Dreaming of tragedies in tulle.


Can we all just acknowledge that at some point in our lives, most of us wanted to be a ballerina?

This phase may have been short-lived – perhaps it was a fleeting fancy resulting from a December Nutcracker overdose – or perhaps like me, it took form in painfully awkward ballet bunnies classes. For a special few however, this passion develops into a career in dance. To all ballerinas: I am feeling especially jealous lately!

Ballet, with its conjured images of grace, tutus and impossibly dainty (and painful!) pointe shoes, represents a sort of understated elegance that has often inspired the fashion world (like Degas’ “Dancer” paintings with creamy peach tones and appliqué flowers). This influence has been distilled into even the most mainstream of trends – ballet flats for example. Without dialogue, ballets rely on communicating characterization through costumes more strongly than in speaking mediums.

I was able to view this first hand when seeing The National Ballet of Canada’s Romeo and Juliet (the Prokofiev version).


This is the kind of grace I am talking about – look at Karen Kain’s leap! (She’s now the Artistic Director of the National Ballet of Canada.)
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