I can’t seem to make coherent statements about Coppélia except that it was a wonderful, terrifying, and amazing experience that I already miss. I never expected this time last year to think of myself as an emotional dancer, but somehow the story and the emotion of the character became the top priority in the course of these performances. Could this be artistic maturation I’m experiencing? I can only hope…
In lieu of a complete statement or story, here are some moments from Coppélia:
- Those times when you just nail the balances when they matter, and they take you by surprise? Yeah, I had a few of those. : ) It’s a great feeling, like you’re totally in control of yourself and the audience and the conductor is kind enough to draw out the phrase until you have finished your arabesque… Victory!
- Those times when your headpiece, which has never come loose before, falls out during the Spanish variation during Act II. Oh well.
- Those times when Franz tries to pluck the trick flower from your bouquet but manages to get only the head of the flower, leaving the stem still in your hands? That’s when you switch the mime from “breaking” to “plucking.” Twice.
- Those times when your friend, when doing her variation about disliking her dress, actually rips her skirt and has a dangling piece for much of Act I.
- Those time when you know you have to go to bed but you can only lie there thinking of the music and of things you did and will do differently perhaps next time because you are still too excited to sleep even though the show ended two hours ago.
Now Sigma Rho Delta is choreographing a seven minute Coppélia to show at the MLK Center. I did Act II in two minutes. Impressive, huh?