Con la T de…

Tap dancing. “Too hot to handle”.

Trolls. No sólo son los malos de los gnomos, sino también los co-protagonistas del bournonvilleano ballet Et folkesagn/A Folk Tale (Un cuento popular).

Tereshkina, Viktoria. Cuando baila parece clavada al suelo del escenario, como un pincho de sombrilla en la playa.

Teatro. “¿Para qué vais al teatro, si lo tenéis en casa?”, decía mi bisabuelo. Era la vida de la posguerra.

Tutú. La mujer que no se haya puesto un buen tutú no sabe lo que es sentirse verdaderamente hermosa.

Tenessee Williams. Suddenly, last summer. Elocuente título.

Tordín. Como el tour en l’air, pero a la española.

Tchaikovsky, Piotr I. La verdadera dimensión del ballet, encerrada en tres o cuatro obras.

Taqueté. Es a la danza lo que el pizzicatto a la música. Si juntamos ambas cosas, nos salen los patitos del segundo acto de El lago de los cisnes.

Terpsícore. Nuestra musa. Pobre, lo que le ha tocado.

Tap dancing. “Too hot to handle”.

Trolls. They’re not only the enemies of the gnomes; they also co-star the bournonvillean ballet Et folkesang (A Folk Tale).

Tereshkina, Viktoria. She dances like plunged into the stage floor, as if she were an umbrella stake driven into the beach ground.

Theater. “Why are you going to the theater, if you have it at home?”, my great-grandfather used to say. That was life during the postwar years.

Tutu. The woman who’s never worn a tutu, has never felt truly beautiful.

Tennessee Williams. Suddenly, last summer. Eloquent title. 

Tordín. Like a tour en l’air, but in Spanish dance.

Tchaikovsky, Piotr I. The true extent of the ballet, enclosed on three or four pieces.

Taqueté. It means to dance what the Pizzicatto means to music. The result of linking both things, is the cygnets variations from the second act of Swan Lake.

Terpsichore. Our muse. Poor girl, what she got. 

* Photo Anna Pavlova in The Dying Swan, tutu designed by León Baskt (1905), unknown photographer.
* Photo Tenessee Williams © Jack Mitchell.

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