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To enhance her dancing with a touch of rubato — a kind of teasing or playing with the music — she uses her elegant limbs to slow down moments or stretch them out like taffy. News World U.Art In Motion: NYC Ballet's 2014-15 Season
Now, after years of experience, some time away with the baby, and several injuries, I appreciate this art form so much more. We have such a drive, a passion, and a focus, I think whatever we really want to do, we can do it. She is tall: Peck said in a telephone interview.
What kind of cross-training do you do to support your dancing? Hyltin, we feel something that can often get lost in an onrush of technique and craft — she is really dancing.
What those attributes must be has probably changed from era to era. I kept spraining my ankle when I went to do fast pointe work. A version of this article appears in print on , on Page AR12 of the New York edition with the headline: During the last couple of years she has focused on her projection.
Kowroski and Wendy Whelan. An Interview with Principal Dancer Maria Kowroski By Elisabeth Donnelly With over two decades of stage time at Lincoln Center, NYCB senior ballerina Maria Kowroski embodies the strength and determination required of an elite athlete, bringing beauty to impossible shapes and creating an incandescent vision through her grace and artistry.
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I felt very lucky and honored to be dancing such an incredible role with a company I admire and respect so much. We had the opportunity to talk with her in August, to explore the ideas behind the work that goes into being a prima ballerina, the sweat that leads to the beauty.
However, I was determined I was determined to try to do the 32, so every time we performed it I would try to do it, and then I finally did it in Russia. You agree to receive occasional updates and special offers for The New York Times's products and services. An error has occurred.