1 00:00:02,320 --> 00:00:07,280 Speaker 1: Happy Saturday. Nineteenth century ballet answer. Marie Taglioni is getting 2 00:00:07,280 --> 00:00:09,680 Speaker 1: a name drop very quickly in one of this week's 3 00:00:09,720 --> 00:00:12,560 Speaker 1: episodes of the show, and the meaning of that name 4 00:00:12,640 --> 00:00:15,600 Speaker 1: drop is something that you can probably pick up from context, 5 00:00:16,040 --> 00:00:18,840 Speaker 1: but it'll also probably be a little richer for folks 6 00:00:18,880 --> 00:00:21,279 Speaker 1: who know more about her and her influence on the 7 00:00:21,280 --> 00:00:24,320 Speaker 1: world of ballet. We have an episode on Marie Taglioni, 8 00:00:24,480 --> 00:00:27,240 Speaker 1: so we are sharing it again today. It originally came 9 00:00:27,280 --> 00:00:34,080 Speaker 1: out on September nine. Welcome to Stuff You Missed in 10 00:00:34,159 --> 00:00:43,400 Speaker 1: History Class, a production of I Heart Radio. Hello, and 11 00:00:43,440 --> 00:00:46,519 Speaker 1: welcome to the podcast. I'm Holly from and I'm Tracy B. 12 00:00:46,680 --> 00:00:49,240 Speaker 1: Wilson and the UH. Today we're going to talk about 13 00:00:49,320 --> 00:00:52,040 Speaker 1: one of my pet subjects. Is it ballet? It is? 14 00:00:53,159 --> 00:00:55,800 Speaker 1: I know this because I I see what we're talking to, 15 00:00:55,960 --> 00:00:58,440 Speaker 1: have all the notes we've discussed it already do well. 16 00:00:58,440 --> 00:01:00,000 Speaker 1: And we've had a lot of people who have asked 17 00:01:00,200 --> 00:01:03,279 Speaker 1: us to talk about some various aspects of dance. We've 18 00:01:03,320 --> 00:01:07,360 Speaker 1: gotten really a lot of dance requests. Yeah, so I'm excited. 19 00:01:07,480 --> 00:01:10,000 Speaker 1: And I studied dance many many years ago, and I 20 00:01:10,040 --> 00:01:12,800 Speaker 1: love it still, and my my dance study was never 21 00:01:12,840 --> 00:01:16,959 Speaker 1: as dance formal as yours was, because you you really 22 00:01:16,959 --> 00:01:19,760 Speaker 1: studied dance, and I studied dance in the context of 23 00:01:19,920 --> 00:01:22,160 Speaker 1: drum corps. So yeah, No, I was in a dance 24 00:01:22,200 --> 00:01:26,039 Speaker 1: program in college. Uh. And I prior to that, I 25 00:01:26,080 --> 00:01:29,880 Speaker 1: had studied fairly seriously ballet for a while. There was 26 00:01:29,880 --> 00:01:31,160 Speaker 1: a time in my life where I thought I was 27 00:01:31,160 --> 00:01:34,320 Speaker 1: going to pursue ballet as a career, and then I 28 00:01:34,360 --> 00:01:36,120 Speaker 1: went through puberty and it kind of messed that up 29 00:01:36,120 --> 00:01:38,280 Speaker 1: because it turned out my body type was really not 30 00:01:38,319 --> 00:01:41,199 Speaker 1: going to work. And that's evolved a little since there's 31 00:01:41,200 --> 00:01:46,160 Speaker 1: a little more um room for variance in body type, 32 00:01:46,200 --> 00:01:47,960 Speaker 1: and there certainly was when I was coming up. But 33 00:01:48,040 --> 00:01:51,800 Speaker 1: even so, once you kind of get a bus line 34 00:01:51,800 --> 00:01:55,680 Speaker 1: and hips, it's turns get tricky. Everything kind of changes. Well, 35 00:01:55,720 --> 00:01:57,920 Speaker 1: And and the story we're gonna talk about today kind 36 00:01:57,920 --> 00:02:00,280 Speaker 1: of is it has a little bit of that to 37 00:02:00,440 --> 00:02:03,600 Speaker 1: it because we're talking about compensations for a body. Yeah, 38 00:02:03,720 --> 00:02:06,080 Speaker 1: and we're going to talk about very famous to anybody 39 00:02:06,120 --> 00:02:10,120 Speaker 1: who knows anything about dance, Marie Talione, who was a 40 00:02:10,240 --> 00:02:13,720 Speaker 1: very famous dancer. She's really considered the ballerina of the 41 00:02:13,840 --> 00:02:18,799 Speaker 1: Romantic era, and she's often credited with revolutionizing ballet, restyling 42 00:02:18,800 --> 00:02:21,800 Speaker 1: it redefining dance, but her father was really a pretty 43 00:02:21,840 --> 00:02:25,480 Speaker 1: significant part of all of those achievements. Uh. And she 44 00:02:25,520 --> 00:02:27,720 Speaker 1: came from a ballet family, so I mentioned her father, 45 00:02:27,840 --> 00:02:31,480 Speaker 1: but also her grandfather, Carlo Talione, was a theatrical dancer 46 00:02:31,480 --> 00:02:35,080 Speaker 1: and a choreographer. Her uncle, Salvatore was a prominent dancer. 47 00:02:35,200 --> 00:02:39,120 Speaker 1: Her mother was a Swedish ballerina named Hedvig Sophie Carston, 48 00:02:39,280 --> 00:02:42,320 Speaker 1: although she did not go by head big but her father, 49 00:02:42,440 --> 00:02:46,200 Speaker 1: Filippo Talione, was really the biggest influence on her life 50 00:02:46,200 --> 00:02:49,280 Speaker 1: and her career. And Filippo was a dancer and a choreographer. 51 00:02:49,320 --> 00:02:52,720 Speaker 1: He was very successful and he's credited with much of 52 00:02:52,720 --> 00:02:54,639 Speaker 1: the development of what we now refer to as the 53 00:02:54,840 --> 00:02:58,400 Speaker 1: romantic ballet style. So Marie had dance in her blood 54 00:02:58,680 --> 00:03:02,160 Speaker 1: like genetically she should have and primed, but it didn't 55 00:03:02,240 --> 00:03:06,760 Speaker 1: really play out that way initially. No. In eighteen oh three, 56 00:03:06,760 --> 00:03:10,400 Speaker 1: Filippo took a job as principal dancer and ballet master 57 00:03:10,520 --> 00:03:13,440 Speaker 1: in Stockholm, Sweden, and that's where he met and married 58 00:03:13,560 --> 00:03:16,160 Speaker 1: Sophie Carston, which is the name she used her middle 59 00:03:16,240 --> 00:03:18,440 Speaker 1: name instead of her first name, which was head Big. 60 00:03:19,120 --> 00:03:21,959 Speaker 1: They started a family right away. Marie was born on 61 00:03:22,040 --> 00:03:26,360 Speaker 1: April eighteen o four in Stockholm. Her brother Paul was 62 00:03:26,400 --> 00:03:30,080 Speaker 1: born four years later, and Filippo accepted a post in 63 00:03:30,200 --> 00:03:33,880 Speaker 1: Vienna when Marie was still an infant. And Filippo did 64 00:03:33,960 --> 00:03:36,000 Speaker 1: some training with his children when they were very young, 65 00:03:36,160 --> 00:03:39,400 Speaker 1: but when they were school age he moved them to 66 00:03:39,480 --> 00:03:43,240 Speaker 1: Paris to pursue additional dance training. But despite being the 67 00:03:43,320 --> 00:03:46,080 Speaker 1: daughter of two accomplished answers and having a pedigree that 68 00:03:46,480 --> 00:03:49,080 Speaker 1: went back even further than that, Marie really did not 69 00:03:49,240 --> 00:03:53,320 Speaker 1: impress the ballet masters in the French capital. According to 70 00:03:53,520 --> 00:03:58,760 Speaker 1: Paris opera director Louis Voran's memoir, Jean Francois Coulan, who 71 00:03:58,800 --> 00:04:02,120 Speaker 1: was the Parisian teacher who had trained Filipo, once famously 72 00:04:02,200 --> 00:04:05,800 Speaker 1: said this about Marie, when will that little hunchback ever 73 00:04:06,040 --> 00:04:09,560 Speaker 1: learn to dance? Yeah? I think he said it more 74 00:04:09,600 --> 00:04:12,520 Speaker 1: forceuately and loudly. Probably he sounded like he was really 75 00:04:12,560 --> 00:04:14,480 Speaker 1: not one to hold back. Well, and I don't want 76 00:04:14,520 --> 00:04:16,720 Speaker 1: to call my young girls hunchbacks. I think that's terrible. 77 00:04:16,839 --> 00:04:20,360 Speaker 1: So yeah, it's a that's a brutal that's a brutal 78 00:04:20,360 --> 00:04:22,960 Speaker 1: world to grow up in sometimes well, and especially when 79 00:04:22,960 --> 00:04:26,680 Speaker 1: you're you're trying to do something that is difficult and 80 00:04:26,720 --> 00:04:30,360 Speaker 1: requires skill. Yeah. We uh, we don't know a lot 81 00:04:30,360 --> 00:04:32,520 Speaker 1: about like sort of her mindset at the time, but 82 00:04:32,600 --> 00:04:35,719 Speaker 1: I can't imagine what it must have been like to 83 00:04:35,839 --> 00:04:39,640 Speaker 1: be the daughter of two well known dancers, put in 84 00:04:39,760 --> 00:04:44,799 Speaker 1: a you know, pretty important ballet school and struggling. Yeah, 85 00:04:45,120 --> 00:04:47,440 Speaker 1: that's not talked about very much, but it's an interesting 86 00:04:47,480 --> 00:04:52,159 Speaker 1: thing to think about. But despite Coulon's comment, when Marine 87 00:04:52,200 --> 00:04:55,200 Speaker 1: debuted in Vienna two years later, in two she was 88 00:04:55,240 --> 00:05:00,479 Speaker 1: received two generally positive reviews, So something interesting happened in between. Yeah. 89 00:05:00,520 --> 00:05:02,760 Speaker 1: I kind of love this story too. It's a little 90 00:05:02,800 --> 00:05:06,119 Speaker 1: wild to think about. So, while Marie and her brother 91 00:05:06,200 --> 00:05:09,440 Speaker 1: Paul were training with Kulon and Paris, they lived with 92 00:05:09,480 --> 00:05:12,719 Speaker 1: their mother, and Filippo worked in various cities and toured 93 00:05:12,720 --> 00:05:17,080 Speaker 1: around Europe. So throughout this time their mom sent him 94 00:05:17,160 --> 00:05:20,520 Speaker 1: letters telling him how well they were all doing, which 95 00:05:20,600 --> 00:05:23,840 Speaker 1: was kind of an embellishment because Marie was not actually 96 00:05:23,960 --> 00:05:26,279 Speaker 1: doing very well. She was a teenager at that point 97 00:05:26,400 --> 00:05:29,440 Speaker 1: and she she was not an awesome answer. Struggling Paul 98 00:05:29,480 --> 00:05:34,279 Speaker 1: did okay, Yeah, but um, Marie really was not doing great. 99 00:05:34,279 --> 00:05:36,640 Speaker 1: I mean she was being called a hunchback by her teachers. Yeah, 100 00:05:36,680 --> 00:05:38,560 Speaker 1: but but you know, mom was telling Dad that it 101 00:05:38,600 --> 00:05:41,960 Speaker 1: was all great, and Felipo was so delighted to hear 102 00:05:42,000 --> 00:05:45,600 Speaker 1: about how well the children were progressing. Did in one 103 00:05:45,720 --> 00:05:48,839 Speaker 1: he arranged for Marie's stage debut, which was going to 104 00:05:48,880 --> 00:05:51,360 Speaker 1: be a little bit more than a year later, because 105 00:05:51,400 --> 00:05:54,640 Speaker 1: he wanted to have time to make preparations. And this 106 00:05:55,080 --> 00:05:58,520 Speaker 1: announcement of his really set off a flurry of panic 107 00:05:59,440 --> 00:06:03,280 Speaker 1: because the jig was up at that point. Once Sophie 108 00:06:03,360 --> 00:06:07,000 Speaker 1: learned of Filippo's planned public turnout for their daughter, she 109 00:06:07,200 --> 00:06:10,800 Speaker 1: talked to Collen for advice, and allegedly his reply was, 110 00:06:11,000 --> 00:06:14,680 Speaker 1: you wish for my advice, you have it, Madame. You 111 00:06:14,680 --> 00:06:17,840 Speaker 1: should make your daughter an embroiderous, for she will never 112 00:06:17,920 --> 00:06:21,039 Speaker 1: be an answer And she really did like embroidery. Yeah. 113 00:06:21,080 --> 00:06:25,040 Speaker 1: It turns out there's a great site will link to 114 00:06:25,120 --> 00:06:28,000 Speaker 1: in the show notes that has a kind of an 115 00:06:28,080 --> 00:06:31,680 Speaker 1: archive of various things of Marie Taliones, and one of 116 00:06:31,720 --> 00:06:34,000 Speaker 1: them is like a scarf she knitted for a friend, 117 00:06:34,040 --> 00:06:36,960 Speaker 1: and she apparently really enjoyed needlework her entire life. But 118 00:06:37,560 --> 00:06:41,039 Speaker 1: she did not become an embroiderss. So when Filippo sent 119 00:06:41,120 --> 00:06:44,239 Speaker 1: for Maria to come to him in Vienna so he could, um, 120 00:06:44,279 --> 00:06:47,479 Speaker 1: you know, assess her dancing and make preparations for her debut, 121 00:06:48,440 --> 00:06:51,000 Speaker 1: he was a little dismayed with what he saw. He 122 00:06:51,080 --> 00:06:54,360 Speaker 1: then realized how completely inaccurate the accounts he had been 123 00:06:54,360 --> 00:06:57,839 Speaker 1: getting about Marie's progress were, but he did not cancel 124 00:06:57,920 --> 00:07:01,120 Speaker 1: the debut. Instead, he just sided that she was going 125 00:07:01,160 --> 00:07:04,000 Speaker 1: to have to work constantly on her strength, on her technique, 126 00:07:04,279 --> 00:07:06,839 Speaker 1: and that he would be her soul teacher during this time. 127 00:07:07,360 --> 00:07:09,200 Speaker 1: And it sounds like he ran her through a rather 128 00:07:09,320 --> 00:07:13,480 Speaker 1: grueling training program and also sort of a grueling lifestyle. Yeah, 129 00:07:13,520 --> 00:07:17,400 Speaker 1: he kept her completely out of the public eye. Um. 130 00:07:17,440 --> 00:07:20,720 Speaker 1: He allegedly kept her dancing for six hours or more 131 00:07:20,760 --> 00:07:24,640 Speaker 1: every day, always working to correct these weaknesses and to 132 00:07:25,400 --> 00:07:28,680 Speaker 1: kind of compensate for this unique body type that she had. 133 00:07:28,800 --> 00:07:31,320 Speaker 1: There's been a lot of speculations about exactly what was 134 00:07:31,360 --> 00:07:34,520 Speaker 1: going on, whether her back was deformed by a hunch 135 00:07:34,760 --> 00:07:39,880 Speaker 1: or a curved spine. He insisted that she embodied lightness 136 00:07:39,880 --> 00:07:43,040 Speaker 1: and be in ethereal while dancing, and his goal was 137 00:07:43,080 --> 00:07:47,320 Speaker 1: to never hear her dancing. So this plain girl with 138 00:07:47,400 --> 00:07:51,760 Speaker 1: a round back and like kind of gangly limbs had 139 00:07:51,800 --> 00:07:55,000 Speaker 1: to really work diligently to meet these goals that her 140 00:07:55,160 --> 00:07:58,920 Speaker 1: her father had set up for her. And allegedly the 141 00:07:58,920 --> 00:08:02,240 Speaker 1: six adelership training were broken into three blocks of two hours. 142 00:08:02,680 --> 00:08:05,880 Speaker 1: The first block was all about muscular exercises and strengthening 143 00:08:05,920 --> 00:08:09,960 Speaker 1: the foot, the second was for practicing adagio exercises and 144 00:08:10,000 --> 00:08:12,560 Speaker 1: balanced work on one foot at a time, and then 145 00:08:12,560 --> 00:08:15,680 Speaker 1: the third block was for practicing jumps. And Marie did 146 00:08:15,680 --> 00:08:18,000 Speaker 1: eventually become quite famous for her jumps, so that third 147 00:08:18,000 --> 00:08:21,240 Speaker 1: block was really paid off in the long run, although 148 00:08:21,240 --> 00:08:24,480 Speaker 1: really you could say all of it did. When Marie 149 00:08:24,520 --> 00:08:27,040 Speaker 1: took the stage for her debut in a piece called 150 00:08:27,080 --> 00:08:31,000 Speaker 1: La recepcion dun June nymph a la cour de terpsicari 151 00:08:31,320 --> 00:08:33,720 Speaker 1: which is Reception of a young Nymph in the Court 152 00:08:33,760 --> 00:08:38,160 Speaker 1: of Terpsichary uh in June, the reviews were actually good, 153 00:08:38,760 --> 00:08:42,680 Speaker 1: not sensational, but even so the successful performance really launched 154 00:08:42,679 --> 00:08:45,319 Speaker 1: her career, and you know, they had dodged the bullet 155 00:08:45,320 --> 00:08:49,640 Speaker 1: of embarrassment and she began performing regularly on stages throughout France, Italy, 156 00:08:49,720 --> 00:09:02,200 Speaker 1: Austria and other places throughout Europe. At this time, the 157 00:09:02,240 --> 00:09:05,960 Speaker 1: epitome of balotic achievement and the goal that Filippo always 158 00:09:06,040 --> 00:09:10,000 Speaker 1: had for his daughter was appearing at the Paris Opera. 159 00:09:10,160 --> 00:09:13,199 Speaker 1: And despite the fact that Marie's popularity as a performer 160 00:09:13,280 --> 00:09:16,040 Speaker 1: was growing all over Europe, she was still seen by 161 00:09:16,080 --> 00:09:19,400 Speaker 1: the gatekeepers of the Paris stage as unattractive and unappealing. 162 00:09:20,360 --> 00:09:24,440 Speaker 1: So as reviews of her appearances grew more and more glowing, 163 00:09:24,600 --> 00:09:29,040 Speaker 1: public demand for a Paris appearance started to grow as well. Finally, 164 00:09:29,240 --> 00:09:33,880 Speaker 1: five years after she debuted in Vienna, on July seven, 165 00:09:34,200 --> 00:09:37,040 Speaker 1: she ascended to that highest of heights and appeared for 166 00:09:37,040 --> 00:09:39,520 Speaker 1: the first time at the Paris Opera and a version 167 00:09:39,559 --> 00:09:43,600 Speaker 1: of the opera Les Sicilian. Her contract with the Paris 168 00:09:43,679 --> 00:09:46,480 Speaker 1: Opera included a provision that she would only bance her 169 00:09:46,520 --> 00:09:52,800 Speaker 1: father's choreography, and something sort of interesting happened among Parisian 170 00:09:52,840 --> 00:09:56,520 Speaker 1: reviewers when she started dancing there. They often spoke of 171 00:09:56,559 --> 00:09:59,680 Speaker 1: her dancing as being effortless, even to the point of 172 00:09:59,679 --> 00:10:04,000 Speaker 1: being artless. The perception was that her dancing just sprang 173 00:10:04,120 --> 00:10:07,520 Speaker 1: from nature rather than training. But of course, of course, 174 00:10:07,600 --> 00:10:10,400 Speaker 1: nothing was further from the truth. She had been you know, 175 00:10:10,480 --> 00:10:13,000 Speaker 1: working all of those hours with her father, and they 176 00:10:13,000 --> 00:10:16,280 Speaker 1: had effectively created this illusion that she had a natural 177 00:10:16,320 --> 00:10:19,920 Speaker 1: talent rather than the skill that was born of Just 178 00:10:20,080 --> 00:10:24,320 Speaker 1: this ceaseless dedication and constant training just kind of interesting. 179 00:10:24,360 --> 00:10:27,160 Speaker 1: I mean, you always hear about in any sort of 180 00:10:27,280 --> 00:10:30,640 Speaker 1: artistic endeavor that you wanted to look effortless, but they 181 00:10:30,720 --> 00:10:34,040 Speaker 1: kind of, um they almost did it so well that 182 00:10:34,040 --> 00:10:36,160 Speaker 1: no one really gave her credit for how hard she worked. 183 00:10:37,720 --> 00:10:43,719 Speaker 1: The composer barely Oh's described Marie like this, Mademoiselle Talione 184 00:10:43,760 --> 00:10:46,959 Speaker 1: is not a dancer. She has an air spirit Ariel 185 00:10:47,080 --> 00:10:51,480 Speaker 1: personified daughter of the heavens, which is interesting when you 186 00:10:51,480 --> 00:10:55,800 Speaker 1: think about the early Coulon commentary about how she was 187 00:10:55,920 --> 00:10:59,440 Speaker 1: kind of a clunky hunchback. It's pretty interesting. And for 188 00:10:59,480 --> 00:11:02,400 Speaker 1: the next ten years after her Parisian debut, Marie stayed 189 00:11:02,440 --> 00:11:05,800 Speaker 1: at the Paris Opera. She really gathered a very devoted following. 190 00:11:05,920 --> 00:11:07,959 Speaker 1: She was, you know, basically a rock star in the 191 00:11:08,000 --> 00:11:11,360 Speaker 1: world of ballet, always with her father as her teacher. Uh. 192 00:11:11,400 --> 00:11:13,880 Speaker 1: And in eighteen thirty so, a few years after she 193 00:11:13,920 --> 00:11:17,000 Speaker 1: had debuted in Paris, she signed a new really lucrative 194 00:11:17,000 --> 00:11:20,080 Speaker 1: contract with the Paris Opera and included in that contract 195 00:11:20,160 --> 00:11:22,360 Speaker 1: is the same provision that she would only dance solos 196 00:11:22,400 --> 00:11:25,160 Speaker 1: choreographed by Filippo and that he was to be engaged 197 00:11:25,200 --> 00:11:27,880 Speaker 1: as the ballet master there. And one thing that doesn't 198 00:11:27,880 --> 00:11:30,360 Speaker 1: really get questioned or come up a lot that I 199 00:11:30,400 --> 00:11:34,560 Speaker 1: think is just worth mentioning, is that we really don't 200 00:11:34,640 --> 00:11:38,520 Speaker 1: have a good sense of that father daughter relationship. Some 201 00:11:38,559 --> 00:11:41,360 Speaker 1: people have kind of asserted that he may have been 202 00:11:41,360 --> 00:11:45,720 Speaker 1: manipulating her into, you know, these contracts that really benefited him, 203 00:11:45,880 --> 00:11:49,120 Speaker 1: but he really did also make her a star. So 204 00:11:49,160 --> 00:11:52,360 Speaker 1: it's a little unclear if their relationship had any animosity 205 00:11:52,440 --> 00:11:55,120 Speaker 1: or weirdness, or if they were just in it together 206 00:11:55,240 --> 00:11:58,199 Speaker 1: and you know, pursuing this career as a pair. Well. 207 00:11:58,240 --> 00:12:01,760 Speaker 1: And I kind of wonder, given that he was dedicating 208 00:12:01,800 --> 00:12:07,160 Speaker 1: so much effort to making making choreography that that worked 209 00:12:07,200 --> 00:12:10,240 Speaker 1: with her body. I wonder whether she would have had 210 00:12:10,400 --> 00:12:13,719 Speaker 1: the same success with the choreography or choreographer who did 211 00:12:13,760 --> 00:12:18,040 Speaker 1: not have that as his objective thinks she would not. Yeah, 212 00:12:18,080 --> 00:12:21,480 Speaker 1: I can't know for sure, but not speculation on our part. 213 00:12:22,720 --> 00:12:27,120 Speaker 1: On March twelfth, two, her father's ballet Last Few Feed 214 00:12:27,679 --> 00:12:31,360 Speaker 1: debuted at the Paris Opera with Marie starring. The ballet 215 00:12:31,440 --> 00:12:34,480 Speaker 1: was choreographed to show off Marie's talents to the best effect, 216 00:12:34,559 --> 00:12:37,360 Speaker 1: and it's often cited as the moment that truly rush 217 00:12:37,559 --> 00:12:42,080 Speaker 1: ushered in the Romantic era of ballet. This rounded oval 218 00:12:42,200 --> 00:12:44,640 Speaker 1: framing created by the port of bra which is the 219 00:12:44,679 --> 00:12:50,360 Speaker 1: carriage of her arms that Marie popularized, was really danced, 220 00:12:50,400 --> 00:12:53,920 Speaker 1: historians believe created by her father, as we were talking 221 00:12:53,920 --> 00:12:58,760 Speaker 1: about before, to compensate for her oddly shaped back. Yeah, allegedly, 222 00:12:58,800 --> 00:13:01,360 Speaker 1: if she just stood kind of in a neutral pose, 223 00:13:01,920 --> 00:13:06,040 Speaker 1: her oddly shaped back that hunched a bit became obvious. 224 00:13:06,080 --> 00:13:08,080 Speaker 1: But if she was forced to lift her arms over 225 00:13:08,120 --> 00:13:10,600 Speaker 1: her head and in the oval position, it kind of 226 00:13:10,640 --> 00:13:13,679 Speaker 1: lifted her breastbone up and it compensated for that, so 227 00:13:13,760 --> 00:13:17,000 Speaker 1: it wasn't as obvious that she had kind of awkward posture. 228 00:13:17,760 --> 00:13:20,120 Speaker 1: But even the costume that Marie wore is the Sylph, 229 00:13:20,120 --> 00:13:22,600 Speaker 1: which was a fitted bodice with a floaty tool skirt 230 00:13:23,160 --> 00:13:27,200 Speaker 1: that um cut between the knee and the ankle and 231 00:13:27,320 --> 00:13:30,960 Speaker 1: was designed by Eugene Lammy, really became about an iconic 232 00:13:31,160 --> 00:13:34,400 Speaker 1: ballet image. The long, floaty skirt is still seen in 233 00:13:34,400 --> 00:13:36,640 Speaker 1: ballet today and it's actually called a romantic to tu. 234 00:13:37,760 --> 00:13:40,920 Speaker 1: La sfied is also oftenside it as the first ballet 235 00:13:41,040 --> 00:13:44,520 Speaker 1: which featured Marie dancing on point. This is something that 236 00:13:44,559 --> 00:13:47,240 Speaker 1: happens all over the place in ballet. Now, if you 237 00:13:47,280 --> 00:13:49,160 Speaker 1: go see the ballet, you will see the answers on point. 238 00:13:49,240 --> 00:13:52,200 Speaker 1: It's much more rare to see a ballet choreograph that 239 00:13:52,280 --> 00:13:55,120 Speaker 1: does not involve point work. This was not the case 240 00:13:55,160 --> 00:13:58,320 Speaker 1: at the time. Their engravings and lithographs of her on 241 00:13:58,400 --> 00:14:02,120 Speaker 1: point that predate this ballet it only by a few months. Um, 242 00:14:02,160 --> 00:14:05,680 Speaker 1: we've seen several that are so it's possible that those 243 00:14:05,720 --> 00:14:09,320 Speaker 1: were promotional, even though um, some feature her in a 244 00:14:09,360 --> 00:14:13,120 Speaker 1: costume from a previous ballet. Yeah, we do know a 245 00:14:13,120 --> 00:14:15,320 Speaker 1: lot of the foot strengthening work she was doing in 246 00:14:15,360 --> 00:14:19,680 Speaker 1: those big six hour blocks was probably, um, you know 247 00:14:20,320 --> 00:14:23,280 Speaker 1: leading up to this, that Filippo had this vision quite 248 00:14:23,280 --> 00:14:26,640 Speaker 1: a while before. They actually are credited with premiering it 249 00:14:27,280 --> 00:14:30,000 Speaker 1: and this version of dancing on toe. If you go 250 00:14:30,040 --> 00:14:32,280 Speaker 1: to the ballet today, it's very different from what you 251 00:14:32,280 --> 00:14:35,560 Speaker 1: would see now to what Marie was doing. It was 252 00:14:35,640 --> 00:14:39,720 Speaker 1: much more delicate and restrained than modern point technique, largely 253 00:14:39,800 --> 00:14:41,480 Speaker 1: due to the fact that at that time the shoes 254 00:14:41,520 --> 00:14:43,360 Speaker 1: had no blocking. If you look at points shoes now, 255 00:14:43,360 --> 00:14:46,040 Speaker 1: they're very hard at the front. Uh, there's a lot 256 00:14:46,080 --> 00:14:48,920 Speaker 1: of resin and they, you know, are are a pretty 257 00:14:48,920 --> 00:14:51,440 Speaker 1: firm shape. They eventually get broken down and molded to 258 00:14:51,480 --> 00:14:54,160 Speaker 1: the dancer's foot and every dancer has a different kind 259 00:14:54,200 --> 00:14:57,920 Speaker 1: of way they like them done. But these were completely soft, 260 00:14:58,360 --> 00:15:01,120 Speaker 1: like just like a regular saw to ballet shoe that 261 00:15:01,200 --> 00:15:03,800 Speaker 1: a child would wear, you know when they're learning nowadays. 262 00:15:04,120 --> 00:15:05,680 Speaker 1: And it had a little bit of darning at the 263 00:15:05,720 --> 00:15:09,080 Speaker 1: toe to add a slight stiffness, but again created just 264 00:15:09,120 --> 00:15:11,840 Speaker 1: with thread. There was no resin involved, so the toes 265 00:15:11,880 --> 00:15:13,600 Speaker 1: and the ankles and the feet of the dancer had 266 00:15:13,640 --> 00:15:16,480 Speaker 1: to be extremely strong to rise up on point at 267 00:15:16,520 --> 00:15:20,360 Speaker 1: that point. Yeah, And there wasn't a lot of times 268 00:15:20,360 --> 00:15:23,280 Speaker 1: spent on point. It was used more as a change 269 00:15:23,280 --> 00:15:26,440 Speaker 1: of levels to create this illusion of floating and gliding 270 00:15:26,480 --> 00:15:29,480 Speaker 1: over the stage. And it's worth noting that there were 271 00:15:29,520 --> 00:15:33,240 Speaker 1: other dancers experimenting with point work. Uh. Taliani got the 272 00:15:33,240 --> 00:15:35,880 Speaker 1: most publicity because of the prominence of her position with 273 00:15:35,880 --> 00:15:39,480 Speaker 1: the Paris Opera, and even though she's generally credited, if 274 00:15:39,480 --> 00:15:41,280 Speaker 1: you look at any like quick history of ballet. It 275 00:15:41,320 --> 00:15:43,120 Speaker 1: will always give her credit for being the first to 276 00:15:43,200 --> 00:15:45,640 Speaker 1: appear on point, but there were other dancers kind of 277 00:15:45,680 --> 00:15:49,680 Speaker 1: playing with this concept. The popularity of the costume design 278 00:15:49,920 --> 00:15:53,480 Speaker 1: and the dance technique repeated in other ballets of the 279 00:15:53,520 --> 00:15:58,520 Speaker 1: time ushered in an arrow where dancers were seen as ethereal, idealized, 280 00:15:58,640 --> 00:16:01,760 Speaker 1: and almost otherworldly creatures, which I think is really continued 281 00:16:01,840 --> 00:16:05,960 Speaker 1: until today. Yeah. The other big popular ballet other than 282 00:16:06,080 --> 00:16:09,080 Speaker 1: La Self Feed that was came a little bit later 283 00:16:09,240 --> 00:16:13,840 Speaker 1: was Um Chaselle, which is again performed frequently nowadays. It's 284 00:16:13,880 --> 00:16:16,520 Speaker 1: very popular, and it too features like this woodland creature 285 00:16:16,600 --> 00:16:19,880 Speaker 1: kind of story and you know, this mystical almost fairy 286 00:16:19,960 --> 00:16:24,200 Speaker 1: like thing and uh generally costumed exactly the same fitted bodice, 287 00:16:24,240 --> 00:16:26,960 Speaker 1: floaty tool skirts. So it really the Romantic era really 288 00:16:27,040 --> 00:16:30,840 Speaker 1: was about these kind of white dresses of floaty, other 289 00:16:30,920 --> 00:16:35,280 Speaker 1: worldly creatures, and through her younger years Marie was seen 290 00:16:35,360 --> 00:16:38,280 Speaker 1: as very chaste, She was undistracted by love, She was 291 00:16:38,320 --> 00:16:41,520 Speaker 1: the epitome of purity, and some of that characterization was 292 00:16:41,560 --> 00:16:44,400 Speaker 1: really fueled by these long white dance costumes that she 293 00:16:44,480 --> 00:16:47,240 Speaker 1: became known for, as well as her dedication to her 294 00:16:47,280 --> 00:16:49,720 Speaker 1: career and probably the fact that her father tended to 295 00:16:49,800 --> 00:16:54,480 Speaker 1: keep her away from other people. Uh, you know, focused 296 00:16:54,480 --> 00:16:58,640 Speaker 1: on dance, no time for boys. Twelve years into her career, though, 297 00:16:58,680 --> 00:17:02,400 Speaker 1: she gave up single life and she married Gilbert Comte 298 00:17:02,400 --> 00:17:05,960 Speaker 1: de Boisant in London in eighteen thirty four. They had 299 00:17:05,960 --> 00:17:08,720 Speaker 1: a child together in eighteen thirty five, but their marriage 300 00:17:08,720 --> 00:17:12,359 Speaker 1: didn't last. They were separated in eighteen thirty five, but 301 00:17:12,400 --> 00:17:15,600 Speaker 1: they didn't divorce until eighteen forty four. There was another 302 00:17:15,680 --> 00:17:19,520 Speaker 1: child in eighteen forty three which did get his last name. 303 00:17:20,359 --> 00:17:23,120 Speaker 1: It's pretty likely that it was not from the marriage. Yeah, 304 00:17:23,200 --> 00:17:26,080 Speaker 1: It's one of those things that was never particularly clear. 305 00:17:26,760 --> 00:17:31,120 Speaker 1: Interestingly enough, the rumors at both times that Murray was pregnant. 306 00:17:31,160 --> 00:17:35,639 Speaker 1: She actually reportedly had a knee injury and so stepped 307 00:17:35,680 --> 00:17:37,480 Speaker 1: away from the stage for that reason. But then of 308 00:17:37,520 --> 00:17:41,000 Speaker 1: course they just kind of kept her her private life. 309 00:17:41,160 --> 00:17:44,159 Speaker 1: He didn't even exist. It was really all about the 310 00:17:44,200 --> 00:17:47,879 Speaker 1: image and this ballerina. Yeah. I feel like that's like 311 00:17:47,920 --> 00:17:51,920 Speaker 1: the the eighties sitcoms where with whatever actor was pregnant 312 00:17:52,000 --> 00:17:55,639 Speaker 1: would have like a dust duster in front of them 313 00:17:55,720 --> 00:17:59,439 Speaker 1: or like carrying some things. You can see in eighteen 314 00:17:59,440 --> 00:18:02,879 Speaker 1: thirty seven in Marie and her father accepted contracts with 315 00:18:02,880 --> 00:18:07,000 Speaker 1: the Russian Imperial Theater in St. Petersburg, and preceding her arrival, 316 00:18:07,119 --> 00:18:10,520 Speaker 1: a pamphlet that was titled the Biography of Marie Talione 317 00:18:10,720 --> 00:18:12,800 Speaker 1: was circulated in the city, and by the time she 318 00:18:12,880 --> 00:18:16,320 Speaker 1: reached St. Petersburg there was like this complete hubbub of 319 00:18:16,400 --> 00:18:20,080 Speaker 1: excitement about her. Her first appearance at the Bullshoit Theater 320 00:18:20,200 --> 00:18:23,040 Speaker 1: was sold out, and she enjoyed an extremely successful several 321 00:18:23,160 --> 00:18:26,399 Speaker 1: years of dancing there. She last performed in Russia in 322 00:18:26,480 --> 00:18:29,840 Speaker 1: eighteen forty two. And then there's a wacky story about that. 323 00:18:30,080 --> 00:18:34,480 Speaker 1: So gross. There's this apocryphal story. Uh, it's a supper 324 00:18:34,520 --> 00:18:37,480 Speaker 1: that happened after her last Russian performance, at which a 325 00:18:37,520 --> 00:18:40,600 Speaker 1: pair of her shoes purchased for two d roubles were 326 00:18:40,600 --> 00:18:43,359 Speaker 1: cooked and eaten with a sauce by a group of 327 00:18:43,400 --> 00:18:47,760 Speaker 1: her most devoted fans, which is simultaneously disgusting and probably 328 00:18:47,800 --> 00:18:55,439 Speaker 1: not true. Yeah, gross, I uh, it's entirely I have 329 00:18:55,520 --> 00:18:59,560 Speaker 1: a suspicion. Again, this is all speculation that possibly her 330 00:18:59,600 --> 00:19:02,560 Speaker 1: shoes would have been purchased, you know, almost as a 331 00:19:02,680 --> 00:19:07,400 Speaker 1: like collectors. Yeah, and then I think the dinner thing 332 00:19:07,920 --> 00:19:09,720 Speaker 1: that I don't know where it would have sprung from, 333 00:19:09,760 --> 00:19:15,040 Speaker 1: but that seems extreme and bizarre and again gross. Having 334 00:19:15,160 --> 00:19:18,200 Speaker 1: danced a lot, I know how disgusting dance shoes get. 335 00:19:19,119 --> 00:19:21,080 Speaker 1: It's kind of like if you would eat a hockey glove. 336 00:19:21,160 --> 00:19:24,000 Speaker 1: I mean, it's a similar level of grossness. It does 337 00:19:24,040 --> 00:19:38,399 Speaker 1: not sound palatable or delightful in any way. No. After 338 00:19:38,440 --> 00:19:41,240 Speaker 1: her time in St. Petersburg, she continued to tour Europe 339 00:19:41,240 --> 00:19:44,520 Speaker 1: and she performed for several more years, but finally in 340 00:19:44,560 --> 00:19:48,520 Speaker 1: eight tall One retired from dance after twenty six years 341 00:19:48,520 --> 00:19:51,800 Speaker 1: on stage. The life of a professional dancer, which was 342 00:19:51,840 --> 00:19:54,919 Speaker 1: always on the road. It was exhausting training. It was 343 00:19:54,920 --> 00:19:56,680 Speaker 1: really starting to catch up to her because she was 344 00:19:56,720 --> 00:19:59,240 Speaker 1: in her mid forties at that point. She's not a 345 00:19:59,240 --> 00:20:02,880 Speaker 1: spring chicken any more. No, and her retirement was kind 346 00:20:02,920 --> 00:20:05,960 Speaker 1: of cut short by mismanagement of her finances. So in 347 00:20:06,080 --> 00:20:08,800 Speaker 1: eighteen fifty nine she went back to Paris to the Opera, 348 00:20:09,440 --> 00:20:13,119 Speaker 1: this time as the Inspectory, still a dance. While she 349 00:20:13,200 --> 00:20:16,880 Speaker 1: was holding this position, she instituted the company's exam system, 350 00:20:17,080 --> 00:20:21,399 Speaker 1: and while teaching there she met her protege, Emma Livery, 351 00:20:21,480 --> 00:20:25,120 Speaker 1: and Marie actually choreographed only one ballet in her life, 352 00:20:25,119 --> 00:20:27,560 Speaker 1: and that was in eighteen sixty and it was for Livery, 353 00:20:27,600 --> 00:20:30,240 Speaker 1: and it was entitled Le Papillon, which means the Butterfly, 354 00:20:30,840 --> 00:20:33,200 Speaker 1: and the story involves a woman who was changed into 355 00:20:33,240 --> 00:20:36,480 Speaker 1: a butterfly and then flies too close to a flame 356 00:20:36,520 --> 00:20:40,400 Speaker 1: and burns its wings. And this uh, sadly turned out 357 00:20:40,440 --> 00:20:44,399 Speaker 1: to be somewhat prophetic. While she would likely have gone 358 00:20:44,400 --> 00:20:48,680 Speaker 1: on to a great career by virtue of Talian's blessing 359 00:20:48,720 --> 00:20:53,159 Speaker 1: and teaching, Livery's life ended tragically in eighteen sixty two 360 00:20:53,280 --> 00:20:56,400 Speaker 1: or possibly eighteen sixty three. You see it different differently 361 00:20:56,400 --> 00:21:00,280 Speaker 1: in different sources. Um, she brushed against a gas light 362 00:21:00,320 --> 00:21:03,000 Speaker 1: while rehearsing for an upcoming production, and her too, too 363 00:21:03,040 --> 00:21:05,840 Speaker 1: caught fire and she died from her burns. Yes, so 364 00:21:05,960 --> 00:21:09,640 Speaker 1: only a couple of years after her her ballet by Talione. 365 00:21:09,640 --> 00:21:13,240 Speaker 1: So she really died very young and quite tragically. Uh. 366 00:21:13,240 --> 00:21:16,760 Speaker 1: But after eighteen seventy, Talionis next career move was in 367 00:21:16,760 --> 00:21:19,280 Speaker 1: a completely different avenue of dance. So she had been 368 00:21:19,280 --> 00:21:21,480 Speaker 1: at the Paris Opera for a while, but she then 369 00:21:21,520 --> 00:21:24,920 Speaker 1: moved to London and taught ballroom dance, which she did 370 00:21:25,000 --> 00:21:29,479 Speaker 1: for about ten years, and interestingly enough, Filippo Talioni. Her 371 00:21:29,520 --> 00:21:33,359 Speaker 1: father died in eighteen seventy one, so around this time 372 00:21:33,359 --> 00:21:36,439 Speaker 1: it was like all of her ties to ballet really ended. 373 00:21:36,960 --> 00:21:40,720 Speaker 1: And whether that was coincidental or not, or if she 374 00:21:40,840 --> 00:21:43,159 Speaker 1: just decided that as her father was reaching the end 375 00:21:43,160 --> 00:21:44,600 Speaker 1: of his life, she was just going to be done 376 00:21:44,600 --> 00:21:48,080 Speaker 1: with ballet and decided to pursue ballroom. Some reports say 377 00:21:48,119 --> 00:21:50,679 Speaker 1: that ballroom was just a more lucrative option. I can 378 00:21:50,760 --> 00:21:54,720 Speaker 1: imagine that. Uh, and she did continue to have some 379 00:21:54,760 --> 00:21:58,800 Speaker 1: money struggles. Um so yeah, it's just kind of that's 380 00:21:58,840 --> 00:22:01,679 Speaker 1: the end of ballet for her. Yeah. In eighteen eighties 381 00:22:01,720 --> 00:22:04,080 Speaker 1: she moved to Marseilles with her son, and she died 382 00:22:04,119 --> 00:22:09,639 Speaker 1: four years later on April four. Now, initially Marie was 383 00:22:09,680 --> 00:22:12,560 Speaker 1: buried in Marseilles, but she was later moved to Gubert 384 00:22:12,640 --> 00:22:17,600 Speaker 1: de Bois Saint's family plot in Pere la Chaise in Paris. However, 385 00:22:18,359 --> 00:22:20,880 Speaker 1: there has actually been a good bit of confusion through 386 00:22:20,920 --> 00:22:25,760 Speaker 1: the years about her resting place. Um I imagine some 387 00:22:25,840 --> 00:22:28,879 Speaker 1: of our traveled listeners that have been to Paris and 388 00:22:28,880 --> 00:22:32,320 Speaker 1: been to montmart have possibly seen what many believed for 389 00:22:32,359 --> 00:22:35,040 Speaker 1: a long time to be her grave, But it is not. 390 00:22:35,400 --> 00:22:37,760 Speaker 1: It is in fact, the grave of Marie's mother, Sophie, 391 00:22:38,119 --> 00:22:40,439 Speaker 1: who died in eighteen sixty five, and it's there in 392 00:22:40,440 --> 00:22:43,320 Speaker 1: the famous montmart and it is marked in a way 393 00:22:43,359 --> 00:22:47,680 Speaker 1: that caused some confusion. It's marked Marie talionisam Bienna me 394 00:22:48,440 --> 00:22:51,400 Speaker 1: and it really means Marie Talione to her beloved mother. 395 00:22:52,000 --> 00:22:54,399 Speaker 1: And I presume that because Marie was a star, her 396 00:22:54,480 --> 00:22:57,120 Speaker 1: name appeared on this placard rather than her mother's name, 397 00:22:57,720 --> 00:23:01,080 Speaker 1: But it's always been a little unclear. Uh. But unfortunately 398 00:23:01,200 --> 00:23:04,000 Speaker 1: that has led to Sophie's grave being mistaken as Marie's. 399 00:23:04,520 --> 00:23:07,920 Speaker 1: And so if you look up pictures of it online, 400 00:23:08,280 --> 00:23:11,240 Speaker 1: it's usually just covered in dancer shoes that go to 401 00:23:11,359 --> 00:23:15,480 Speaker 1: kind of pay homage and you know, pay their respects 402 00:23:15,560 --> 00:23:18,800 Speaker 1: to this famous ballerina. And they're in various stages of decay. 403 00:23:18,920 --> 00:23:20,919 Speaker 1: A lot of them are blackened from having sat out 404 00:23:20,960 --> 00:23:24,560 Speaker 1: there for so long. But it's not at the right site, unfortunately, 405 00:23:24,640 --> 00:23:26,680 Speaker 1: And if you go to Marie's actual grave, they're like 406 00:23:26,800 --> 00:23:31,080 Speaker 1: two pair. Yeah, people haven't the people who did their research. Yeah, 407 00:23:31,119 --> 00:23:35,280 Speaker 1: there there's been some um work done in the last 408 00:23:35,359 --> 00:23:37,800 Speaker 1: five or so years on the part of dance historians 409 00:23:37,880 --> 00:23:40,119 Speaker 1: to try to get that corrected, like on maps of 410 00:23:40,200 --> 00:23:43,680 Speaker 1: the city. And I think there is even a placard 411 00:23:43,720 --> 00:23:46,360 Speaker 1: at the front of montmart that might be incorrect now 412 00:23:46,680 --> 00:23:50,400 Speaker 1: that was put up later um and I'm not sure 413 00:23:50,560 --> 00:23:52,439 Speaker 1: what the status of it is as of now when 414 00:23:52,480 --> 00:23:55,959 Speaker 1: we're recording which is but I was looking at tourism 415 00:23:56,040 --> 00:23:58,880 Speaker 1: brushers from last year from twelve that even still said 416 00:23:58,920 --> 00:24:03,080 Speaker 1: she was in Mamarch. So there's some confusion still being 417 00:24:03,480 --> 00:24:06,880 Speaker 1: um populated out here in the world when in fact 418 00:24:06,960 --> 00:24:11,399 Speaker 1: it's not accurate. All of Filippo's choreography is lost to 419 00:24:11,600 --> 00:24:16,000 Speaker 1: us unfortunately. We do have notation of a recreation by 420 00:24:16,160 --> 00:24:20,720 Speaker 1: August Bournonville for the Royal Theater of Copenhagen in three 421 00:24:20,880 --> 00:24:25,040 Speaker 1: six after he had seen Talioni in the role. There's 422 00:24:25,080 --> 00:24:29,160 Speaker 1: also a speculative reconstruction by a choreographer named Pierre Lacotte 423 00:24:29,320 --> 00:24:33,480 Speaker 1: in ninety two. Yeah, but we just don't have the notations. 424 00:24:33,480 --> 00:24:36,480 Speaker 1: A lot of other ballets from history were notated so 425 00:24:36,600 --> 00:24:38,960 Speaker 1: well that even when you see them performed in the 426 00:24:39,040 --> 00:24:42,440 Speaker 1: modern era, it's basically the same steps being done. But 427 00:24:42,600 --> 00:24:46,200 Speaker 1: we really don't have any of Filippo's unfortunately. But Marie's 428 00:24:46,320 --> 00:24:49,560 Speaker 1: impact and consequently Filippo's on the dance world is still 429 00:24:49,640 --> 00:24:52,480 Speaker 1: certainly felt today. Whereas she was, you know, one of 430 00:24:52,560 --> 00:24:54,560 Speaker 1: only a few dancers at a time to go on point. 431 00:24:54,640 --> 00:24:58,040 Speaker 1: Now it's really do rigor for any serious dancer. I mean, 432 00:24:58,119 --> 00:24:59,960 Speaker 1: you couldn't have a career in ballet and not dance 433 00:25:00,040 --> 00:25:02,000 Speaker 1: on points. Yeah. I cannot think of a ballet I 434 00:25:02,080 --> 00:25:05,119 Speaker 1: have seen that has not included point work. Yeah, some 435 00:25:05,240 --> 00:25:07,920 Speaker 1: of them are modern ones that kind of bridge the 436 00:25:07,960 --> 00:25:11,399 Speaker 1: gap between ballet and modern will not always go on point, 437 00:25:11,480 --> 00:25:15,120 Speaker 1: but for the most part, Uh, you're looking at point work, 438 00:25:16,280 --> 00:25:20,119 Speaker 1: which is its own whole thing. Yeah. I remember I 439 00:25:20,200 --> 00:25:22,399 Speaker 1: talked briefly to my sports pediatrist about it and he 440 00:25:22,520 --> 00:25:23,960 Speaker 1: kind of made this face like I don't want to 441 00:25:24,000 --> 00:25:28,119 Speaker 1: get into this. Well, and when I was young, I 442 00:25:28,280 --> 00:25:31,040 Speaker 1: really really wanted to take ballet, and I had a 443 00:25:31,160 --> 00:25:35,400 Speaker 1: childhood friend who was a dancer and she was very gifted, 444 00:25:35,880 --> 00:25:41,119 Speaker 1: and my dad educated me on the trials of ballet 445 00:25:41,240 --> 00:25:44,200 Speaker 1: dancing on your feet. Yeah. I don't think he was 446 00:25:44,240 --> 00:25:45,959 Speaker 1: actually trying to talk me out of it. I think 447 00:25:46,040 --> 00:25:48,040 Speaker 1: he was trying to help me understand what I was 448 00:25:48,119 --> 00:25:51,200 Speaker 1: wanting to get into. I did not pursue it, and 449 00:25:51,280 --> 00:25:53,280 Speaker 1: that turns out to probably be pretty good because I 450 00:25:53,359 --> 00:25:58,480 Speaker 1: am so tall that uh, I was taller than most 451 00:25:58,560 --> 00:26:02,480 Speaker 1: of the male dancers. Had lovely lines though yeah yeah, 452 00:26:02,880 --> 00:26:06,800 Speaker 1: it was also extremely inflexible. That would have been a lifelong, 453 00:26:07,320 --> 00:26:10,919 Speaker 1: difficult struggle. I will say once I quit dancing, uh 454 00:26:11,280 --> 00:26:13,960 Speaker 1: probably about four years after I quit dancing on point, 455 00:26:14,040 --> 00:26:16,639 Speaker 1: my feet suddenly grew a whole bunch like all of 456 00:26:16,720 --> 00:26:19,040 Speaker 1: the impacting that had been done since I was you know, 457 00:26:19,520 --> 00:26:23,480 Speaker 1: eleven or twelve up into my early twenties. Once that 458 00:26:23,560 --> 00:26:25,960 Speaker 1: stopped in my foot spread out. I went from like 459 00:26:26,000 --> 00:26:27,560 Speaker 1: a size five to now I wear an eight and 460 00:26:27,560 --> 00:26:30,280 Speaker 1: a half. Wow. I mean that didn't happen overnight. That 461 00:26:30,359 --> 00:26:32,479 Speaker 1: happened over several years. But my feet did go through 462 00:26:32,520 --> 00:26:42,080 Speaker 1: a growth spurt after I stopped doing point work. Thanks 463 00:26:42,119 --> 00:26:44,760 Speaker 1: so much for joining us on this Saturday. Since this 464 00:26:44,880 --> 00:26:46,919 Speaker 1: episode is out of the archive, if you heard an 465 00:26:46,920 --> 00:26:49,120 Speaker 1: email address or a Facebook U R L or something 466 00:26:49,200 --> 00:26:52,439 Speaker 1: similar over the course of the show, that could be obsolete. Now. 467 00:26:52,960 --> 00:26:57,120 Speaker 1: Our current email address is History Podcast at I Heart 468 00:26:57,320 --> 00:27:00,720 Speaker 1: radio dot com. 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