終於我的練舞來到第一階段瓶頸
天生驕傲不管用
得想清楚實際問題出在哪，進而解決
ex: 技巧使用，如踢腳動作要著力於哪一點→運用腳趾到腳踝部位
ex: 模仿是學習的初步，但我總是太快記住舞步而之後顯露隨便的態度；besides,總盯著老師，自信心無法建立，也無暇感覺節奏→用一個八拍方式記舞步，趁重覆練習機會，帶著自己，沒有什麼比 “相信自己” 更重要。演戲是如此，跳舞也是，always remember I’ve been suffering that pain—the loss of self.
ex: 要不斷update、練習，我太會忘記舞步→尋找紀錄舞步方式，天天練習很重要，不要自我設限，讓舞帶著你
ex: 課程安排很重要，系統式教導，可以加深印象→我知道自己愛太多舞蹈，但還是take time
ex: 動機太多，導致專心分散→唉，心態問題，跳舞也是philosophy of life考驗
還是一句話：
跳舞是靈魂的出口
學跳舞不就是要學會更堅強
舞出未來
等到克服這些問題，我將更接近音樂搭配與靈活運用，那是編舞的世界，我從不敢奢望，但會克服自己的膽怯
〈New York Times〉
The Rarely Seen Side of a Brilliant Choreographer
By ANNA KISSELGOFF
Published: July 8, 2004
In the pantheon of 20th-century ballet, Frederick Ashton, Britain's greatest choreographer, was second to none. Genius comes in many flavors, and his was recalled on Tuesday night when the Lincoln Center Festival opened at the Metropolitan Opera House with its Ashton Celebration, a mammoth two-week tribute.
The roll call of American and foreign companies taking part includes the Royal Ballet from London, with its superstar ballerinas Darcey Bussell and Sylvie Guillem, and three brilliantly assembled companies: the Joffrey Ballet of Chicago, returning to New York for the first time in 10 years; the Birmingham Royal Ballet from Britain; and the K-Ballet Company from Tokyo in a United States debut.
Like George Balanchine, Ashton was born in 1904. Yet, symbolically, this other centennial, following New York City Ballet's tribute to Balanchine, could be celebrated by very different fireworks. If Balanchine's display would explode in the air as a dazzling formal spectacle, Ashton's quieter, blooming design would allude to his poetic and witty streak.
As always, there are exceptions to the rule. This first of the celebration's all-Ashton programs concentrated on rarely seen revivals and featured "Rhapsody," a virtuoso showpiece created in 1980 for Mikhail Baryshnikov, who was in the audience on Tuesday to see K-Ballet Company with its two former Royal Ballet stars, Viviana Durante and Tetsuya Kumakawa.
The other works, "Enigma Variations" (1968) and "Monotones I and II" (1965-66), showed off the more typical Ashton. This was Ashton, the Shakespeare of ballet — the Shakespeare who wrote love sonnets.
There is no more amazing use of dance as poetic metaphor than "Enigma Variations," a very English masterpiece that Ashton set to Elgar's famous score of the same title. On the surface, an audience could hardly be expected to be excited at the sight of a dancer portraying Elgar as he receives good news in a telegram. For one thing, only the program note will tell you what the message is.
But the audience, as it did on Tuesday, usually responds with thunderous applause at the end. This is simply because Ashton's gallery of Edwardian eccentrics on tricycles and bicycles, in their long gowns and Sherlock Holmes caps, tweeds and Norfolk jackets, is transformed into a meditation on larger human themes: love, friendship and the solitude of the artist, no matter how warm his hearth and home.
It is an astounding ballet, its wit and spirit still intact in the Royal's sister company, the Birmingham Royal Ballet.
Ashton's special contribution at the Royal Ballet was to extend the lyrical aspect of classical style, as is so clear in the purity of the plotless two-part "Monotones," performed by the Joffrey.
In 1995 this company established a firmer financial base in Chicago under its artistic director, Gerald Arpino, and was reorganized legally under a new name, the Joffrey Ballet of Chicago.
The Birmingham Royal Ballet was last seen here in 1999 under its artistic director, David Bintley. The jewel in its crown is "Enigma Variations," a ballet as much about the end of empire as symbolized by Elgar (the composer of "Pomp and Circumstance") as it is about the relationships the composer described in his score.
Ashton transformed these musical portraits inspired by Elgar's family and friends into danced character vignettes about real people who live or visit Elgar in his house in Worcestershire. Yet each solo, which distills a personality, is also part of an atmosphere that evokes an autumnal wistfulness below the humorous and happy surface. Julia Trevelyan Oman's landmark décor (part garden, part interior) sets the tone.
The wonder is that so much civility of tone does not distance the viewer from the groundswell of affection that floods the ballet. Who cares if Ashton's Elgar learns in his telegram that Hans Richter, an eminent conductor, will lead the premiere of "Enigma Variations" in 1899? In the end you will care because you will get to know the characters intimately.
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