1 00:00:05,000 --> 00:00:08,039 Hello and welcome to Drinks at the Bar, a podcast where we 2 00:00:08,039 --> 00:00:10,920 breakthrough the 4th wall and discuss everything about dance 3 00:00:10,920 --> 00:00:13,880 and the theatre industry. My name is poor James Rooney, a 4 00:00:13,880 --> 00:00:17,400 dancer, choreographer and dance teacher based in Copenhagen, and 5 00:00:17,400 --> 00:00:19,520 I am your host of Drinks at the Bar. 6 00:00:20,160 --> 00:00:24,120 Today I'm joined by my regular guest host, currently in the 7 00:00:24,120 --> 00:00:27,000 middle of a lawsuit with Dan Levy over him stealing his 8 00:00:27,000 --> 00:00:29,560 likeness for the creation of the character David Rose in Schitt's 9 00:00:29,560 --> 00:00:31,360 Creek. It is Damian Lee stir. 10 00:00:32,320 --> 00:00:34,600 For God's sake. Hi everybody. 11 00:00:34,600 --> 00:00:37,920 I'm Damien Lester, director of the Dancers Studio London, 12 00:00:38,120 --> 00:00:41,920 classical ballet teacher, actor with the Royal Ballet and star 13 00:00:41,960 --> 00:00:46,920 of Schitt's Creek. Here we discuss everything from 14 00:00:46,920 --> 00:00:50,000 hearing backstage stories, touring shenanigans, to deeper 15 00:00:50,000 --> 00:00:53,320 issues like body image training, the reality of being a freelance 16 00:00:53,320 --> 00:00:57,000 dancer, and much more. With guest professionals, we are 17 00:00:57,000 --> 00:01:00,080 here to share our knowledge, experience, and help you with 18 00:01:00,080 --> 00:01:02,960 any questions or problems you may have about dance and 19 00:01:02,960 --> 00:01:06,480 navigating the dance world. Well, hello, Denise. 20 00:01:07,080 --> 00:01:10,920 Hello my darling, how are you? I am stressed because we just 21 00:01:10,920 --> 00:01:14,360 lost an entire episode. We had a little problem, 22 00:01:14,400 --> 00:01:16,720 listeners. We did a whole episode of 23 00:01:16,720 --> 00:01:20,880 recording and for some unknown reason, only Damien's side of 24 00:01:20,880 --> 00:01:24,480 the conversation was recorded. Which we still may upload. 25 00:01:27,080 --> 00:01:29,360 Just for shit and. After that episode of Just One 26 00:01:29,360 --> 00:01:34,240 Side of the Conversation. But yes, I think we were being 27 00:01:34,240 --> 00:01:38,120 far too clever trying to be weeks and weeks ahead of 28 00:01:38,120 --> 00:01:42,040 ourselves and it didn't work out that way. 29 00:01:42,800 --> 00:01:45,560 So now we have to record in real time. 30 00:01:45,960 --> 00:01:49,040 It is currently What day is it? Sunday. 31 00:01:49,640 --> 00:01:52,920 It's currently Sunday and this episode will be coming out on 32 00:01:52,920 --> 00:01:54,080 Thursday. Absolutely. 33 00:01:54,080 --> 00:01:56,840 And here we are. So we had a dress rehearsal, so. 34 00:01:57,520 --> 00:01:59,560 This. Shouldn't be too difficult to 35 00:01:59,560 --> 00:02:02,880 get through. Well darling, what do you have 36 00:02:02,880 --> 00:02:05,040 to drink? I have myself in Edinburgh gin 37 00:02:05,040 --> 00:02:08,560 and tonic. Lovely, very very nice Sunday 38 00:02:08,560 --> 00:02:10,800 drink. I have pretty much the same. 39 00:02:10,800 --> 00:02:12,640 I have a Marks and Sparks gin and tonic. 40 00:02:12,640 --> 00:02:16,920 So chin, chin with the gin. Chin, chin with the gin. 41 00:02:17,160 --> 00:02:18,520 Cheers. Cheers love. 42 00:02:23,320 --> 00:02:26,480 Well, like with every episode, we always try to help our 43 00:02:26,480 --> 00:02:28,640 listeners in tackling this industry. 44 00:02:29,000 --> 00:02:31,520 And this week we are here to give you some quick points of 45 00:02:31,520 --> 00:02:34,280 advice before throwing you into the deep end. 46 00:02:34,560 --> 00:02:37,360 Yeah, I would say that not every subject is long enough to talk 47 00:02:37,360 --> 00:02:40,400 about for a whole episode. However, I am sure you and I 48 00:02:40,400 --> 00:02:43,400 could stretch any subject long enough to natter about for an 49 00:02:43,400 --> 00:02:45,560 hour. Absolutely true, but this week 50 00:02:45,560 --> 00:02:48,240 we are covering a few smaller points that we have thought 51 00:02:48,240 --> 00:02:50,560 about and wanted to discuss and share. 52 00:02:52,040 --> 00:02:57,200 Yes, can't do this today. It's I wasn't prepared on these. 53 00:02:58,720 --> 00:03:01,720 This is I'm not in show mode. No, we're not in. 54 00:03:01,800 --> 00:03:02,840 We're not. We're not here, no. 55 00:03:02,880 --> 00:03:05,200 I'm not supposed to be recording today, so I'm not prepared. 56 00:03:05,200 --> 00:03:09,240 OK, well let me start by mentioning a class that I taught 57 00:03:09,360 --> 00:03:13,000 a couple of days ago, which is one of the inspirations for this 58 00:03:13,000 --> 00:03:15,920 episode. So I taught a class I was asked 59 00:03:15,920 --> 00:03:19,400 by Central, the musical theatre school over here in Copenhagen. 60 00:03:19,800 --> 00:03:23,720 I was asked by them to teach AI think it was called Focus on 61 00:03:23,720 --> 00:03:27,520 Choreography. And basically it was kind of 62 00:03:27,520 --> 00:03:30,680 like a fake audition, but the focus of the class was helping 63 00:03:30,680 --> 00:03:34,680 them pick up stuff, how to pick up repertoire and how to pick up 64 00:03:34,680 --> 00:03:38,520 on shame ones and what have you. So let's just start with that 65 00:03:38,520 --> 00:03:41,720 and what I taught there and some helpful hints about learning 66 00:03:41,720 --> 00:03:44,120 steps because lots of people do struggle. 67 00:03:44,200 --> 00:03:48,120 I myself have it's it's like the best thing in my arsenal that I 68 00:03:48,120 --> 00:03:49,800 have. It's what I'm really good at is 69 00:03:49,840 --> 00:03:54,160 picking up stuff. So I gave this class, we did one 70 00:03:54,160 --> 00:03:56,840 routine, did it in groups, did it in smaller groups. 71 00:03:56,840 --> 00:04:00,320 And then I sat everybody down and then I basically said what I 72 00:04:00,320 --> 00:04:04,200 noticed in the in the room about how people were learning and how 73 00:04:04,200 --> 00:04:06,680 people were picking stuff up and then gave them all those 74 00:04:06,680 --> 00:04:08,880 pointers. And then we learnt another piece 75 00:04:08,880 --> 00:04:11,760 of rap to see if they can then use those pointers to learn the 76 00:04:11,760 --> 00:04:14,120 Anshre 1. So basically what I would say 77 00:04:14,120 --> 00:04:16,519 straight away that I noticed from a lot of people in 78 00:04:16,519 --> 00:04:20,760 auditions and as well in this class is people trying to do 79 00:04:20,839 --> 00:04:25,200 everything all at once. People trying to do the first 80 00:04:25,200 --> 00:04:28,960 step in the choreography full out with full out arms and also 81 00:04:28,960 --> 00:04:31,800 the face and the personality and everything at the first go when 82 00:04:31,800 --> 00:04:34,880 all I've gone is step will change, step kick and they'll do 83 00:04:34,920 --> 00:04:36,760 a full out, step will change and a full on kick. 84 00:04:37,160 --> 00:04:39,600 Guys, calm down. We're learning now. 85 00:04:39,600 --> 00:04:42,240 Firstly, no one is watching you. You're not being watched by 86 00:04:42,240 --> 00:04:45,720 anyone yet. You're you don't need to get it 87 00:04:45,720 --> 00:04:47,280 into your body. You know what I mean? 88 00:04:47,280 --> 00:04:51,160 You don't have to get feel what full out feels like right this 89 00:04:51,200 --> 00:04:54,240 second. Concentrate on learning what it 90 00:04:54,240 --> 00:04:57,320 is because that's what's going to help you. 91 00:04:57,320 --> 00:05:00,280 Does that make sense? Yeah, that makes a lot of sense. 92 00:05:00,280 --> 00:05:04,080 I'm just wondering if if you know those dancers going full 93 00:05:04,080 --> 00:05:07,440 out from the get go, do you think it's to impress you or to 94 00:05:07,440 --> 00:05:11,080 stand out or to show you that they can do it even though they 95 00:05:11,080 --> 00:05:14,800 can't do it because they haven't absorbed what you're delivering? 96 00:05:15,120 --> 00:05:19,120 But maybe is that a reason they're trying to be ahead of 97 00:05:19,120 --> 00:05:20,880 the game almost? I don't know. 98 00:05:21,360 --> 00:05:23,360 Well, exactly. There's two things I can think 99 00:05:23,360 --> 00:05:26,800 about in my head is that you know that they're trying to show 100 00:05:26,800 --> 00:05:28,200 off. They're trying to do it fall out 101 00:05:28,200 --> 00:05:32,640 and show you show my lovely kick or whatever it is, but I don't 102 00:05:32,640 --> 00:05:35,720 know if it's also I need to see if I can do it. 103 00:05:35,800 --> 00:05:39,240 I need to see if I can do it fall out like for themselves, 104 00:05:39,240 --> 00:05:43,240 like can I do this repertoire? And it's more I'm here to tell 105 00:05:43,240 --> 00:05:47,680 you, it's not helping you learn. Concentrate on the steps, 106 00:05:47,880 --> 00:05:50,760 picking up what the steps are. Because we've just gone Butane's 107 00:05:50,760 --> 00:05:52,360 kick, right? Everyone got that caught. 108 00:05:52,360 --> 00:05:56,240 The next step is your brain and focus needs to be in the 109 00:05:56,880 --> 00:06:01,320 learning and picking up mode and not a dancing mode. 110 00:06:01,800 --> 00:06:03,640 Definitely. And I think, you know, from my 111 00:06:03,640 --> 00:06:09,160 experience as a dancer, I like to watch what's happening first. 112 00:06:09,200 --> 00:06:11,600 I almost need not to move just to go. 113 00:06:11,600 --> 00:06:15,880 OK, let me just see what is being delivered in front of my 114 00:06:15,880 --> 00:06:20,920 eyes in real time just to get my head around it and then right, 115 00:06:20,920 --> 00:06:23,960 let's get stuck in so that I have a reference. 116 00:06:24,000 --> 00:06:27,560 I need a visual reference because if you're, I'm torn 117 00:06:27,560 --> 00:06:29,880 actually, because that's the way I like to learn. 118 00:06:29,880 --> 00:06:33,440 I like to see what I'm about to get myself into and then go, 119 00:06:33,440 --> 00:06:36,960 right, let's unravel this now and let's learn it. 120 00:06:37,000 --> 00:06:40,560 You know, I want to learn it step by step, ideally with 121 00:06:40,560 --> 00:06:44,160 counts, but in some instances it may just be musical. 122 00:06:44,280 --> 00:06:46,760 You know, it may, there may not be any exact counts. 123 00:06:46,760 --> 00:06:51,520 There may, there may be room for improvisation in terms of 124 00:06:51,800 --> 00:06:56,640 accent, for example. But I definitely like to watch 125 00:06:57,000 --> 00:07:00,600 it first. And I know that we all learn 126 00:07:00,600 --> 00:07:04,320 things in different ways. Because when I teach a ballet 127 00:07:04,320 --> 00:07:09,200 class, actually I do give some advice in that try and try and 128 00:07:09,200 --> 00:07:12,240 learn the exercise as I'm delivering the exercise because 129 00:07:12,520 --> 00:07:15,360 that's a way to get it into a muscle memory before you've done 130 00:07:15,360 --> 00:07:17,720 the exercise. I always feel like it's an extra 131 00:07:17,720 --> 00:07:21,480 couple of seconds where you get to you get to frame the exercise 132 00:07:21,480 --> 00:07:23,440 even though you know, you don't know what's happening because I 133 00:07:23,440 --> 00:07:27,080 haven't set the full exercise. But by following along with me, 134 00:07:27,280 --> 00:07:30,240 you're already getting like a couple of extra seconds of of 135 00:07:30,280 --> 00:07:32,520 Intel. Oh, like physically falling 136 00:07:32,560 --> 00:07:34,000 following along with you? Yeah. 137 00:07:34,040 --> 00:07:37,720 But those are very, very short exercises in terms of what 138 00:07:37,720 --> 00:07:40,160 you're describing, which is a piece of choreography or a piece 139 00:07:40,160 --> 00:07:42,640 of repertoire. So you know that that that's a 140 00:07:42,640 --> 00:07:45,160 short burst. So I think that would work for a 141 00:07:45,280 --> 00:07:49,080 class scenario, but as we're focusing on like an audition 142 00:07:49,080 --> 00:07:53,360 scenario where there's a longer stretch of vocabulary, it's 143 00:07:53,360 --> 00:07:57,840 probably better to see where that goes, how it's carried in a 144 00:07:57,840 --> 00:07:59,720 sequence before you start to give. 145 00:08:00,040 --> 00:08:05,280 Because also, and I know I'm babbling here, but also you 146 00:08:05,280 --> 00:08:07,800 don't know where you'll need to pace yourself yet. 147 00:08:07,800 --> 00:08:11,160 So actually that those first eight counts, you might need to 148 00:08:11,160 --> 00:08:14,720 start, start off a little bit milder before you really go for 149 00:08:14,720 --> 00:08:16,600 it halfway through or towards end of the sequence. 150 00:08:16,600 --> 00:08:20,000 So just, yeah, I think just watch before we go, yeah. 151 00:08:20,080 --> 00:08:22,920 But I mean, I would definitely agree with you with do it along 152 00:08:22,920 --> 00:08:26,320 with me. But Mark, yeah, like, you know, 153 00:08:26,480 --> 00:08:29,640 really, really the tiniest feat in the world, the tiniest Mark, 154 00:08:29,640 --> 00:08:33,240 because your focus needs to be is this is advice for people who 155 00:08:33,240 --> 00:08:35,080 have, who struggle picking up stuff. 156 00:08:35,320 --> 00:08:39,720 So take it down, mark it so exactly what Damien is saying, 157 00:08:39,720 --> 00:08:43,039 like so it is kind of already your body is getting it into its 158 00:08:43,039 --> 00:08:46,720 muscle memory, but 99% of your brain needs to be going on 159 00:08:46,920 --> 00:08:50,640 learning and picking up, not the brain power it takes to do 160 00:08:50,640 --> 00:08:52,320 something full out. If you're doing something full 161 00:08:52,320 --> 00:08:54,480 out, then you're needing to think about my stomach, thinking 162 00:08:54,480 --> 00:08:56,680 about the turn out, thinking about doing a pure, thinking 163 00:08:56,680 --> 00:09:00,120 about my balance with all of that focus needs to be on what 164 00:09:00,360 --> 00:09:05,160 is this person giving me? Stepwise, That's where you need 165 00:09:05,160 --> 00:09:08,680 to be focused on. And I know we all start doing 166 00:09:08,680 --> 00:09:11,000 weird stuff when we're in an audition because we're nervous 167 00:09:11,000 --> 00:09:12,640 and stuff. So we probably start trying to 168 00:09:12,640 --> 00:09:16,240 show off or you also, your brain is half looking around being 169 00:09:16,240 --> 00:09:17,560 like, oh, who else is in the room? 170 00:09:17,560 --> 00:09:20,080 Oh, I'm nervous, oh, are they going to be better than me? 171 00:09:20,560 --> 00:09:22,560 I know it's a very hard situation to be in. 172 00:09:23,040 --> 00:09:26,880 Try and put your full focus on what is that person, dance 173 00:09:26,880 --> 00:09:29,200 captain, rehearsal director? Whoever they are in this 174 00:09:29,200 --> 00:09:31,760 audition, what steps are they conveying? 175 00:09:31,800 --> 00:09:34,400 That's what you need to be. Yeah, that's where all your 176 00:09:34,400 --> 00:09:36,080 brainpower needs to be. Yeah. 177 00:09:36,200 --> 00:09:40,400 And moving on from that, also look at the intention. 178 00:09:40,480 --> 00:09:45,400 How is that person showing you the repertoire or the sequence? 179 00:09:45,400 --> 00:09:49,200 You know, try and pick up on some of their stylistic choices 180 00:09:49,200 --> 00:09:54,160 because the way that they are giving that choreography, that 181 00:09:54,160 --> 00:09:57,160 sequence is really the style that they're looking for from 182 00:09:57,160 --> 00:10:00,280 you to replicate, certainly until you're hired. 183 00:10:00,280 --> 00:10:02,480 And then maybe you can put a little bit of your own stamp on 184 00:10:02,480 --> 00:10:03,960 it. You know, it depends on how much 185 00:10:03,960 --> 00:10:07,040 freedom you you have within the choreography and with the 186 00:10:07,040 --> 00:10:09,440 choreographer. But you can learn a lot from 187 00:10:09,440 --> 00:10:11,920 watching. But that, yeah, like we've just 188 00:10:11,920 --> 00:10:14,240 discussed, it doesn't mean you have to stand stationary, but 189 00:10:14,600 --> 00:10:18,200 you certainly shouldn't be going 100% because you're just going 190 00:10:18,200 --> 00:10:22,280 to miss all of those little clues and little gems of of what 191 00:10:22,280 --> 00:10:24,000 you need to be picking up, really. 192 00:10:24,000 --> 00:10:26,560 Yeah, 100% because it is not just the steps. 193 00:10:26,560 --> 00:10:29,320 Yeah, firstly try and pick up what the steps are, but in in 194 00:10:29,320 --> 00:10:33,680 real time at the same time, don't just focus on what that 195 00:10:33,680 --> 00:10:38,440 step is already be looking at how they are doing that step, 196 00:10:38,440 --> 00:10:41,840 the style of that step because there's no point just looking at 197 00:10:41,840 --> 00:10:44,200 the choreography and going Oh yeah, it was a step dig and the 198 00:10:44,200 --> 00:10:47,320 arm was in front. Look at what it specifically 199 00:10:47,320 --> 00:10:48,680 was. No, it wasn't a step dig. 200 00:10:48,680 --> 00:10:52,320 It was a step bevel and the arm was slightly bent in front. 201 00:10:52,320 --> 00:10:54,600 It wasn't straight out. The wrist was slightly down, 202 00:10:54,600 --> 00:10:59,040 whatever it was, because there's no point half learning it and 203 00:10:59,040 --> 00:11:00,880 then learning the whole choreography and then going back 204 00:11:00,880 --> 00:11:04,040 and trying to find the details, learn what it is exactly from 205 00:11:04,040 --> 00:11:05,760 the get go. You know what I mean? 206 00:11:05,760 --> 00:11:08,040 Like there's no point learning the wrong thing and putting the 207 00:11:08,040 --> 00:11:11,640 wrong thing in your body. So when they say step dig, how 208 00:11:11,640 --> 00:11:13,520 do they do that step dig straight away? 209 00:11:13,760 --> 00:11:15,240 Yeah. And, and it's looking out for 210 00:11:15,240 --> 00:11:20,160 those, you know, the nuance of certain parts because that is 211 00:11:20,160 --> 00:11:24,320 what will make you stand out against the crowd because 300 212 00:11:24,320 --> 00:11:28,240 people, let's say, in an open call can learn 4 counts, you 213 00:11:28,240 --> 00:11:30,200 know, four sets of eight of repertoire. 214 00:11:30,360 --> 00:11:34,560 However, if you're in the 2% that have really picked up on 215 00:11:34,560 --> 00:11:38,320 those stylistic nuances, then you're really going to grab the 216 00:11:38,360 --> 00:11:40,280 eye. And it's, it's having to deal 217 00:11:40,280 --> 00:11:42,200 with that, isn't it? It's having to deal with that 218 00:11:42,200 --> 00:11:45,560 plus the pressure, plus the stress, plus perhaps anxiety. 219 00:11:46,040 --> 00:11:48,360 You know, under pressure in an audition, you have a lot to 220 00:11:48,360 --> 00:11:50,920 consider. It's similar to to being in an 221 00:11:50,920 --> 00:11:54,120 exam for those who have done kind of dance exams, you know 222 00:11:54,120 --> 00:11:58,280 you have to, you have to keep it together and give what you've 223 00:11:58,280 --> 00:12:02,360 been asked of and not panicking and not adding those extra 224 00:12:02,360 --> 00:12:06,720 flourishes, be it adrenaline or you're distracted or you haven't 225 00:12:06,720 --> 00:12:09,840 looked at the material in enough detail. 226 00:12:10,000 --> 00:12:14,400 Focus on the steps and focus on listening again, it's still not 227 00:12:14,400 --> 00:12:16,560 doing it full out. Focus on listening to what 228 00:12:16,560 --> 00:12:19,000 they're saying when they're giving these new steps, how they 229 00:12:19,000 --> 00:12:20,600 are being given, what the style is. 230 00:12:20,840 --> 00:12:24,960 Because I would say 99% of the time the person showing you the 231 00:12:24,960 --> 00:12:28,920 repertoire is either the dance captain, the rehearsal director, 232 00:12:28,920 --> 00:12:31,040 the assistant choreographer, or the choreographer. 233 00:12:31,400 --> 00:12:34,640 All of those people, maybe apart from the choreographer, all of 234 00:12:34,640 --> 00:12:37,520 those people are kind of the choreographer's favorite. 235 00:12:37,520 --> 00:12:40,680 So they are probably doing it most like the way the 236 00:12:40,680 --> 00:12:42,320 choreographer wanted, if that makes sense. 237 00:12:42,320 --> 00:12:43,880 You know what I mean. The choreographer has hired his 238 00:12:43,880 --> 00:12:46,920 probably favorite most quickest dancer or whatever, or the 239 00:12:46,920 --> 00:12:50,040 person who encapsulates his style best, his or her style 240 00:12:50,040 --> 00:12:52,920 best as their assistant or as their dance captain. 241 00:12:53,120 --> 00:12:58,080 So that person is showing you is actually gold dust that that you 242 00:12:58,080 --> 00:12:59,600 know what I mean. That person who is probably 243 00:12:59,600 --> 00:13:02,960 doing the best version of this choreography is right there in 244 00:13:02,960 --> 00:13:05,480 front of you. So really, really hone in on how 245 00:13:05,480 --> 00:13:08,720 it's done as well. Yeah, I think it's great advice. 246 00:13:08,720 --> 00:13:14,880 Look, absorb, replicate, I think are all great keywords to think 247 00:13:14,880 --> 00:13:17,680 of if you're in a panic situation within an audition and 248 00:13:17,680 --> 00:13:21,840 you start to lose yourself. Look at the choreography, absorb 249 00:13:21,840 --> 00:13:25,440 it, replicate in the style that's been shown in front of 250 00:13:25,440 --> 00:13:29,880 you, and I think from there you stand a good chance of of moving 251 00:13:29,880 --> 00:13:32,960 forwards. Because I do see a lot of, you 252 00:13:32,960 --> 00:13:35,040 know, these, these, these people are in education. 253 00:13:35,040 --> 00:13:38,320 So that's that's the point. I'm there to teach, make your 254 00:13:38,320 --> 00:13:40,080 mistakes now so we can learn before we go out. 255 00:13:40,080 --> 00:13:46,880 But I saw a lot of what's the word, an approximation of the 256 00:13:46,880 --> 00:13:49,200 step. So like, kind of like I just 257 00:13:49,200 --> 00:13:52,280 mentioned before a step dig. No, it was a step bevel with a 258 00:13:52,280 --> 00:13:55,920 hip hop with a yeah, not not an approximation of the 259 00:13:55,920 --> 00:13:57,760 choreography. Find out what the choreography 260 00:13:57,760 --> 00:14:00,240 is. Yeah, use those observational 261 00:14:00,240 --> 00:14:04,720 skills, Yeah, rather than be be too vague, because that could be 262 00:14:04,720 --> 00:14:06,880 the difference between being hired and not hired. 263 00:14:06,960 --> 00:14:09,360 And it is a big difference actually, because it shows that 264 00:14:09,360 --> 00:14:12,320 you're you're in the room, you're switched on and you're 265 00:14:12,320 --> 00:14:16,440 willing to take on more than just the average. 266 00:14:19,160 --> 00:14:23,280 I would also say in the same breath that the performance that 267 00:14:23,280 --> 00:14:26,800 you will put on, I don't like to say pulling faces, but you know 268 00:14:26,800 --> 00:14:30,160 what I mean, The flourishes that the performance that you'll put 269 00:14:30,160 --> 00:14:33,360 on the last time you do it in front of the panel, Don't worry 270 00:14:33,360 --> 00:14:35,720 about putting on all those flourishes and the personality 271 00:14:35,720 --> 00:14:39,080 in the face when we're doing the first, you know, it's like 272 00:14:39,080 --> 00:14:40,800 saying about not doing it full out. 273 00:14:40,960 --> 00:14:43,240 Also, don't put any character on, don't put any acting on, 274 00:14:43,240 --> 00:14:45,840 don't put any faces on. Concentrate on learning the 275 00:14:45,840 --> 00:14:47,880 choreography. Also, I wouldn't even put that 276 00:14:47,880 --> 00:14:50,800 stuff on when we're starting doing it in the big groups 277 00:14:50,800 --> 00:14:53,760 before we really go down because that's the time for you to get 278 00:14:53,760 --> 00:14:56,280 it into your body. I know we want to see the whole 279 00:14:56,280 --> 00:15:02,960 package in an audition, but use as much time as you can to get 280 00:15:02,960 --> 00:15:05,160 that choreography into your body. 281 00:15:05,400 --> 00:15:08,360 Then when you're at the side before your group comes in, when 282 00:15:08,360 --> 00:15:10,960 you do it with your group, shove on your face, shove on your 283 00:15:10,960 --> 00:15:13,040 personality because you don't. I'm sorry. 284 00:15:13,040 --> 00:15:15,160 In my opinion, shoot me if I'm wrong. 285 00:15:15,720 --> 00:15:17,400 I don't think you need to rehearse all of that. 286 00:15:17,920 --> 00:15:20,720 You know those minutes that you have to learn that choreography, 287 00:15:20,840 --> 00:15:22,440 Focus on learning the choreography. 288 00:15:22,600 --> 00:15:25,880 Don't focus on how am I going to put my face in this section and 289 00:15:25,880 --> 00:15:29,160 how do that as it comes. Get the steps. 290 00:15:30,160 --> 00:15:32,680 Get the steps. It's like building blocks, isn't 291 00:15:32,680 --> 00:15:34,280 it? It's certainly, you know, I know 292 00:15:34,800 --> 00:15:38,320 you and I are similar. When we teach repertoire, block 293 00:15:38,320 --> 00:15:41,120 it out, start to figure out where you need to be in the 294 00:15:41,120 --> 00:15:45,080 space and you start to build. OK, this is kind of like a rough 295 00:15:45,080 --> 00:15:48,440 cut of what we're about to learn, but still talking about 296 00:15:48,440 --> 00:15:51,320 detail. It's not Blase, but it's rough 297 00:15:51,320 --> 00:15:55,400 in that you need to allow time to build and grow with the 298 00:15:55,400 --> 00:15:58,920 material, and then you can start to go into a little bit more 299 00:15:58,920 --> 00:16:01,080 finer detail. If something's not quite right, 300 00:16:01,080 --> 00:16:04,200 then you start to Polish those rough edges. 301 00:16:04,480 --> 00:16:09,760 And I think in terms of performance value, some dancers, 302 00:16:09,760 --> 00:16:12,840 some performers have very natural charisma. 303 00:16:13,160 --> 00:16:17,520 And whatever way, whichever way they attack the choreography in 304 00:16:17,520 --> 00:16:22,720 an audition scenario, they will just ooze charisma. 305 00:16:22,720 --> 00:16:25,840 And in some cases it can be the charisma that carries them 306 00:16:25,840 --> 00:16:29,960 through to the next round over the actual dancing, right? 307 00:16:29,960 --> 00:16:33,360 Happens all the time. But I think, you know, like Paul 308 00:16:33,360 --> 00:16:36,760 just mentioned, for those who maybe struggle, the learning 309 00:16:36,760 --> 00:16:42,840 must come first, then get things polished and, and, and ready as 310 00:16:42,840 --> 00:16:44,520 you go into those smaller groups. 311 00:16:44,680 --> 00:16:50,360 But then I think you must attempt not putting on a face. 312 00:16:50,520 --> 00:16:53,320 That's not what we're telling you, But you also need to engage 313 00:16:53,320 --> 00:16:54,760 the panel. When you're doing it in the 314 00:16:54,760 --> 00:16:57,560 groups, that's when it needs to become, you know, a performance 315 00:16:57,560 --> 00:17:02,760 and not just steps, but talking about learning steps, that stuff 316 00:17:02,920 --> 00:17:06,880 comes last physically. You can listen again, not all of 317 00:17:06,880 --> 00:17:11,280 I think maybe there's a misconception of to learn dance, 318 00:17:11,280 --> 00:17:13,160 I have to be physically moving all the time. 319 00:17:13,920 --> 00:17:18,040 Like I could only learn by being a parrot, which is, yes, lots of 320 00:17:18,040 --> 00:17:20,680 us do copy and learn and that's how you get it in your body. 321 00:17:20,920 --> 00:17:24,040 But there's a lot of stuff that is actually standing there and 322 00:17:24,040 --> 00:17:27,160 listening, standing there and looking. 323 00:17:27,680 --> 00:17:30,280 It's also going in your body. So don't feel that you have to 324 00:17:30,280 --> 00:17:33,360 be moving to get it into your body. 325 00:17:33,360 --> 00:17:36,640 You can listen and you can watch somebody else do it full out to 326 00:17:36,640 --> 00:17:39,920 the music and hit the accents and you can be feeling it in 327 00:17:39,920 --> 00:17:41,560 your body while that music is playing. 328 00:17:41,560 --> 00:17:44,240 That's also a way of picking up steps. 329 00:17:44,240 --> 00:17:46,760 You don't have to physically be doing it all the time. 330 00:17:47,160 --> 00:17:49,880 I'm smiling because it's It's interesting because when you 331 00:17:49,880 --> 00:17:53,520 teach different levels of dancers, certainly in the 332 00:17:53,520 --> 00:17:56,800 company scenario, it can be quite intimidating as a teacher. 333 00:17:56,800 --> 00:17:59,920 Because actually I found that most professional dancers, 334 00:17:59,920 --> 00:18:03,440 because their brains are so quick at picking up exercises, 335 00:18:04,000 --> 00:18:07,560 they are often don't move. They just watch you do the 336 00:18:07,560 --> 00:18:10,320 exercise and you just have you. Know stand there with arms 337 00:18:10,320 --> 00:18:12,200 folded. Yeah, 30 to 50 people just 338 00:18:12,200 --> 00:18:15,120 staring at you as you're delivering an exercise, which is 339 00:18:15,120 --> 00:18:17,120 their way of learning. Of course, you'll always have 340 00:18:17,120 --> 00:18:20,040 dancers that like to mark the exercise with their hands if 341 00:18:20,320 --> 00:18:23,200 it's quick, let's say if it's a quick Glee, say exercise or 342 00:18:23,200 --> 00:18:26,000 something. But it's very intimidating when 343 00:18:26,000 --> 00:18:28,560 you're delivering an exercise and you have a a room full of 344 00:18:28,760 --> 00:18:32,160 professional dancers just like arms crossed staring at you. 345 00:18:32,600 --> 00:18:36,760 But that's the way they learn. I think most younger dancers 346 00:18:37,040 --> 00:18:45,120 don't learn that way and I think it is a smart move to move in 347 00:18:45,120 --> 00:18:50,200 some capacity. But watching is very valuable at 348 00:18:50,200 --> 00:18:52,000 times as well. And I think that's what Paul's 349 00:18:52,000 --> 00:18:53,840 getting at, is you have to watch. 350 00:18:54,080 --> 00:18:58,000 You have to watch to be able to really fully take on what's been 351 00:18:58,000 --> 00:19:01,240 shown in front of you, rather than just going for it and then 352 00:19:01,240 --> 00:19:04,480 just distracting yourself, distracting the teacher, and 353 00:19:04,480 --> 00:19:06,720 distracting the rest of the people in that room. 354 00:19:06,840 --> 00:19:10,120 I would say the biggest pieces of advice that I gave and I 355 00:19:10,160 --> 00:19:14,680 always give about picking up steps, learning the on shame on 356 00:19:14,680 --> 00:19:18,880 learning the whatever it is, is the internal singing. 357 00:19:19,640 --> 00:19:24,000 That for me is if you're slightly unsure or you thought 358 00:19:24,000 --> 00:19:26,240 you had it and then suddenly your brain goes, Oh my God, what 359 00:19:26,240 --> 00:19:28,080 was the step? The teacher of the 360 00:19:28,080 --> 00:19:32,440 choreographer, the whoever has probably gone a part of Boray 361 00:19:32,440 --> 00:19:35,320 and up and down and jump and jump and turn and down and flick 362 00:19:35,600 --> 00:19:38,760 and flick. And having that internal 363 00:19:38,760 --> 00:19:42,480 dialogue to the music is sometimes where you can a really 364 00:19:42,480 --> 00:19:46,240 good way to pick up steps, like going a step board changer. 365 00:19:46,240 --> 00:19:50,040 Step board changer, yeah, up and down and turn and turn and 366 00:19:50,040 --> 00:19:54,600 flick, flick splits and flick. But having that, how did my 367 00:19:54,600 --> 00:19:57,160 teacher sing the exercise? And when the music starts, if 368 00:19:57,160 --> 00:20:00,280 you start singing that rhythm, that's a really good way to pick 369 00:20:00,280 --> 00:20:04,440 up the steps because then. Yeah, it's more, it feels more 370 00:20:04,440 --> 00:20:06,080 automatic in the body than thinking. 371 00:20:06,080 --> 00:20:08,120 Now I put my right leg forward. I do this like. 372 00:20:08,160 --> 00:20:11,840 But also, it's not just for, you know, giggles. 373 00:20:11,840 --> 00:20:17,640 It's there are clues in the dynamic of the musical 374 00:20:17,640 --> 00:20:19,320 expression from the teacher, right? 375 00:20:19,320 --> 00:20:23,240 Because that's what they want. So it's, it's massively helpful. 376 00:20:23,680 --> 00:20:28,640 And again, in class, you know, the best teachers teach 377 00:20:28,720 --> 00:20:33,080 rhythmically because you're setting up an exercise or you're 378 00:20:33,080 --> 00:20:35,120 setting up a sequence or repertoire. 379 00:20:35,200 --> 00:20:37,720 So you know, So listen, listen, listen. 380 00:20:39,760 --> 00:20:42,520 You should be listening. We spoke about a couple of weeks 381 00:20:42,520 --> 00:20:45,520 ago, you know, experiencing teachers that just go a devil 382 00:20:45,520 --> 00:20:50,320 pay to the front promenade around passe time to close and 383 00:20:50,320 --> 00:20:51,760 you're like, OK, great. That was really helpful. 384 00:20:51,760 --> 00:20:53,960 Thank you very much. Yeah, it means nothing. 385 00:20:54,120 --> 00:21:00,800 Insert name here. What does help is happy double 386 00:21:00,800 --> 00:21:03,520 front, double side and pity backman up the knee and Baba 387 00:21:03,640 --> 00:21:07,000 Like that kind of stuff helps you learn the exercise. 388 00:21:07,000 --> 00:21:09,560 So yeah, yeah, talking specifically about learning 389 00:21:09,560 --> 00:21:13,920 exercises and picking up steps. Really sing what the teacher has 390 00:21:13,920 --> 00:21:17,640 just sung in your head when you were doing it to the left after 391 00:21:17,640 --> 00:21:20,760 just going to the right, just start on the other leg and start 392 00:21:20,760 --> 00:21:25,160 going waltz 2-3, waltz 2. Like in your head while it's 393 00:21:25,160 --> 00:21:27,000 going. Listen to the music, sing the 394 00:21:27,000 --> 00:21:31,280 words, and it will just happen. And just a quick side note for 395 00:21:31,280 --> 00:21:35,560 any teachers, whether you're newly teaching or you're an 396 00:21:35,560 --> 00:21:39,720 experienced teacher, I can guarantee that your pianist, if 397 00:21:39,720 --> 00:21:44,840 you're lucky to have a live pianist, will always welcome a 398 00:21:44,840 --> 00:21:49,080 rhythmical explanation description when you're setting 399 00:21:49,080 --> 00:21:52,880 an exercise because it gives them so much more information as 400 00:21:52,880 --> 00:21:56,520 to what you want musically. And I know we're focusing on, 401 00:21:56,520 --> 00:22:01,160 on, on, on, on and on audition. There's like three extra 402 00:22:01,200 --> 00:22:04,080 syllabus. On and in, on and on. 403 00:22:04,680 --> 00:22:08,440 I know we're focusing on auditions right now, but it was 404 00:22:08,440 --> 00:22:10,760 just a little quick sidebar whilst we're discussing, you 405 00:22:10,760 --> 00:22:16,880 know, rhythm and and musicality. The mirror. 406 00:22:17,800 --> 00:22:20,800 Now we have talked about the mirror a couple of times before 407 00:22:20,800 --> 00:22:25,680 regarding body image and having a healthy relationship with the 408 00:22:25,680 --> 00:22:28,280 mirror and being able to look at corrections because your teacher 409 00:22:28,280 --> 00:22:29,680 can't always have their eyes on you. 410 00:22:29,680 --> 00:22:31,520 You need self correct and all that kind of stuff. 411 00:22:31,960 --> 00:22:34,280 Just another little narrow on a new piece of advice. 412 00:22:35,080 --> 00:22:38,600 I would say something that's quite important is to use the 413 00:22:38,600 --> 00:22:41,360 mirror to see what looks good on you. 414 00:22:42,120 --> 00:22:47,560 Meaning standing in quasi with doing a developed Devon with the 415 00:22:47,640 --> 00:22:50,960 quasi leg right? What looks good on your body? 416 00:22:50,960 --> 00:22:55,080 The amount of quasi is going to be different on every single 417 00:22:55,600 --> 00:22:58,800 bodies body. Like everybody is built 418 00:22:58,800 --> 00:23:01,360 differently. So if you've got some people are 419 00:23:01,360 --> 00:23:04,200 slightly longer legs shortly, whatever, look at yourself in 420 00:23:04,200 --> 00:23:06,960 the mirror and work out your angles. 421 00:23:06,960 --> 00:23:10,240 It's so important. It's kind of what if you are 422 00:23:10,240 --> 00:23:12,280 millennial and you grow up watching America's Next Top 423 00:23:12,280 --> 00:23:15,640 Model? Tyra would always say stare at 424 00:23:15,640 --> 00:23:18,840 your face in the mirror and do very slight adjustments of 425 00:23:18,840 --> 00:23:22,720 angles and see where you look good from what angle you look 426 00:23:22,720 --> 00:23:24,080 good from. I would say it's exactly the 427 00:23:24,080 --> 00:23:26,920 same. Stare in that mirror and move 428 00:23:26,920 --> 00:23:30,200 your foot, move your ankle, move your leg, move your arm like 429 00:23:30,240 --> 00:23:33,280 millimeters. Just move them around and just 430 00:23:33,400 --> 00:23:37,560 find out what looks good on you. Yeah, I think it's important to 431 00:23:37,560 --> 00:23:42,400 also realise is that we're not encouraging compromising 432 00:23:42,400 --> 00:23:46,520 technique. However, if you're standing in a 433 00:23:46,520 --> 00:23:52,360 very technical arabesque in your dance studio and your teacher is 434 00:23:52,360 --> 00:23:55,880 saying hip square and pulled up and lovely long muscles and 435 00:23:55,880 --> 00:23:59,840 right behind you and make sure that foot's not open, too open, 436 00:23:59,840 --> 00:24:01,640 you know, check your alignment. Jessica. 437 00:24:02,000 --> 00:24:05,440 Jessica, when you're on stage, however, because you're 438 00:24:05,440 --> 00:24:12,040 performing to a live audience, that arabesque from the studio 439 00:24:12,480 --> 00:24:16,840 sometimes may need need to be crossed ever so slightly, or it 440 00:24:16,840 --> 00:24:19,640 may even need to be open, depending on the type of costume 441 00:24:19,640 --> 00:24:22,440 that you're wearing. And it's really important to 442 00:24:22,440 --> 00:24:27,080 understand those differences and why you execute those 443 00:24:27,080 --> 00:24:30,200 differences without compromising your technique. 444 00:24:30,200 --> 00:24:32,840 Because actually, without good technique and solid technique, 445 00:24:32,840 --> 00:24:36,760 you can't and don't have the capacity to make those 446 00:24:36,880 --> 00:24:40,400 tweakments. Those tweakments, because you 447 00:24:40,400 --> 00:24:43,480 know, it's it's not changing the choreography, it's making sure 448 00:24:43,480 --> 00:24:46,720 what looks good on you. And then then if you finally get 449 00:24:46,720 --> 00:24:50,720 that solo or whatever, there's no one to compare yourself to. 450 00:24:50,720 --> 00:24:52,640 You know, in 1/4 ballet, obviously we all have to be 451 00:24:52,640 --> 00:24:56,080 quasi, but even then, what looks good on you like which I'm 452 00:24:56,080 --> 00:25:00,160 talking milli milli milli milli milli milli millimeters stare in 453 00:25:00,160 --> 00:25:02,600 the mirror. See how see how good you look. 454 00:25:03,160 --> 00:25:05,800 And that will come with experience, but it's the work 455 00:25:05,800 --> 00:25:09,520 starts in the studio, right? Or if you're lucky enough to 456 00:25:09,520 --> 00:25:12,160 have a home studio or even a full length mirror, you know 457 00:25:12,760 --> 00:25:18,160 it's good homework because I always tell my dancers in class, 458 00:25:18,160 --> 00:25:22,960 you have to imagine that one, you're on stage and two, you're 459 00:25:22,960 --> 00:25:25,400 being photographed. I say exactly the same thing. 460 00:25:25,480 --> 00:25:29,720 You could be photographed at any moment, so even that transfer 461 00:25:29,720 --> 00:25:34,840 through 4th on bent knees before you pull up into a position, it 462 00:25:34,840 --> 00:25:38,480 has to be beautiful and it has to be presented in a way that if 463 00:25:38,480 --> 00:25:43,760 you were unlucky enough to be photographed even in a 464 00:25:43,760 --> 00:25:47,120 transitional step, which are just as important than the big 465 00:25:47,120 --> 00:25:50,600 flashy moments. It's all about understanding 466 00:25:50,600 --> 00:25:54,920 what looks good on your body for public consumption, which is the 467 00:25:54,920 --> 00:25:56,800 audience or the camera lens, isn't it? 468 00:25:56,800 --> 00:25:59,680 So it's great home. And that's how I always say when 469 00:25:59,680 --> 00:26:03,640 I'm teaching, I always tell them that I tell my students that the 470 00:26:03,640 --> 00:26:08,120 human eye is like a camera lens. You know, treat the firstly, 471 00:26:08,120 --> 00:26:10,920 treat the audience's eyes as a camera from yourself, like your 472 00:26:10,920 --> 00:26:13,200 angles know where the audience is looking at you from. 473 00:26:13,200 --> 00:26:17,920 So no, have A, an outside eye looking at yourself from where 474 00:26:17,920 --> 00:26:20,760 the audience's perspective and B, and it's not changing the 475 00:26:20,760 --> 00:26:23,880 choreography, it's not changing anything, but just having that 476 00:26:23,880 --> 00:26:27,440 awareness of what do I look like from that person in seat #27 in 477 00:26:27,440 --> 00:26:29,520 the stalls. Like just being aware of your 478 00:26:29,520 --> 00:26:32,760 angles. And what I always say about the 479 00:26:32,760 --> 00:26:36,080 camera, the camera thing in class is always have that 480 00:26:36,080 --> 00:26:39,080 feeling of a split second longer in the air. 481 00:26:39,400 --> 00:26:43,800 Imagine that, you know, the audience's eye is an old lady 482 00:26:43,800 --> 00:26:46,800 getting her camera out of her bag and taking, oh, I didn't 483 00:26:46,800 --> 00:26:48,840 take the cap off taking ages to get that picture. 484 00:26:48,840 --> 00:26:52,480 So whatever you're doing in the air that extra bit longer, try 485 00:26:52,480 --> 00:26:54,640 and stay there because that's what the you want the audience's 486 00:26:54,640 --> 00:26:57,400 eye to capture and remember. Yeah, that's good advice. 487 00:26:57,440 --> 00:26:59,920 That's great advice and again, it comes with experience, 488 00:26:59,920 --> 00:27:01,560 doesn't it? But that's why we're here to 489 00:27:01,560 --> 00:27:05,080 share little tips and tricks that we know we've learnt along 490 00:27:05,080 --> 00:27:09,560 the way through our long and prosperous careers. 491 00:27:10,080 --> 00:27:12,600 That's why we're here, because we know everything. 492 00:27:13,040 --> 00:27:16,320 We know everything there is to know about show business. 493 00:27:21,120 --> 00:27:24,120 So literally in the same literally, so literally in the 494 00:27:24,120 --> 00:27:27,880 same breath about looking at yourself in the mirror and, you 495 00:27:27,880 --> 00:27:31,800 know, checking your ankles. I would also say regarding 496 00:27:31,800 --> 00:27:35,400 clothes and what you wear, find out what looks good on your 497 00:27:35,400 --> 00:27:38,160 body. Again, we don't all have the 498 00:27:38,160 --> 00:27:41,160 same body. We also have different tastes 499 00:27:41,360 --> 00:27:45,040 and it kind of goes back to what we spoke about with your with 500 00:27:45,040 --> 00:27:46,680 auditions. You know, one of the girls 501 00:27:46,680 --> 00:27:49,240 actually in my class asked me, So what should I wear in an 502 00:27:49,240 --> 00:27:51,400 audition? Know what looks good on 503 00:27:51,400 --> 00:27:52,600 yourself. Look in the mirror. 504 00:27:52,600 --> 00:27:57,840 Try, you've got to try and flatter yourself firstly for 505 00:27:57,840 --> 00:28:00,120 yourself in rehearsals and in classes. 506 00:28:00,120 --> 00:28:02,080 When you're looking at yourself in the mirror, you don't want 507 00:28:02,080 --> 00:28:06,080 that kind of distraction of, oh God, I look like shit today. 508 00:28:06,400 --> 00:28:10,040 If you have your little uniform of your long sleeve, turtleneck, 509 00:28:10,040 --> 00:28:14,080 black, whatever, and your hot pants and that's what looks good 510 00:28:14,080 --> 00:28:17,000 on you, that automatically is kind of like a worry out of your 511 00:28:17,000 --> 00:28:18,800 head, you know that. Oh yeah, I'll look good. 512 00:28:19,440 --> 00:28:24,320 But it takes a while to to find out what suits your body and 513 00:28:24,320 --> 00:28:27,680 what looks good on you. So yeah, I think it's quite 514 00:28:27,680 --> 00:28:32,040 important to to to also look in the mirror and find out what 515 00:28:32,040 --> 00:28:35,520 clothing suits you. Yeah, I think because when you 516 00:28:35,520 --> 00:28:40,040 feel good, like you've just said, it's, it's less of a 517 00:28:40,040 --> 00:28:41,840 distraction. I think you will dance. 518 00:28:41,840 --> 00:28:46,160 I certainly dance. I feel like I dance better. 519 00:28:46,160 --> 00:28:50,040 I know that's mad to say because technique is technique and 520 00:28:50,120 --> 00:28:52,120 you're you're doing what you normally do, but I feel like I 521 00:28:52,120 --> 00:28:56,680 dance better if I'm feeling good about what I'm wearing. 522 00:28:57,160 --> 00:28:59,160 Oh yeah. And and it can. 523 00:28:59,280 --> 00:29:02,720 All it can take is the wrong pair of joggers or the wrong 524 00:29:02,720 --> 00:29:06,440 fabric of T-shirt that I've grabbed to derail an entire 525 00:29:06,440 --> 00:29:10,280 class like. Oh my God, if I don't have my 526 00:29:10,320 --> 00:29:15,680 flesh sancha 11 W flatties and I've had to, I don't know, 527 00:29:15,680 --> 00:29:21,560 borrow the theatres black other brand shoes, Oh my whole day is 528 00:29:21,560 --> 00:29:24,560 ruined. Yeah, I'm pretty certain most 529 00:29:24,560 --> 00:29:28,360 dancers feel that way. Regardless of ballet, musical 530 00:29:28,360 --> 00:29:32,120 theatre, tap, jazz, flamenco, whatever it is, if you're not in 531 00:29:32,120 --> 00:29:36,520 the right gear, it can derail that class or that rehearsal. 532 00:29:36,720 --> 00:29:39,120 And I think, you know, Paul's absolutely right. 533 00:29:39,120 --> 00:29:44,560 Finding what works for your body is really essential, 534 00:29:44,560 --> 00:29:48,280 particularly as young dancers, you know, attending lots of 535 00:29:48,280 --> 00:29:52,160 different auditions, because you need to flatter yourself. 536 00:29:52,600 --> 00:29:55,200 You need to present yourself in the best way possible. 537 00:29:55,640 --> 00:30:00,200 And also sometimes what we feel best in is not necessarily what 538 00:30:00,200 --> 00:30:04,920 looks best on us. So I think it's also quite savvy 539 00:30:05,400 --> 00:30:07,280 to get an objective point of view. 540 00:30:07,280 --> 00:30:09,680 So not your best friend who's just going to be say, you know, 541 00:30:09,680 --> 00:30:11,320 who's just going to say, Oh yeah, you look gorgeous, you 542 00:30:11,320 --> 00:30:14,320 know, because your your besties. But try and get some advice. 543 00:30:14,440 --> 00:30:17,600 Because you really don't. That flesh coloured leotard 544 00:30:17,880 --> 00:30:20,640 makes you look like you're anemic, Like you know. 545 00:30:20,640 --> 00:30:23,200 You need to know your colours, you need to know the cut of a 546 00:30:23,200 --> 00:30:26,920 leotard, you need to know the length of a track suit bottom. 547 00:30:27,160 --> 00:30:29,520 If you've got short legs, you know if you're wearing. 548 00:30:29,640 --> 00:30:32,960 If you have short legs and you're wearing 3 Bermuda short 549 00:30:32,960 --> 00:30:35,560 length shorts, you're going to make your legs look even 550 00:30:35,560 --> 00:30:37,080 shorter. You know, if you've got 551 00:30:37,080 --> 00:30:39,560 extremely long legs and you're wearing a really high cut 552 00:30:39,560 --> 00:30:43,040 leotard, you know, you're going to look at out of proportion, 553 00:30:43,040 --> 00:30:45,240 your legs going to look even longer, you know, and it's also 554 00:30:45,240 --> 00:30:47,000 dressing for the job that you want, right? 555 00:30:47,000 --> 00:30:50,320 So, you know, maybe if you, if you're auditioning for the 556 00:30:50,320 --> 00:30:52,680 Rockettes or Moulin Rouge, you're going to wear that high 557 00:30:52,680 --> 00:30:55,560 cut leotard and show off those lovely long legs, you know, so 558 00:30:55,600 --> 00:30:59,080 it, it's understanding the body and it, and it transitions into 559 00:30:59,080 --> 00:31:00,800 regular life as well, doesn't it? 560 00:31:00,800 --> 00:31:04,600 You know what, what works best on you outside of the studio, 561 00:31:04,600 --> 00:31:10,800 but in particular, dressing for a class, A rehearsal, a master 562 00:31:10,800 --> 00:31:14,280 class, whatever it is, even teachers, we need to understand 563 00:31:14,840 --> 00:31:19,000 what to wear because we've gone through that transformation of 564 00:31:19,000 --> 00:31:21,920 dancer to teacher. And there are some signature 565 00:31:21,920 --> 00:31:25,920 pieces like the, you know, the chunky jazz sneaker or the boot 566 00:31:25,920 --> 00:31:29,800 cut trouser. You know, there are standardized 567 00:31:29,960 --> 00:31:34,360 classics of, of uniform, but that doesn't mean, you know, you 568 00:31:34,360 --> 00:31:35,920 don't exactly the Grecian sandal. 569 00:31:36,120 --> 00:31:40,120 You don't have to follow suit. But you know, dressing for the 570 00:31:40,120 --> 00:31:45,120 occasion can really, really help not only support you, but 571 00:31:45,120 --> 00:31:48,280 support the environment that you're you're stepping into, IE 572 00:31:48,280 --> 00:31:51,600 an audition. I think for me it's, it's mainly 573 00:31:52,120 --> 00:31:57,880 it takes one thing out of my mind or kind of gives me the 574 00:31:57,880 --> 00:32:00,520 opportunity, not gives me the opportunity to concentrate more. 575 00:32:00,520 --> 00:32:03,240 But like, it's not going to be a distraction because I know, 576 00:32:03,240 --> 00:32:06,800 look, we're standing in front of a mirror all bloody day. 577 00:32:07,400 --> 00:32:11,040 And if out of the corner of your eye you keep on looking at 578 00:32:11,040 --> 00:32:13,880 yourself, like aesthetically looking like crap because you 579 00:32:13,880 --> 00:32:15,440 don't like your shorts or you don't like your jump or 580 00:32:15,440 --> 00:32:19,760 whatever, it is a distraction because the mirror is in front 581 00:32:19,760 --> 00:32:22,960 of you for six hours that day. And all you're doing is keep on 582 00:32:22,960 --> 00:32:24,680 saying, Oh my God, I also look like crap. 583 00:32:24,920 --> 00:32:29,360 So if you can learn what looks good on you and kind of have a 584 00:32:29,400 --> 00:32:32,240 uniform, I imagine it kind of like, you know, Homer Simpson or 585 00:32:32,240 --> 00:32:34,200 Peter Griffin, like where you're open the cupboard and 586 00:32:34,440 --> 00:32:38,000 everything's exactly the same. It's that whole kind of thing. 587 00:32:38,000 --> 00:32:41,760 Have a little, I don't know, a uniform like a tank top and your 588 00:32:42,200 --> 00:32:45,120 hot pants or whatever it is that suits your body so that, you 589 00:32:45,120 --> 00:32:47,960 know, you don't have to worry about what you look like. 590 00:32:47,960 --> 00:32:52,000 You can concentrate on your job, indeed, the audition or 591 00:32:52,000 --> 00:32:53,680 whatever. Listen, you don't need to preach 592 00:32:53,680 --> 00:32:56,400 to me. You're talking to the dancer. 593 00:32:56,400 --> 00:33:03,560 Who direct messaged the owner, creator of Ware Moi asking why I 594 00:33:03,560 --> 00:33:06,960 couldn't get my, you know, usual polar fleece. 595 00:33:07,080 --> 00:33:12,520 Why is my uniform out of stock? Why can I not restock my 596 00:33:12,920 --> 00:33:16,720 teaching uniform? So it's really it's I, I haven't 597 00:33:16,720 --> 00:33:20,000 given up yet. So if Elizabeth Miege, if you're 598 00:33:20,000 --> 00:33:25,120 listening, I still want access to the Ware Moi polar fleece. 599 00:33:27,120 --> 00:33:33,640 Mercy, before we end this episode, I just want to continue 600 00:33:33,640 --> 00:33:36,000 our conversation as we started about watching. 601 00:33:36,360 --> 00:33:39,400 We spoke about watching the person teaching the rap because 602 00:33:39,400 --> 00:33:42,760 we started off this discussion about helpful hints on how to 603 00:33:43,040 --> 00:33:45,280 learn repertoire. What's the best way to pick up? 604 00:33:45,560 --> 00:33:50,640 I think it's also important to bring those hints, clues that we 605 00:33:50,640 --> 00:33:54,400 just mentioned into the classroom, not to pick up steps. 606 00:33:54,400 --> 00:33:57,880 I mean, yes, you can use them to pick up steps as well, but it's 607 00:33:57,880 --> 00:34:00,600 not just an audition where you need to pick up the intentions 608 00:34:00,600 --> 00:34:03,160 and listen to more than just what the step is. 609 00:34:03,160 --> 00:34:06,280 It's also class. Watch that teacher. 610 00:34:06,280 --> 00:34:09,320 And yes, I was taught by teachers who weren't doing it 611 00:34:09,320 --> 00:34:11,880 full out. Bill Glassman, for example, was 612 00:34:11,880 --> 00:34:14,560 not dancing full out. He was, I think in his mid 50s 613 00:34:14,560 --> 00:34:18,000 when he was teaching or whatever and had bad knees, but he could 614 00:34:18,000 --> 00:34:22,600 get across what he meant through vocal cues doing it with his 615 00:34:22,600 --> 00:34:26,239 hands. Like watch how the step is being 616 00:34:26,239 --> 00:34:29,920 done also in class because it's going to give you tips on 617 00:34:29,920 --> 00:34:32,239 technique. It's not just on, you know, like 618 00:34:32,239 --> 00:34:35,080 in the auditions we were saying it's going to teach you how he 619 00:34:35,080 --> 00:34:38,920 wants the steps done in class. Watching your teacher, you can, 620 00:34:39,400 --> 00:34:43,159 you can see how they're doing it technically as well instead of 621 00:34:43,159 --> 00:34:45,880 just, oh, we're now doing a ton of a into this. 622 00:34:46,360 --> 00:34:49,480 Watch the teachers, you can see that, you know what I mean? 623 00:34:49,480 --> 00:34:51,920 You can see the technique that they're using to do that step as 624 00:34:51,920 --> 00:34:53,400 well. And we're not just talking about 625 00:34:53,400 --> 00:34:56,679 now choreographic intentions, talking about, oh, what? 626 00:34:56,679 --> 00:34:59,880 He actually holds this spot longer or he's actually spotting 627 00:34:59,880 --> 00:35:02,160 with his back instead of thinking of his head or he's 628 00:35:02,160 --> 00:35:06,080 actually doing this, or he actually doesn't do a full big 629 00:35:06,200 --> 00:35:08,480 Demi plier. Every time he jumps, he does a 630 00:35:08,480 --> 00:35:11,720 shorter Balon kind of plier or all these kind of little hints. 631 00:35:11,720 --> 00:35:14,880 You can learn from looking at your teachers as well. 632 00:35:15,280 --> 00:35:18,440 Not just about taking up steps and learning the choreography, 633 00:35:18,440 --> 00:35:20,240 but it's also about the technique. 634 00:35:20,440 --> 00:35:24,240 Not every piece of technique is going to be said to you. 635 00:35:24,240 --> 00:35:26,600 Even the best teachers of the world can't think of everything. 636 00:35:26,960 --> 00:35:32,040 And looking at how Damien does his one verse, looking at how 637 00:35:32,040 --> 00:35:35,520 Bill Glassman dad did his assemblies and Jetes and all of 638 00:35:35,520 --> 00:35:38,960 his petty and echo, like that's where a lot of the clues are. 639 00:35:39,520 --> 00:35:43,320 I think within the Studio environment, IE in a class 640 00:35:43,640 --> 00:35:50,040 scenario, it can be quite easy and certainly not on purpose. 641 00:35:50,040 --> 00:35:53,040 But I think some dancers can switch off quite easily. 642 00:35:53,040 --> 00:35:57,840 Because for example, if I'm delivering OK adage at the bar, 643 00:35:58,200 --> 00:36:02,760 develop a Duvall in four counts. Now I'm saying the likelihood is 644 00:36:02,760 --> 00:36:06,200 that I'm saying rhythmically develop a Duvall in four counts, 645 00:36:06,200 --> 00:36:10,160 one and A and a two and A and a three and A and a four. 646 00:36:10,280 --> 00:36:15,240 However, like Paul's just mentioned, what I'm not saying 647 00:36:15,240 --> 00:36:19,080 I'm showing. So I'm showing the peel of that 648 00:36:19,080 --> 00:36:24,160 foot into CUDA PA into a retiree, presenting the heel on 649 00:36:24,160 --> 00:36:26,040 top to a beautifully stretched leg. 650 00:36:26,040 --> 00:36:30,040 Duval slightly over crossed because that's my mind, put down 651 00:36:30,440 --> 00:36:32,440 toes back to close back into fifth. 652 00:36:32,440 --> 00:36:35,360 Now, I'm not actually, the likelihood is that I'm saying 653 00:36:35,600 --> 00:36:38,640 quite a lot of that. I'm quite a vocal teacher, but 654 00:36:38,640 --> 00:36:42,120 some cases you don't have the opportunity or the time to 655 00:36:42,120 --> 00:36:46,200 discuss every single detail. But I'm certainly showing you 656 00:36:46,200 --> 00:36:48,800 as, to the best of my ability, every single detail. 657 00:36:48,800 --> 00:36:54,040 On your left foot. The the more the sprained 658 00:36:54,040 --> 00:36:58,800 multiple sprained foot which has more range, less string I. 659 00:37:00,120 --> 00:37:02,600 Mean it's true because even if you're not doing a devil pay up 660 00:37:02,600 --> 00:37:08,240 to 90 up to 180 wherever it is you you doing that Kuda PA and 661 00:37:08,240 --> 00:37:11,800 out to like I don't know 10° off the floor you're still teaching 662 00:37:11,800 --> 00:37:15,200 me a hell of a lot yeah that you're not saying and yeah 663 00:37:15,200 --> 00:37:17,920 completely. So it's, it's the communication 664 00:37:17,920 --> 00:37:20,920 and the watching and the observation and it's all 665 00:37:20,920 --> 00:37:23,480 interlinked. And if you can, if you can 666 00:37:23,480 --> 00:37:27,040 manage to be a part of all those skills whilst you're trying to 667 00:37:27,040 --> 00:37:29,280 pick up the exercise, then by the time you get to the 668 00:37:29,280 --> 00:37:30,840 audition, the work's already done. 669 00:37:30,840 --> 00:37:32,720 Because you're going to be, you're going to be looking, 670 00:37:32,720 --> 00:37:37,400 watching, listening, feeling, absorbing without panicking and 671 00:37:37,400 --> 00:37:41,360 without, you know, throwing yourself under because of the of 672 00:37:41,360 --> 00:37:45,600 the anxiety that some auditions can can provoke in a, in a 673 00:37:45,600 --> 00:37:47,800 person. So watching is really, really, 674 00:37:47,800 --> 00:37:49,480 really important. Like we said earlier with the 675 00:37:49,480 --> 00:37:51,360 auditions, don't be doing stuff all the time. 676 00:37:51,360 --> 00:37:54,160 You can learn a lot from from watching class. 677 00:37:54,160 --> 00:37:57,280 I'm talking about here, you, you can also, instead of standing 678 00:37:57,280 --> 00:37:59,920 there talking to Jessica in the corner when the other groups are 679 00:37:59,920 --> 00:38:03,240 going, you can also watch. You can also watch the other 680 00:38:03,240 --> 00:38:05,920 students, the other dancers, the other professionals, the other 681 00:38:06,120 --> 00:38:09,440 whomever is in that classroom, because that's also going to 682 00:38:09,440 --> 00:38:11,480 teach you a lot. It can teach, it can teach you 683 00:38:11,480 --> 00:38:14,240 as a as a future teacher. For example, you can look at 684 00:38:14,240 --> 00:38:17,200 people and start in your head, like in a positive way, you 685 00:38:17,200 --> 00:38:19,640 know, correcting and thinking, Oh, if she did this, I think 686 00:38:19,640 --> 00:38:22,480 that would help her good. Like watching in that sense. 687 00:38:22,720 --> 00:38:26,240 But you could also, which happened to me a lot through 688 00:38:26,240 --> 00:38:30,000 watching Charlie Broom. Shout out to Charlie Broom in 689 00:38:30,000 --> 00:38:34,120 class when we were when we were doing the Olympics and Pinocchio 690 00:38:34,120 --> 00:38:36,440 and Wind in the Willows and I was doing class with her. 691 00:38:36,640 --> 00:38:40,400 We were doing ballet class, but the way she does a ballet class, 692 00:38:40,880 --> 00:38:44,160 the movement, the artistry, that's something that I learned 693 00:38:44,160 --> 00:38:48,880 from just watching her, just for watching how physical she is in 694 00:38:48,880 --> 00:38:52,640 a ballet class, and I think it's from watching her, to be honest. 695 00:38:52,640 --> 00:38:56,920 That's where I learnt my daily ballet class can be my artistic 696 00:38:57,240 --> 00:38:59,280 escapism. If I'm in a contract where I'm 697 00:38:59,280 --> 00:39:01,200 just doing the same shit different day, you know what I 698 00:39:01,200 --> 00:39:02,520 mean? I'm doing the same show every 699 00:39:02,520 --> 00:39:05,120 single day. Love my job, don't get me wrong, 700 00:39:05,440 --> 00:39:07,400 but artistically, you're kind of a little bit stuck. 701 00:39:07,400 --> 00:39:08,440 You're doing the same thing everyday. 702 00:39:09,000 --> 00:39:14,320 I think watching Charlie Broome gave me taught me how to yeah, 703 00:39:14,320 --> 00:39:17,320 be an artist in class, do it for my technique, for keeping in 704 00:39:17,320 --> 00:39:19,880 shape, blah blah, blah, but also dance. 705 00:39:19,920 --> 00:39:22,800 So open your eyes in class and watch people. 706 00:39:23,160 --> 00:39:27,960 They even even the worst person in the class can teach you 707 00:39:27,960 --> 00:39:30,520 something by watching them, whether it's a what not to do 708 00:39:30,520 --> 00:39:32,840 but. No, it's true that we never 709 00:39:32,840 --> 00:39:34,680 stopped learning. And I think, you know, we need 710 00:39:34,680 --> 00:39:40,280 to be open and, and watching, observing is a great tool 711 00:39:40,440 --> 00:39:43,320 because we never stop learning. And I think we need to make sure 712 00:39:43,320 --> 00:39:46,040 that we understand that we never stop learning. 713 00:39:46,040 --> 00:39:49,520 Even as professional dancers, there's always something to 714 00:39:49,520 --> 00:39:52,440 learn from a colleague. Like, oh, wow, that's how you've 715 00:39:52,440 --> 00:39:55,680 stayed up in that extra turn. I didn't really consider that. 716 00:39:55,680 --> 00:39:58,360 Oh my God. You know, this also helps in 717 00:39:58,360 --> 00:40:00,560 that Gondalegro step. You know, coming out of that 718 00:40:00,560 --> 00:40:02,920 step, your weight's just a little bit shifted here. 719 00:40:03,120 --> 00:40:06,440 Whatever it may be, you know, it's and it's a joy to learn 720 00:40:06,440 --> 00:40:09,720 from each other, I think. But you have to be open for 721 00:40:09,720 --> 00:40:12,400 that. You have to be ready to receive 722 00:40:12,400 --> 00:40:14,320 that. And it's also the inspiration 723 00:40:14,320 --> 00:40:17,240 where you get to, I don't know, you can also you also do when 724 00:40:17,240 --> 00:40:19,520 you're doing a run through and maybe you have a little bit of 725 00:40:19,520 --> 00:40:21,680 spare time when you're doing a run through of the show, the 726 00:40:21,680 --> 00:40:25,280 ballet, the whatever. Sit down and watch how that lead 727 00:40:25,280 --> 00:40:28,640 person or that soloist or whoever are doing their solo or 728 00:40:28,640 --> 00:40:30,920 their song or their dance or whatever it is. 729 00:40:31,400 --> 00:40:32,640 Maybe you don't like their presentation. 730 00:40:32,640 --> 00:40:33,960 Maybe you do like their presentation. 731 00:40:33,960 --> 00:40:37,960 I assure you, you can learn something from watching them. 732 00:40:38,040 --> 00:40:41,360 Instead of just going to your water bottle and having a drink 733 00:40:41,360 --> 00:40:44,680 and then looking on Instagram while you're off or in the 734 00:40:44,680 --> 00:40:48,880 wings, use the opportunity to actually watch that person doing 735 00:40:48,880 --> 00:40:52,000 that solo and it will. I'm not, I'm not telling you 736 00:40:52,000 --> 00:40:53,360 off. I'm not sound like I'm telling 737 00:40:53,360 --> 00:40:54,560 you off. I'm going to get off Instagram 738 00:40:54,560 --> 00:40:57,320 or whatever, but don't forget to watch. 739 00:40:57,320 --> 00:41:01,080 Don't forget to have. You were surrounded by artists 740 00:41:01,080 --> 00:41:03,280 and talented people all the time. 741 00:41:03,520 --> 00:41:08,000 So don't forget to actually have a have a peek and have a look 742 00:41:08,200 --> 00:41:11,080 and learn something. Yeah, be present because, you 743 00:41:11,120 --> 00:41:14,720 know, it is a beautiful art form to be a part of. 744 00:41:14,720 --> 00:41:17,840 And we do choose to be in this profession because we love it. 745 00:41:17,840 --> 00:41:21,240 And that's a really important thing to remember, Paul, is, you 746 00:41:21,240 --> 00:41:25,760 know, we're surrounded by such art and artists and creation and 747 00:41:25,760 --> 00:41:30,080 creatives. It's, it's a joy to to be a part 748 00:41:30,080 --> 00:41:32,040 of, isn't it? And of course, we have to switch 749 00:41:32,040 --> 00:41:36,040 off and we have to, you know, escape from, you know, a 750 00:41:36,040 --> 00:41:40,040 profession that is exceptionally difficult and disciplined and 751 00:41:40,040 --> 00:41:43,880 requires a lot of focus. But you might as well just go 752 00:41:43,880 --> 00:41:47,000 for it whilst you're in it, you know, and, and take, take the 753 00:41:47,000 --> 00:41:51,360 bull by the horns and just embrace all parts of it because 754 00:41:51,360 --> 00:41:54,760 as we know, this career is very, very short. 755 00:41:55,080 --> 00:41:58,880 And if you're in that room with these people, like I'm not 756 00:41:58,880 --> 00:42:01,000 saying you have to use all your free time to go on YouTube and 757 00:42:01,000 --> 00:42:05,120 watch Darci Buster do a solo. But if you're in the room and 758 00:42:05,200 --> 00:42:07,520 you know you've just done your Shardash, you sit at the side 759 00:42:07,520 --> 00:42:10,360 and now it's something else, you may as well watch. 760 00:42:10,880 --> 00:42:13,880 You're there. So get off your phone, Jessica. 761 00:42:15,160 --> 00:42:16,680 Jessica's actually not allowed to have her. 762 00:42:16,720 --> 00:42:20,200 Jessica's phone is in my office, top drawer locked. 763 00:42:21,280 --> 00:42:24,960 Oh no, but she has her her Apple Watch on and it's constantly 764 00:42:24,960 --> 00:42:28,880 going did did in in rehearsals and I can see her looking at her 765 00:42:28,880 --> 00:42:30,600 watch. Firstly she should be wearing a 766 00:42:30,600 --> 00:42:32,160 watch in rehearsal. She could have someone to sign 767 00:42:32,160 --> 00:42:34,520 out. Exactly, and she can take those 768 00:42:34,520 --> 00:42:36,560 hoops out as well because they're also dangerous. 769 00:42:36,560 --> 00:42:44,120 It should be studs or nothing. Well, I believe our young 770 00:42:44,120 --> 00:42:48,160 dancers are now ready to fly the nest after all this fantastic 771 00:42:48,160 --> 00:42:49,360 advice that has been given to them. 772 00:42:49,680 --> 00:42:53,840 Absolutely, and our advice is nearly as valuable as strong 773 00:42:53,840 --> 00:42:56,360 technique and good feat. Nearly. 774 00:42:56,680 --> 00:42:59,320 Nearly. All right, babes. 775 00:42:59,480 --> 00:43:02,120 Well, it's been lovely chatting to you again, and I'm glad we 776 00:43:02,120 --> 00:43:05,000 could make this work. Let's see if it can upload and 777 00:43:05,000 --> 00:43:06,880 maybe there'll be an episode on Thursday. 778 00:43:07,720 --> 00:43:10,160 Here's hoping. Thank you all for listening. 779 00:43:10,160 --> 00:43:14,840 This is the second time we've gone through this scenario, so I 780 00:43:14,840 --> 00:43:17,040 don't know whether I'm just repeating myself or 781 00:43:17,040 --> 00:43:19,840 hallucinating, but I hope there's been some value from 782 00:43:19,960 --> 00:43:23,040 what's come out of our mouths. But thanks for listening. 783 00:43:23,040 --> 00:43:25,840 We hope to have you all back next week. 784 00:43:26,080 --> 00:43:28,760 Denise, it's been a pleasure. Thank you again and thank you 785 00:43:28,760 --> 00:43:30,160 all for listening. Bye. 786 00:43:30,440 --> 00:43:31,280 Bye darling, bye.