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PRIX DE LAUSANNE 2002 Article for Ausdance - Helene Markstein, Press Rep
Of the 10 Australians who competed in this years Prix de Lausanne, 30th concours
international pour jeunes danseurs, 7 of these young dancers made it through the
first cut. Teneill Wilson, Sheree Matthew's, Gloria Savic, from Sydney, Laura Caroll,
Jasmin Maindok from Perth, Renee Von Stein from Brisbane and the youngest, 15 year
old Gemma Pearce from Victoria, making it through two selections to the semi-finals.
Each year has its unique flavour and this year it was the astounding young dancers
from Korea who by the semi-finals had a staggering 12 participants, of the 32 chosen.
The technical level this year was exceptionally high, making the decisions tough
for the 11 international jury members. Initially 118 participants from 22 participating
countries, 32 were selected as semi-finalists, then 12 girls and 5 boys being chosen
for the finals. 11 major awards were given, scholarships and money covering expenses
with the remaining finalists all receiving 1000 Swiss Francs. On the whole everyone
seems to have won something from taking part in this event from finalists to the
non selected candidates.
Apart from sharing dance experience with dancers from all over the world, the events
on offer were interesting and fun, making the big trip for the Australians worthwhile.
Makeup and porte de bras workshops, classical and contemporary classes with excellent
teachers, coaches, choreographers from the USA, London, Japan, Italy, Rotterdam,
Geneva, Germany, Russia and France. For the non selected the opportunity to show
their specially prepared free variation and daily class work to the general public,
who consisted of teachers, parents and directors of schools who come to the event
every year to secure young talent for their ballet schools. The exposure is wonderful
for the young dancers and many participants come away from the event with firm offers
and invitations for places in more than one school, making dance future options wider,
with contacts made for auditions that can be followed up in the UK and other countries
after the finish of the Prix.
This year 3 seminars were given during the event, on 'Balanced and Effective Training…
with a view to enhancing performance and lengthening careers', 'A Physiological Perspective
on dance training' with Dr Carlo Bagutti, Francis Weyts and Ralph Mouchbahani. 'Present
Practices and an Ideal World', all moderated and summarised skillfully by former
principal of The Royal Ballet company Deborah Bull. They were informative and stimulating,
offering both parents, students and the curious teacher food for thought on the differing
forms of integration in the development of the young dancer, especially 'the person/the
dancer'. Assisting panel members included Gailene Stock, Director of The Royal Ballet
School, Claudine Kamoun, Director the Geneva Dance Centre and 2 former winners of
the Prix de Lausanne, Monica Zamora and Shintaro Oue, offering their individual experiences
and current schooling methods and hopes for the training of this age group. All seminars
seemed to have a common theme, ideally, an integration of scientific and anatomical
knowledge, taking alternative training into existing training so it isn't considered
a further burden to the student. Communication skills into the class situation with
a teachers check list being mooted as possible to ensure their efforts are as effective
as possible, with physiological demands given equal status with the artistic. The
consideration of a non- authoritarian approach, the encouragement of students to
ask questions, to self assess. The need for strong emphasis on 'rest/recovery' time,
learning taking place not during rehearsals but afterwards when the brain has time
to 'lay down' the information. Rehearsals in the head being more useful when proof
has been shown that the brain engages the same nerve cells as when movement is being
performed, this can actually be as effective as a rehearsal in the studio. The importance
of cardiovascular fitness, the role of improving stamina delaying fatigue, permitting
more intensive training. That this increases teaching options, with quicker recovery
time, fewer technical errors and sustained speed possible. The feeling was one of
being force-fed, with graphs and notes and in several interpreted languages.
The Prix was created to encourage the pursuit of new artistic goals and cultural
diversity, by recognising and displaying the talents of tomorrow. Incoming gracious
new President of the Artistic Commission Mavis Staines, taking on this mantle was
introduced as Jan Nuyts finished his post this year, the likelihood of new contemporary
variations to be used and conditions may change for 2003. In other moments of interest
for many Australian dancers and teachers, well known UK teacher Christine Anthony
announced her retirement after coaching for 17 years at the Prix de Lausanne. Encouraging
in her advice during the last Prix classical class, she reminisced on the number
of famous dancers she has known who didn't make the first cut,
A summary of the seminars notes, a list of Dance Support Organisations worldwide,
extracts from the Royal Ballet School Teacher's Handbook, photos by Phillipe Pasche
and other information of interest can be downloaded from the Prix de Lausanne site
at www.prixdelausanne.org