Beyond Good, Mlle. Aurelie Dupont as the Sylph, who has left one reeling from the shock of her technique. In her own discreet but determined way, Mlle. Dupont has actually improved upon our own P. Lacotte, by doing away with all those horrid, twee little crook-elbow wrist-flicking thingimajiggies that Taglioni undoubtedly never used, and replacing the lot with proper ports de bras. Her footwork must be seen to be believed. Admirable, a thousand times admirable! One found the cry “Brava!” literally torn from one’s throat.
BEG BORROW OR STEAL a ticket to see the woman, because this sort of technique don’t grow on trees.
…Let us all take the time to ponder over the quality of abstraction, the depth and sheer intensity of work, that yields the technical accomplishments we saw last night. And her originality! The French stage is NOT one, at the present time, where mezzo-tint dancing is esteemed. As Mlle. Dupont has herself stated, we are in a Theater where every movement, every articulation is ground to an extreme. But, amongst the many beauties in her work last night, notably a careful eschewal of excessively large, gaping figures, she has dared to dance the very rapid passages as one would have done in the 19th century, as a TRAJECTORY, skimming over the ground with the torso engaged, and the foot and leg almost relaxed. x