In the first part of our series on pas de deux, we discussed some basic preparations. In this issue Michelle Dursun gets down to specifics
Balances
One of the misconceptions about pas de deux is that it is all about lifting. Not so, says Angus Lugsdin, coordinator and senior dance instructor at Queensland Dance School of Excellence. “The most difficult skill to learn is for the boy to find his partner’s balance over her supporting leg and keep her there, and for the girl to establish correct ballet positions so that the boy can sense where her centre is.”
Lugsdin advises that for all balances, dancers need to ensure that they are properly aligned and focused on a single point. Girls need to hold their position (even if tempted to put a foot down) because it is very difficult for the boy if she is moving around too much. Girls must also remember not to grip the boy’s hand, but to lightly rest her hand on his. “A boy should provide stable support,” Lugsdin says, “allowing the girl to let go of him when she has her balance.”
A boy can feel whether his partner is on balance. “If there is weight on his hand then the girl is not on balance and the boy needs to help her get back on her leg,” says Tim Storey, head of dance at the Victorian College of Arts Secondary School.
Storey suggests that partnering work is often harder for boys than girls as they have to unlearn some of their ballet technique. For maximum stability and balance, boys often need to establish a parallel or turned-in position, which goes against the usual expectation of turn-out.
Lifts
But yes, lifts are a major part of partnering and all dancers look forward to learning them. Needless to say, they are difficult and challenging. Of course, it helps if the boy and girl are well suited. Though timing and breath can help, “No lifts should be attempted if partners are not properly matched physically,” Lugsdin says.
A successful lift requires a shared effort. Girls needs to focus on lengthening rather than bracing their core to make it easier for the boy to hold and support them. According to Lugsdin, the girl should lift up internally and keep her eye line up so she is not a dead weight.
A lift is an extension of a jump. The girl jumps and the boy uses the momentum to continue into the lift. With jumps that travel, girls need to remember that it is the boy’s job to do the travelling. For example, she should direct her grand jete straight upwards, otherwise her partner will not be able to catch her.
When it comes to lifts and boys, the overwhelming message is of caution. “I never let a boy lift a girl any higher than he can bring her down slowly and with control,” Storey says. He also advises boys to lengthen – not brace – their core.
Strength is the critical factor in determining a boy’s readiness for lifts. Storey advises that boys should keep their backs straight and pull their elbows into their waists for maximum power. Lugsdin adds that boys should power their lift with their legs as well as using their upper-body strength. In addition, boys should not grip the girl’s waist with their fingers. Rather they should spread the load through the palm of the hand, using the fingers
to stabilise.
Above all, movements should be smooth and controlled. The objective of a lift is to give the impression of weightlessness and grace – no easy task, but achievable with time, practice and dedication.
Catches
Catches can be one of the scariest and trickiest aspects of partnering work. Both Storey and Lugsdin advise that they should not be taught until students are fairly advanced, or “until there is sufficient confidence and trust between partners” (Lugsdin).
Communication is crucial. Before attempting a catch, girls need to let their partner know where they will be jumping from. They need to jump as high as possible and, adds Lugsdin, jump “directly to their partner, not simply near them”. This enables the boy to actually catch the girl rather than having to move to catch her, which can have terrible consequences.
The main requirements for boys when it comes to catches are bulk and strength. To protect their backs, boys should avoid bending forward when catching, and make sure they take the weight in the legs and bend their knees. They must also anticipate their partner’s moves and momentum.
Storey recommends absolute vigilance from teachers when teaching catches. To ensure that his students at VCASS are competent he makes them practice the catch “adagio” before attempting it “allegro”. He warns that students should not attempt catches they have seen in performances without the instruction of their teacher.
Turns
Turns are one of the showpiece moves of a pas de deux. They require hard work and good coordination to be pulled off successfully. Girls must be capable of performing pirouettes unsupported before supported turns are attempted. The girl’s centre of gravity is all important (as in a normal pirouette) so partners must ensure that the addition of the boy doesn’t interfere with her balance.
When learning supported pirouettes, girls should keep the force of the turn low. The girl is responsible for the turn – not the boy. The boy supports the girl, he doesn’t turn her. Girls must also, according the Lugsdin, “keep their elbows lifted to avoid striking their partner’s forearm while turning”. When the arms are in first position, they may have to be held closer to the body. For turns where arms are in fifth position, girls need to ensure that their elbows are as straight as possible. Girls must also stay focused on their technique, remember to spot and keep a solid core.
The boy needs to communicate with his partner to ensure she is on balance, and support her and make adjustments while she turns.
For finger-turns, boys must position their hand directly above the girl’s head to help her maintain her centre and balance. To slow the girl down, he should use the palms of his hands to apply light pressure to the girl’s waist.
Shoulder-Sits
The shoulder-sit is one of the most challenging moves for both girls and boys to learn, according to Storey. They also have the most potential for injury, because the girl’s weight is not centered through the boy’s body. For this reason, Storey does not teach shoulder-sits unless the choreography specifically requires it. Boys require significant bulk and “grunt” to be able to perform the move successfully. Lugsdin advises that, when learning a shoulder-sit, “girls may hold the wrists of their partners for extra stability and upward thrust” if required. Girls should jump as high as possible and the boys need to bend their knees and quickly position themselves under their partner. Girls should not try to shift their weight once in the shoulder-sit as this makes it impossible for the boy to keep his balance. Boys must be prepared to catch their partner if things don’t go quite to plan. Vigilance is the overwhelming message when attempting a shoulder-sit and teacher supervision is absolutely essential.
As you can see, pas de deux really is a “part for two”.
This article was first published in Dance Australia Magazine October/November 2012
