Join us geeks and you can find it!

See you in class.

J