That's what our teacher Silvia told us to do. You can pick another theatre of your liking, say La Scala or Opéra Garnier - just make it a grand one. There has to be a third row balcony, because that's as far as you need to project your stage presence! You see, it's not enough to dance to the privileged viewers in first row. You want to dance to the ballet lovers who can only afford seats in the nosebleed section! The idea of dancing in the Bolshoi theatre made us all giggle, but everyone stood immediately a little taller. We might be just a bunch of adult dancers, but we can imagine with the best of them!
Personally, I've often found my imaginary audience to be a tricky one. When I look at the mirror, I try to think there's someone behind that looking glass - but I get quickly distracted by my own reflection. Even when I assume the standard poses, head positions included, the idea of "projecting" has yet to sink in. I suppose it's because a lot of confidence is required to present yourself in such an obvious way. But that's ballet for you.
I remember when another teacher told me to look into the direction of my hands, but not at my hands. Like when your arms are up in fifth/third/couronne - they have to be in your line of vision, but without craning your head. Or when you do an allongé - the head is turned towards, but the eyes don't linger on the wrist or fingers. Simply put, elongating your lines does not stop at the body. The eyes will take you to third balcony and beyond, as far as you want to dance.
See you at the Bolshoi! ;)
Personally, I've often found my imaginary audience to be a tricky one. When I look at the mirror, I try to think there's someone behind that looking glass - but I get quickly distracted by my own reflection. Even when I assume the standard poses, head positions included, the idea of "projecting" has yet to sink in. I suppose it's because a lot of confidence is required to present yourself in such an obvious way. But that's ballet for you.
I remember when another teacher told me to look into the direction of my hands, but not at my hands. Like when your arms are up in fifth/third/couronne - they have to be in your line of vision, but without craning your head. Or when you do an allongé - the head is turned towards, but the eyes don't linger on the wrist or fingers. Simply put, elongating your lines does not stop at the body. The eyes will take you to third balcony and beyond, as far as you want to dance.
See you at the Bolshoi! ;)