Name: バレリーナが一日でくるみ割り人形の「シュガープラムの妖精」をマスター｜グラマー (Ballerina Masters The Nutcracker's 'Sugar Plum Fairy' In A Day | Glamour)
Uploaded: 2021-01-14T10:15:06.000Z
Duration: 14 min 24 s
Description: VoiceTubeの動画で発音を聞きながら英語表現を覚えよう！学べる英語：

So this needs to be here and this My shoulder needs to be tucked on this way.

My armpit means we rotated this way like there's a 1,000,000 things going through my head in this position.

I am scout for, say, professional ballerina with American Ballet Theater.

I've been dancing for 12 years and professionally now for six, and I danced on some of the most famous and incredible stage is that the world has to offer, including France and Russia.

Today I'm going to attempt to recreate the hardest parts of variation.

I'm not too familiar with the Sugar Plum Fairy variation from The Nutcracker.

I'm gonna be going over the choreography today.

I'm going to be learning hair and makeup, and I'm gonna wear the tutu for the actual variation.

In order to nail the variation, I'm gonna need to work on B plus position.

Bori steps, point work Arabesque, Piquet manage and Coop agent jumps hardest part of pointe work is rolling through the feet and making sure I'm using every single muscle in my foot.

The hardest part about Arabesque is making sure that you're on your leg and keeping your back up without going too far forward or too far back.

So the Sugarplum variation comes from the final scene, when the Prince Cavalier and his sugarplum fairy dance together.

This is her variation to show how beautiful in regal she is and where she is in the land of sweets, and it ends beautifully and I get dizzy, and that's how the variation goes.

I'm gonna go mark through the sugarplum variation.

So the first section iss her coming out, starting on the corner, and she's in B plus and in this moment, really thinking of where I'm angled towards the audience.

So this needs to be here and this my shoulder needs to be tucked on this way.

My armpit means we rotated this way like there's a a 1,000,000 things going through my head in this position, and you go into the first step and this is a little bore, a step.

Quite work is when you go past your flat foot on the ground so you're flat foot goes up onto your toes, your dancing completely and 100% on your toes, and the reason that point shoes were invented was so the ballerina looked like she was floating.

And in this motion of pot of beret with legs up in high Posse, the Potter berry has to be like a little.

There can't be any slow movements to our heavy, where it's like, Oh, I just want to get it done like there has to be a lightness and airiness about it.

Sometimes what happens is I feel like dancers go in dance, and there's this loss of connection between the fingers and the head, which is such a vital thing for a ballerina, too.

You kind of follow the fingers and then look out into the audience to go through things and then stepping into the arabesque, you have to have weight going forward to go up.

What makes it so hard is that I have to remember that in order to get on the balance, you have to have the hinging at the hips here, and if you don't fully and go for it, it's not gonna happen if you're back here on your leg trying to make it work.

You fully have to go for it in orderto work.

So the next section is the P came in EJ turn ticket turns of themselves.

But what makes it exciting is the head, the upper body, the shoulders, the quickness to speed these attack of this particular dance.

You start from the back in, your leg goes out forward and you step on a straight leg.

A part is difficult because you have to know where body weight is going into it, and when you go into it, you have this turning motion and it's a constant turning.

The dancer goes around the whole stage in a big circle formation.

Technically, we think of it as a box because it's easier to cover every single corner.

If you think going in a box, it turns in testicle.

Is those Piquet turns constantly going in that big circles of starting from one area and going all the way around the stage and finishing on the other side at the end of the peaky turns those air for me, stamina wise, where I get the most frustrated and low on energy, the peak image some of the major points I'm thinking about, Ah, lot of them is upper body, having the upper body held but not pushing down so your ribs can't move when you're doing the peek a turn because the turn comes from the upper body and the ability to move the rib cage around your spinal cord.

And then out of the p k turns comes the coop.

Jeff Tae Woo jet means to dart out, and that's one of the major movements.

It's a quick, fast Cooper Jett jump your leg split up in the air, but you're not going up.

You are moving continuously in this jump, starting over something.

It's that's the only way to do it and complete it well, so going through that and then we do the P K speaking, speaking, and then we end it from the corner coming to the end, and this is the final part of the dance, and it's like the last moment of this dance were like I just got a push and go through it and then the pose, like that last pose of shut and having that final moment of the breath going on.

Then you walk off stage, and that's the end of it.

And then you run off stage and you're like, Where's the water?

And she's gonna be coaching me through the Sugar plum variation today from The Nutcracker.

He wanted the Dance of the Sugar Plum Fairy to be like drops of water from the fountain, the quickness of it.

And so you come out from the wings and can we do a bit of a plea and say, Here I am very nice.

And now do that with a Brit and turn your hands too.

Well, this solo looks deceptively easy, but it's not really in order to keep the speed and to keep up with the music, you have to move your head and your eyes.

I'm gonna put on the costume and do my hair and makeup for the Sugar Plum variation.

When you're on the stage, the light just washes you out and you become very flat.

So we rebuild your face to be dimensional.

We can also use contouring to distort your face.

So I'm going to start with just a very soft highlight powder and we put it right on your cheek bones and you can find your cheek bones.

If you open your jaw, you can feel where your job pops and really close it right where that separation is.

And that's where the contract goes specifically on.

I like to bring the blush up and around their hair line up here and contour with the blush versus a contour color.

We're gonna move on to the eyes for Sugar Plum Fairy.

I like to do shadow and liner, and I'm going to extend your wing if you will past your eye on the outside to make your eyes look bigger so you'll see.

I'll leave a tiny bit of space open on the stage.

We tend to exaggerate eyebrows a bit and make them a little bit longer.

It's just to exaggerate every feature the same way you exaggerate your arms and your legs to make it so grand and fluid.

It also follows the same lines as your facial structure.

So your jaw line goes up, your cheekbones go up s so then it's all parallel.

And for Sugar Plum Fairy, we're going to do a nice, neutral pink.

I like to section the hair into three parts.

字幕リスト動画再生

バレリーナが一日でくるみ割り人形の「シュガープラムの妖精」をマスター｜グラマー (Ballerina Masters The Nutcracker's 'Sugar Plum Fairy' In A Day | Glamour)

exaggerate

audience

position

separate