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The Everyday Dancer
The Everyday Dancer is a new and honest account of the business of dancing from a writer with first hand experience of the profession. Structured around the daily schedule, The Everyday Dancer goes behind the velvet curtain, the gilt and the glamour to uncover the everyday realities of a career in dance. Starting out with the obligatory daily 'class', the book progresses through the repetition of rehearsals, the excitement of creating new work, the nervous tension of the half hour call, the pressures of performance and the anti-climax of curtain down.
Through this vivid portrait of a dancer's every day, Deborah Bull reveals the arc of a dancer's life: from the seven-year-old's very first ballet class, through training, to company life, up through the ranks from corps de ballet to principal and then, not thirty years after it all began, to retirement and the inevitable sense of loss that comes with saying goodbye to your childhood dreams.
Through this vivid portrait of a dancer's every day, Deborah Bull reveals the arc of a dancer's life: from the seven-year-old's very first ballet class, through training, to company life, up through the ranks from corps de ballet to principal and then, not thirty years after it all began, to retirement and the inevitable sense of loss that comes with saying goodbye to your childhood dreams.
224 pages, Hardcover
First published January 1, 2011
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Displaying 1 - 14 of 14 reviews
May 3, 2022
A fun little self-assigned reading for my job at Philadelphia Ballet that provided a deeper understanding of daily life in our studios and in the theater. Deborah Bull, the author, was a dancer at The Royal Ballet for 20 years, working her way up from the corps de ballet to principal dancer.
There were parts that were a bit of a slog, but hey, so is being a ballet dancer - it's mostly the same routine, day in and day out to build strength and to refine technique. I loved learning about "the shoe ceremony," what each dancer does to customize her pointe shoes and to choose a pair for a performance. I also enjoyed how Deborah reflects on certain aspects of the career that are universal, such as how becoming a dancer is a childhood dream/decision.
It's organized very logically, almost like a handbook, following the path of a dancer from when s/he makes that childhood decision all the way through promotions and retirement.
I danced from the age of 6 through 12, so I bailed when you had to make the decision whether to take it seriously. The pointe shoes were what did me in, but I loved the discipline and exactitude of it all...and of course, the sparkly costumes for the performances.
Here's an interview with the author about the book: https://www.youtube.com/watch?v=2s7Ym...
"The breathtaking physical elegance of the dancer is undermined, in every instance, by our bizarre clothing culture. The messier, the older, the baggier, the better - or so it would seem. In face it's far more subtle than that. Ballet clothing and ballet culture have both undergone a massive change over the last three decades and one is, almost certainly, a manifestation of the other." p. 14
"The barre should be lightly held, not grabbed: it is there as a reminder, not a lifesaver." p. 19
"A good répétiteur has to inspire respect for those standards and traditions while understanding that each generation brings its own values to the process and has its own contribution to make to the evolution of dance." p. 54
"The corps [de ballet], through its dances, is responsible for setting the style of the ballet, preparing the ground for the principal dancers who follow." p. 62
"The répétiteur fulfils a different role in these principal calls from the part he or she plays with the corps: it's less about marshalling forces and imparting information than about bringing out the best performance the artist can find within. A skilled répétiteur, coaching a principal role, passes on all the wise counsel and good sense acquired over her own career, but leaves open the possibility that new generations are likely to see the world differently and may have something of their own to add." p. 99
"New work like this is vital to the creative health of any ballet company: it ensures that the art form remains relevant in a contemporary and diverse world, it challenges artists to find new dimensions within themselves and encourages audiences to revisit their preconceptions about what dance can be." p. 120
On pointe shoes: "Let me be clear: the agony is not physical. From time to time, toes 'skin' and blisters form (and soft corns are a hazard of the job) but the human body will take almost anything you throw at it, as long as you throw it systematically and over time." p. 151-152
"Without a strong corps de ballet, you don't really have a company. The corps holds the performance together, weaving a thread between the solos and the pas de deux. It sets the scene and the style." p. 172
"Dancing leaves an indelible mark: a profound and literal body of knowledge, distilled from decades in the studio and on the stage; it creates the dancer from the dance." p 209
There were parts that were a bit of a slog, but hey, so is being a ballet dancer - it's mostly the same routine, day in and day out to build strength and to refine technique. I loved learning about "the shoe ceremony," what each dancer does to customize her pointe shoes and to choose a pair for a performance. I also enjoyed how Deborah reflects on certain aspects of the career that are universal, such as how becoming a dancer is a childhood dream/decision.
It's organized very logically, almost like a handbook, following the path of a dancer from when s/he makes that childhood decision all the way through promotions and retirement.
I danced from the age of 6 through 12, so I bailed when you had to make the decision whether to take it seriously. The pointe shoes were what did me in, but I loved the discipline and exactitude of it all...and of course, the sparkly costumes for the performances.
Here's an interview with the author about the book: https://www.youtube.com/watch?v=2s7Ym...
"The breathtaking physical elegance of the dancer is undermined, in every instance, by our bizarre clothing culture. The messier, the older, the baggier, the better - or so it would seem. In face it's far more subtle than that. Ballet clothing and ballet culture have both undergone a massive change over the last three decades and one is, almost certainly, a manifestation of the other." p. 14
"The barre should be lightly held, not grabbed: it is there as a reminder, not a lifesaver." p. 19
"A good répétiteur has to inspire respect for those standards and traditions while understanding that each generation brings its own values to the process and has its own contribution to make to the evolution of dance." p. 54
"The corps [de ballet], through its dances, is responsible for setting the style of the ballet, preparing the ground for the principal dancers who follow." p. 62
"The répétiteur fulfils a different role in these principal calls from the part he or she plays with the corps: it's less about marshalling forces and imparting information than about bringing out the best performance the artist can find within. A skilled répétiteur, coaching a principal role, passes on all the wise counsel and good sense acquired over her own career, but leaves open the possibility that new generations are likely to see the world differently and may have something of their own to add." p. 99
"New work like this is vital to the creative health of any ballet company: it ensures that the art form remains relevant in a contemporary and diverse world, it challenges artists to find new dimensions within themselves and encourages audiences to revisit their preconceptions about what dance can be." p. 120
On pointe shoes: "Let me be clear: the agony is not physical. From time to time, toes 'skin' and blisters form (and soft corns are a hazard of the job) but the human body will take almost anything you throw at it, as long as you throw it systematically and over time." p. 151-152
"Without a strong corps de ballet, you don't really have a company. The corps holds the performance together, weaving a thread between the solos and the pas de deux. It sets the scene and the style." p. 172
"Dancing leaves an indelible mark: a profound and literal body of knowledge, distilled from decades in the studio and on the stage; it creates the dancer from the dance." p 209
February 19, 2018
A realistic, clear-eyed account of what it takes to be a professional ballet dancer - everything from the early years of practice, to joining a company, to rising up to levels of soloist or principal dancer. It sticks describing the hard work of being a ballet dancer and touches on some of the joys and creative highs of it but avoids controversial aspects like eating disorders, drug use, and sexual harassment rumors that have floated around the profession. A short glossary of the italicized ballet terms would have been handy. Rating is higher than three stars, but not quite four. Goodreads, why can't we give half and quarter stars?????
February 5, 2013
I think this is one of the best descriptions of a dancers life and routines I have read since Agnes de Milles 'to a young dancer' from 1960. As for today I am old and have long since retired from my dancing life but I have a daughter pursuing her career as a dancer and a ballet teacher, and I look forward to give her this gem of a book.
August 5, 2023
Really interesting insight into the life of a dancer and yet slightly underwhelming at the same time. You get a sense of a dancer's discipline, rigour and dedication but I would have enjoyed more personal reflections especially on the experience of performance. When Bull got to this section she wrote in the third person which distanced me as a reader a bit. The end is strong when she talks about the transition away from dance and having to begin again after living out a childhood dream for so long. As an actor who also said good bye to my profession around the age of 38 this resonated with me and I thought it must have been so much harder given the level of Bull's success, the reliance on the body and the years spent in a very regimented environment. Despite my reservations I think it's worth a read!
July 12, 2018
Recensione completa sul Blog --->https://lettricitralestelle.blogspot....
Amore a prima vista. Deborah Bull è una ex ballerina del Royal Ballet di Londra, e tuttora è direttrice creativa della Royal Opera House. Con questo libro ci racconta attraverso una giornata di 24 ore, la vita di una ballerina, come si struttura e come la si vive. Una delle mie parti preferite resta la parte dedicata alle scarpette, punta e non, della danza. Ci viene spiegato come sono nate le punte, quante paia ne usano le ballerine, come le scelgono, come le personalizzano, davvero solo chi ha fatto danza può capire l’amore per quelle piccole scarpette (anche se ti uccidono i piedi). Non posso che consigliarvelo!! Soprattutto se amate la danza!
Amore a prima vista. Deborah Bull è una ex ballerina del Royal Ballet di Londra, e tuttora è direttrice creativa della Royal Opera House. Con questo libro ci racconta attraverso una giornata di 24 ore, la vita di una ballerina, come si struttura e come la si vive. Una delle mie parti preferite resta la parte dedicata alle scarpette, punta e non, della danza. Ci viene spiegato come sono nate le punte, quante paia ne usano le ballerine, come le scelgono, come le personalizzano, davvero solo chi ha fatto danza può capire l’amore per quelle piccole scarpette (anche se ti uccidono i piedi). Non posso che consigliarvelo!! Soprattutto se amate la danza!
November 27, 2017
I have a somewhat voyeuristic obsession with the ballet; it's not the final, polished performances that intrigue me, but the drive and qualities that must be required of the ballerinas who pursue it as a profession. For this reason, The Everyday Dancer delivered in spades. It literally draws back the curtain and allows you to take a peek behind the workings of a ballet company. I loved every second of it - and it was also refreshing to read something that didn't completely dramatise the issues of body image and competitiveness. This book increased my understanding and respect for these amazing athletes.
October 18, 2017
Please see the review on my blog: https://imagesofdance.wordpress.com/2...
March 1, 2019
A clear overview of the day to day life of professional ballet dancers. I can see this being very useful for people who want to be ballet dancers!
January 16, 2012
If you've ever taken a ballet class the the first chapter won't fill you with confidence. Starting like a beginner with the very basics it builds considerably with each new chapter. Soon providing the little tit bits and stories from her years treading the boards. It finishes, like a performance, on a high with the audience wanting more.
September 29, 2016
Insightful and interesting account of what a day in the life of a dancer is like. Bull is a masterful writer, with flashes of wit, humour and surprisingly prosaic revelations of a dancer's life that those on the outside are rarely aware of.
February 5, 2012
Pretty lightweight but interesting, was sort of uneasily hovering between being an autobiography and a general overview of ballet dancers. Liked all the backstage detail about the ROH.
December 31, 2014
This book flows nicely and is informative without being patronizing. The descriptions were detailed and made it easy to visualise what she's talking about.
May 16, 2015
I loved this - it's a wonderful insight into the life of a professional ballet dancer and the behind the scenes work.
April 18, 2016
Un bellissimo viaggio in una marea di ricordi
Displaying 1 - 14 of 14 reviews