"With Cojocaru the story changes. There is no doubt that she is one of the great actresses of the ballet stage; in fact, she seems to be making up the story as she goes along. One imagines she must be slightly unsettling to dance with, with her spontaneous pauses, glances, and unpredictable reactions. Alongside her febrile, excitable Giselle, Hallberg’s Albrecht took on a different hue. The ballet became less the story of a mutual attraction and more that of a nobleman intrigued by the inner life of a volatile young girl. As for Cojocaru’s Giselle, how could she not fall in love with this blonde idol towering over her? The two seemed to hail, not from different social classes, but from different universes.
Besides her spontaneity, what one notices about Cojocaru is her phrasing, the way she plays with timing, cutting things short or extending them to create a sense of excitement. At this point in her career, there are also aspects of her technique that are less than full-throttle. Her diagonal of hops on pointe, while the other leg traces circles in the air, hardly travels forward. The receding series of beaten jumps that so often creates the illusion of floating backward into space (like a spirit) doesn’t have quite enough force. But she compensates with other aspects: the ultra-legato phrasing of the pas de deux, a series of scurrying bourrées into the wings that make her feet look like a blur. Cojocaru has more than earned the right to pick her battles.”
Oil paintings by Alyssa Monks.
THIS IS DONE WITH FUCKING OIL PAINT WHAT THE FUCK THIS IS INCREDIBLE
Illustrations for Edgar Allan Poe’s poems by Edmund Dulac - “The Raven”, “To Helene”, “Alone”, “Lenore”, “To One in Paradise”, “Annabel Lee”
a young girl mourning her dead bird (detail), jean-baptiste greuze
Herbert James Draper, The Lament for Icarus (1898) (detail)