Dancing Through It: My Journey in the Ballet (39 page)

Abergel, Dena,
67
,
131
–33

Adams, John,
78
–79,
172

adulthood,
4
–5

developing into,
53
–55

self-acceptance in,
119
–20,
151
,
158
,
256
–57

Alexopoulos, Helene,
233
,
241

All Angels’ Church, New York,
31
,
105
–6

author’s job with,
116
,
117
,
150

community of,
40
,
105

dance ministry in,
40
–41

and House Church,
106
–7,
111
,
117

Alvarez, Suzy,
217

American Ballet Theatre,
34
,
56
,
185

American Guild of Musical Artists (AGMA),
192
,
196

AM New York,
223

Angle, Jared,
211
–12,
250

Angle, Tyler,
171

anorexia,
3
,
87
,
220

Anna (nickname),
87

Aroldingen, Karin von,
44

Askegard, Charles,
179
–80

Atrides, Norma,
137
,
191
–92

Avery Fisher Hall, New York,
47

Balanchine, George,
233

choreography,
35
,
81
,
86
,
170
;
see also
Balanchine, George, choreography by

continuing the legacy of,
44
,
61

death of,
35
,
46

leaving Russia,
37

and New York City Ballet,
27
,
187

and New York State Theater,
47

and School of American Ballet,
30
,
35
–36,
57
,
187

Balanchine, George, choreography by:

Ballo della Regina,
69
–72

Brahms-Schoenberg Quartet,
193
,
194
–95

Harlequinade,
92
–93

Ivesiana,
90
–91

Kammermusik No. 2,
178

The
Nutcracker,
64
–68

Robert Schumann’s
“
Davidsbündlertänze,
”
182

Serenade,
see
Serenade

La Sonnambula,
209

Stars and Stripes,
113
,
129
,
148

Symphony in C,
42
,
43
,
50

Symphony in Three Movements,
183
,
184

Tschaikovsky Suite No. 3,
61
–64

Valse-Fantasie,
52

Vienna Waltzes,
170
–71

Balanchine “look,”
86

Balanchine technique,
30
,
35
–36,
57
,
186
–87

ballet:

audience for,
144
,
174
,
250

ballonnées,
50

bird lifts,
33
,
243

“blanking” in performance,
180
–84

changes in,
87
,
249

classes,
8
,
9
,
11
–12,
14
–16,
19
–22

community of,
13
,
26
,
73
–74,
244

coupés jetés,
178
–79

discipline of,
15
–16

eating disorders in,
107
–8,
219
–20,
224

en pointe,
14
,
26
,
37

facing away,
245

fifth position,
28
–29

flying
tombé coupé grand jeté,
242

glossary,
261
–63

grand battement,
28
–29

grand jeté,
21
–22,
136

hair for,
165
–66,
167

individual artistry in,
38
,
55
–56,
167
,
170
,
174
,
250

learning a new ballet,
169
–70

marking rehearsals,
79

and motherhood,
208
–10

music for,
169
–73;
see also
music

neoclassical style,
35
–36,
184

orchestra,
169
,
171
–72

“paragraphs” in,
37

pas de deux (partnering),
21
–22,
83
–84,
124

pliés,
30
,
60

pointe shoes for,
163
,
166
–67,
168

port de bras,
37
,
40

preparation for performance,
162
–69

resin box,
168
,
179

retirement ages in,
193
,
195
,
206

Russian classical style,
20

stage calls,
169

stage makeup for,
16
–17,
157
,
158
,
163
–64,
167

summer intensives,
28

technical foundation for,
36
–37,
173
,
174
,
250

unique world of,
162

variations classes,
36
,
37
,
38

warming up for,
167
,
168
,
169

and weight,
see
weight

working with choreographers,
86
,
87
,
129
,
200
–204;
see also
specific choreographers

ballet masters,
170

Ballet Russe de Monte Carlo,
20

Ballo della Regina
(Balanchine),
69
–72

Barber Violin Concerto
(Martins),
193
–94

beauty,
119
,
144
,
153
,
217
,
220
,
254
,
257

Beethoven’s Seventh
(Tharp),
181
,
182

Berrand, Patricia,
26

Bielski, Nancy,
117
–20,
150
,
208

binge-purge cycle,
91
,
92
,
93
,
97
,
98
,
104
,
108
;
see also
eating disorders

Bittencourt, Julio de,
25

Black, Clint,
127

Black Swan
(movie),
216
,
220
,
227
,
230

Boal, Peter,
83
–85,
92
,
181
,
182
,
233

body:

appearance of,
53
,
86
,
88
,
89
–91,
94
,
95
,
96
,
98
,
119
,
154
,
158
,
216
–17,
220
,
230
,
249
–50,
255
–57

author’s acceptance of,
119
–20,
151
,
158
,
256
–57

changes in,
53
–55

perfect for ballet,
54
,
86
,
89
,
153
,
220
,
248

sacrificing for the dance,
81
,
153
,
175

shape of,
53
,
89
,
119
,
209
,
220
,
250

teen concerns about,
53
–55

Bolshoi Ballet,
200

Borree, Yvonne,
82
–83,
92
,
98
–99,
242

Bournonville, August, pas de trois,
42

Brahms-Schoenberg Quartet
(Balanchine),
193
,
194
–95

Brooks, Garth,
126

Brown, Marie,
29

Calegari, Maria,
233
,
241

Calvert, Stacey,
88
,
94

Carpenter, Mary Chapin,
127

Castelli, Victor,
234
,
235

Cathedral of Saint John the Divine, New York,
188
–89

Chatauqua program,
28

Choo San Goh,
23

Chopin, Frédéric,
232

choreography:

and ballet masters,
170

and City Ballet,
56
,
70
–71

and the music,
169
,
171
–72,
174
,
201
,
242
,
252

in summer workshops,
32
–33

working with choreographers,
86
,
87
,
129
,
200
–204

see also
specific choreographers

Christian faith:

All Angels’ Church,
31
,
40
–41,
105
–6

author’s baptism into,
13

of author’s family,
8
–9,
12
–13,
18
,
40
,
105

Bible study,
106

counseling in,
111
–12

dance ministry,
40
–41,
105

and despair,
114
–15

developing and growing,
197

giving God control,
46
,
56
,
115
,
140
,
156
,
161
,
211

healing in,
107
,
112
,
117
,
119
–20,
151
,
158
,
213
,
231

House Church,
106
–7,
111
,
117

intellectual side of,
88

and perfection,
5
,
111
,
120
,
254

and prayer,
8
–9,
18
,
22
,
25
,
46
,
55
,
91
,
106
,
112
,
168
,
176

Redeemer Presbyterian Church,
196
–97

search for inspiration,
56

seeking God’s plan,
115
,
134
,
144

slipping away,
78
,
87
–88,
91
–92,
103
,
113

testing of,
40

competition,
16
,
24
,
26
,
32
,
39
–40,
57
,
82

The Concert
(Robbins),
94

critical reviews:

ballets defined by,
201

bias in,
214
,
215

effect on dancers,
215

and Internet,
215
–16,
218
,
221
,
222
,
230

by Macaulay,
212
–17,
218
,
220
–21,
224

opening-night performances,
211
–12

see also
Sugar Plumgate

Cummings, Dorothy,
137
–38,
191
–92

Curry, Ann,
218
,
219
–21

Dance On,
73

Dancers’ Emergency Fund,
43

Dances at a Gathering
(Robbins),
164
,
182
–84,
232
–44

Blue Girl,
233
–34,
240

Grand Waltz,
239
–40

Green Girl,
234
–36

improvisations in,
183
–84

last movement,
252
–53

pas de deux,
242
,
243

Pink Girl,
242
–43

Purple [Mauve] Girl,
182
,
241
–42

satisfying experience of,
244

Scherzo,
241
,
242
–43

unique performances of,
253

Wind Waltz,
236
–37

working with Robbins on,
233
–39,
242
,
251
–52

Yellow Girl,
236
–41

Dances Patrelle,
150
–51

Dance Spirit,
249
–50

dancing:

and adrenaline,
33
,
169
,
173
,
205
,
234