Ashton's tutelage is imprinted everywhere: in the low, Pavlova-inspired arabesques, and in the animation of her fingers, wrists, shoulders and, especially her [Fonteyn's] eyes. 'Dancers today don't understand what eyes are for,' he would complain. 'with your eyes properly used, you can distract everybody from your technique. You draw the public to you through your eyes' . . . .
Secret Muses: The Life of Frederick Ashton by Julie Kavanagh. 1996. Page 437.
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