Classical ballet natalia ilienko

 

 

 

 

 

 

 

 

 

 

natalia frolova

 

Natalia Laschenova

irina baraksanova

Natalia FROLOVA part 1 and 4 of Sinfornio per un Addio

My favorite floor exercise is of Natalia Frolova

My favorite floor exercise is of Natalia Frolova who many think did the most emotionally expressive floor exercise ever. Strangely for the Soviets, the storyline is based on answered prayer.

For the first half of the minute and one half routine, the character Natalia Frolova is playing is running desperately and throwing her arms up after choreographed awkward falls trying to get away from something threatening her,

in the first 20 seconds or so she does just about every despairing movement you can think of while running, at some angles esp. in the home vids she seems to be running sideways or off-balance, Suzanne Farrell spoke of Balanchine's sometimes using off-balance ballet, these choreographers were good, and the gymnasts then were so well trained in dance as well as mime and acrobatics, and Natalia Frolova had something extra in the contact with audience though she rarely looks at them during the routine, Chris Taylor wrote that Frolova really knew how to sell a routine, it is almost over the top emotional but never goes over the line

halfway through the routine she twirls and goes down on one knee as she gets up she flings her arm up and around and it is amazing in studying screen captures all the emotions she goes through in less than a second,

she begins to throw her arm up and around angrily, when her arm reaches the top, her lifted face expresses hope, then she despairs again and her body crumples while standing, then walks with arms upraised in prayer and walks sideways in desperation and seems like she is trying to force God to give her an answer or relief from whatever was chasing her.

She turns and flings herself down in anger and hopelessness, and this fall is the most graceful thing, she rolls on the floor trying to get up after throwing herself down (it gives that impression, in reality you would not try to get up by standing on your hands!) and falling sideways and finally has a balanced handstand then her leg falls in back and the other leg kneeling, she slides the straight leg sideways into a fetal position with hands clawing the floor mat,

THEN puts her hands together in a more dignified prayer and rises from a kneeling position and walks forward with arms together up to heaven then doubts and hides her face in a winglike move of her arms/elbows,

then the music picks up and she unfold like a flower to receive hope to go on and does a very graceful turn with the only smile of the routine before the 3rd tumbling run,

does a magnificent high dive to show her elation at answered prayer and another graceful turn into the corner and she has run out of gas and respectfully and so gracefully moves her arms up in front of her face for another less desperate prayer, then down with elbows bent and in the 1986 version she gently despairs with hands at hips,

THEN the music picks up she dramatically turns and revvs up with very precise arm movements and after the last tumbling run clicks her heels in joy, falls to one knee, tilts her body sideways very gracefully and very seriously lifts her arms in thanksgiving for help from God in answered prayer.

It was amazing all the choreographers could do in the 1980s with storyline, dance and tumbling in the minute and a half allowed for floor exercise.

There is a Tatiana Frolova (no relation to Natalia Frolova) who was a better all-around gymnast with an excellent jazz type floor exercise but not as memorable or touching as Natalia Frolova in THIS exercise.

Natalia did a 2nd floor exercise in 1987 a comedy with Dragnet music which was not as good in yellow leotard, the choreographer made slight changes in the 5 versions of Sinfornio per un Addio floor exercise - the music alone can make you cry, someone wrote that she always started crying at the .51 second mark and I knew it was when the music changes and becomes even more emotional after she flings herself down, the commenter at the US vs USSR meet says "Oh, look at the emotion" at this point, I used to cry at that point too and I rarely cry at movies.

Irina Baraksanova's "Sentimental Waltz" from the Russian movie "My Sweet and Tender Beast", I guess it is a version of Beauty and the Beast, the dance is so floating and she almost seems to be talking with her hands, it is gently sad and also so lyrical and moving.

Some of the titles of the montages and comments on youtube show how upset people are by the rewarding of points only for acrobatics and not for the more difficult to score artistry making this wonderful choreography impossible, many of the Soviet trainers and choreographers are in America but there is no time for dance, mime, expressiveness or real storyline. The difference between DANCING and a few beautiful POSES.

Where Did Our Gymn Go to the music Where Did Our Love Go, Thank God for the 80s, Scarborough Fair, many montages called some version of Soviet Grace with beautiful music some classical, some pop -- I think you would enjoy the emotional expressiveness of these vids, Tatiana Godenko's 2 floor routines to the surprisingly rare Russian music of the Soviet era, one is to the Volga Boatman Song.

Someone wrote on a political site in 2006 not in reference to this routine, that "soon we will all be singing the Volga Boatman Song." which unfortunately seems to be the case with many people out of a job and those who are working are overworked to the point of affecting their health.

I have been working on paintings and computer graphics from screen captures of the 1980s gymnasts and finally am starting to upload some on Pinerest, Facebook and my MOVEMENTWORKS.Weebly.

Natalia Ilienko did 3 different beautiful and innocent floor exercises. Pauline Kael the movie critic wrote in one of her books "I miss the ingenue, don't you?", the poignancy of a young girl instead of the overly sexy routines.

Handel’s Messiah "is 'manifold in its splendors, yet completely balanced, a unity'

In a review in The Gramophone, Andrew Porter referred to Jens Peter Larsen's observation that Handel’s Messiah "is 'manifold in its splendors, yet completely balanced, a unity':

not selected scenes from the life of Our Lord,

but 'a representation of the fulfillment of Redemption through the Redeemer'.

Part I is the prophecy and realization of God's plan to send the Redeemer to earth;

Part II is the accomplishment of redemption;

and Part III 'a Hymn of Thanksgiving for the final overthrow of Death'." [142]

Christ is more powerful than 1,000 Anti-Christs!... don't you ever get the "mark" of the beast... with Jesus in your heart you have to be afraid of nothing, even the cashless society will keep on making you free and happy on earth, and you will eventually end up in eternal Heaven.

http://www.restoringthevision.com/Defeat_of_Satan.htm

The whole church age has been preparation leading up to this final battle.

http://bible.cc/revelation/21-4.htm

It is nice to have a daily plan to read and pray.

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