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It's amazing what goes into making something effortless.

"No performance is a perfect performance but some performances allow for the feeling of perfection. Achieving this moment of ecstasy easily validates all the pain and struggle of the art form by taking us, and possibly our audience, for a moment to a world beyond our own."

John Clifford, Allegra Kent and Gelsey Kirkland in ‘Dances at a Gathering’ (Robbins) with NYCB

John Clifford, Allegra Kent and Gelsey Kirkland in ‘Dances at a Gathering’ (Robbins) with NYCB


pretentious-swan-queen:

Gelsey Kirkland in Giselle


randombeautysls:

gelsey kirkland teaching

randombeautysls:

gelsey kirkland teaching


Jun 6th at 9PM / via: bunhead212 / op: bunhead212 / tagged: vintage. gelsey kirkland. bw. / 214 notes
bunhead212:

You Need Some Gelsey in Your Life

Every now and then it’s nice to look back at some of our favorite ballerinas. Gelsey Kirkland is high on that list. We’ve read her books, watched the Nutcracker video a million times and pour over photos of her.

bunhead212:

You Need Some Gelsey in Your Life

Every now and then it’s nice to look back at some of our favorite ballerinas. Gelsey Kirkland is high on that list. We’ve read her books, watched the Nutcracker video a million times and pour over photos of her.


finethankyouandyou:

Mikhail Baryshnikov and Gelsey Kirkland. Paris, 1974.
Photo by S. Lido

finethankyouandyou:

Mikhail Baryshnikov and Gelsey Kirkland. Paris, 1974.

Photo by S. Lido


Gelsey Kirkland as Aurora in Sleeping Beauty

Gelsey Kirkland as Aurora in Sleeping Beauty


Gelsey Kirkland and Jonas Kage

Gelsey Kirkland and Jonas Kage


May 27th at 11PM / via: oakcat / op: oakcat / tagged: bw. vintage. gelsey kirkland. / 474 notes
oakcat:


Gelsey Kirkland in 1979, photographed by Daniel Sorine for his book “Dancershoes.”

oakcat:

Gelsey Kirkland in 1979, photographed by Daniel Sorine for his book “Dancershoes.”


Gelsey Kirkland, Theme and Variations

UMM I LOVE YOU
THAT LAST 30 SECONDS WHATTT

(Source: theballetblog)


Gelsey Kirkland in 1978

Gelsey Kirkland in 1978





After groping with buttons, belt, and zipper, Misha appeared for a brief moment to be a statue himself, a pedestal of rumpled clothes at his feet. He seemed embarrased, like a bashful god. I shared his discomfort and dimmed the lights to conceal my own naked form. Our embrace did nothing to relieve the pressure. This would be our first performance. We were both suffering from stage fright.I retreated back into the refuge of fantasy, allowing my imagination to guide me through the seduction. We were two statues that had somehow come to life only to dance this intimate pas de deux. The choreography called for us to topple in slow motion onto the mattress. After sliding gracefully beneath the sheets and into each other, the next moment found us hopelessly entangled, like something out of one of those abstract ballets. There was an awkward frenzy of limbs, a struggle for balance and possesion. I felt that I had to surrender at this point to his need for control, to his fantasy. My purpose in life came into focus as his fingers ran up and down the lashing curve of my spine: to please him, to give him pleasure. Sensing what was expected of me, I waited for him to be done. I felt no need to fake what had not taken place, what could not have taken place in the time that elapsed. After he came to rest in my arms, we both turned back into stone. It was over.



Gelsey Kirkland recalls sleeping with Mikhail Baryshnikov for the first time in Dancing on my Grave

After groping with buttons, belt, and zipper, Misha appeared for a brief moment to be a statue himself, a pedestal of rumpled clothes at his feet. He seemed embarrased, like a bashful god. I shared his discomfort and dimmed the lights to conceal my own naked form. Our embrace did nothing to relieve the pressure. This would be our first performance. We were both suffering from stage fright.

I retreated back into the refuge of fantasy, allowing my imagination to guide me through the seduction. We were two statues that had somehow come to life only to dance this intimate pas de deux. The choreography called for us to topple in slow motion onto the mattress. After sliding gracefully beneath the sheets and into each other, the next moment found us hopelessly entangled, like something out of one of those abstract ballets.

There was an awkward frenzy of limbs, a struggle for balance and possesion. I felt that I had to surrender at this point to his need for control, to his fantasy. My purpose in life came into focus as his fingers ran up and down the lashing curve of my spine: to please him, to give him pleasure. Sensing what was expected of me, I waited for him to be done. I felt no need to fake what had not taken place, what could not have taken place in the time that elapsed. After he came to rest in my arms, we both turned back into stone. It was over.

Gelsey Kirkland recalls sleeping with Mikhail Baryshnikov for the first time in Dancing on my Grave


ragingelegance:

Gelsey Kirkland 1979

ragingelegance:

Gelsey Kirkland 1979


Feb 8th at 4PM / via: filmtodigital / op: filmtodigital / tagged: bw. vintage. gelsey kirkland. / 432 notes
filmtodigital:

Gelsey Kirkland in 1978.
Photographed for my book DANCERSHOES

filmtodigital:

Gelsey Kirkland in 1978.

Photographed for my book DANCERSHOES


filmtodigital:

Gelsey Kirkland joining the ABT dancers strike in 1979.

OH MY GOD

filmtodigital:

Gelsey Kirkland joining the ABT dancers strike in 1979.

OH MY GOD


Gelsey Kirkland backstage with George BalanchineThe Firebird

Gelsey Kirkland backstage with George Balanchine
The Firebird


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