Satisfaction or Hard Labour? Portrait of a Ballet School in 52 Percent by Rafał Skalski
How is ballet presented in documentaries? Is Central European cinema different from cinema in the West in this respect? 52 Percent, Rafał Skalski’s documentary about Alla, a girl dreaming of becoming a ballerina, provides an intriguing answer to this question. Th is article compares 52 Percent by R...
Saved in:
| Main Author: | |
|---|---|
| Format: | Article |
| Language: | English |
| Published: |
Adam Mickiewicz University Press
2014-06-01
|
| Series: | Images |
| Subjects: | |
| Online Access: | https://pressto.amu.edu.pl/index.php/i/article/view/1329 |
| Tags: |
Add Tag
No Tags, Be the first to tag this record!
|
| _version_ | 1850279759980789760 |
|---|---|
| author | Anna Śliwińska |
| author_facet | Anna Śliwińska |
| author_sort | Anna Śliwińska |
| collection | DOAJ |
| description |
How is ballet presented in documentaries? Is Central European cinema different from cinema in the West in this respect? 52 Percent, Rafał Skalski’s documentary about Alla, a girl dreaming of becoming a ballerina, provides an intriguing answer to this question. Th is article compares 52 Percent by Rafał Skalski with two documentaries made in the West (First Position and Only When I Dance), which also show the endeavours of young people who want to fulfil their dreams of becoming ballet dancers. Alla tries to enrol in the famous Russian Agrippina Vaganova Academy of Russian Ballet in Sankt Petersburg. Th e exams are really tough, and she must do additional exercises to lengthen her legs (she lacks 0.4% to achieve the perfect leg-upper body ratio). The girl cannot make her legs longer, although she tries hard. Her days fi lled with exercise are filmed in long, static shots. There is no joy or enthusiasm. Sweat and tiredness are a part of strenuous exercise. Alla does not spin on a roof, nor does she jump rhythmically while cooking, like the characters of First Position and Only When I Dance. There is nothing from a fairy tale or Hollywood in her experiences. Additionally, Skalski’s fi lm breaks the myth of the dancer’s body being strong and inexhaustible. This is how we traditionally look at ballet, where there is no place for showing weakness.
|
| format | Article |
| id | doaj-art-315bd00e85df4610b268a08ff0e4aef6 |
| institution | OA Journals |
| issn | 1731-450X 2720-040X |
| language | English |
| publishDate | 2014-06-01 |
| publisher | Adam Mickiewicz University Press |
| record_format | Article |
| series | Images |
| spelling | doaj-art-315bd00e85df4610b268a08ff0e4aef62025-08-20T01:49:00ZengAdam Mickiewicz University PressImages1731-450X2720-040X2014-06-01152410.14746/i.2014.24.18Satisfaction or Hard Labour? Portrait of a Ballet School in 52 Percent by Rafał SkalskiAnna Śliwińska0Department of Film, Television and New Media at Adam Mickiewicz University in Poznań How is ballet presented in documentaries? Is Central European cinema different from cinema in the West in this respect? 52 Percent, Rafał Skalski’s documentary about Alla, a girl dreaming of becoming a ballerina, provides an intriguing answer to this question. Th is article compares 52 Percent by Rafał Skalski with two documentaries made in the West (First Position and Only When I Dance), which also show the endeavours of young people who want to fulfil their dreams of becoming ballet dancers. Alla tries to enrol in the famous Russian Agrippina Vaganova Academy of Russian Ballet in Sankt Petersburg. Th e exams are really tough, and she must do additional exercises to lengthen her legs (she lacks 0.4% to achieve the perfect leg-upper body ratio). The girl cannot make her legs longer, although she tries hard. Her days fi lled with exercise are filmed in long, static shots. There is no joy or enthusiasm. Sweat and tiredness are a part of strenuous exercise. Alla does not spin on a roof, nor does she jump rhythmically while cooking, like the characters of First Position and Only When I Dance. There is nothing from a fairy tale or Hollywood in her experiences. Additionally, Skalski’s fi lm breaks the myth of the dancer’s body being strong and inexhaustible. This is how we traditionally look at ballet, where there is no place for showing weakness. https://pressto.amu.edu.pl/index.php/i/article/view/1329short filmPolish contemporary documentaryRafał Skalskimusical documentaries |
| spellingShingle | Anna Śliwińska Satisfaction or Hard Labour? Portrait of a Ballet School in 52 Percent by Rafał Skalski Images short film Polish contemporary documentary Rafał Skalski musical documentaries |
| title | Satisfaction or Hard Labour? Portrait of a Ballet School in 52 Percent by Rafał Skalski |
| title_full | Satisfaction or Hard Labour? Portrait of a Ballet School in 52 Percent by Rafał Skalski |
| title_fullStr | Satisfaction or Hard Labour? Portrait of a Ballet School in 52 Percent by Rafał Skalski |
| title_full_unstemmed | Satisfaction or Hard Labour? Portrait of a Ballet School in 52 Percent by Rafał Skalski |
| title_short | Satisfaction or Hard Labour? Portrait of a Ballet School in 52 Percent by Rafał Skalski |
| title_sort | satisfaction or hard labour portrait of a ballet school in 52 percent by rafal skalski |
| topic | short film Polish contemporary documentary Rafał Skalski musical documentaries |
| url | https://pressto.amu.edu.pl/index.php/i/article/view/1329 |
| work_keys_str_mv | AT annasliwinska satisfactionorhardlabourportraitofaballetschoolin52percentbyrafałskalski |