The
basics are that a few of the skaters are enamoured with Dimbovitsa--
and at least one of the townspeople--most notably one of those whose
role is to bring materials for torches to the hidden practice sites,
and who, after watching for years, eventually makes some suggestions
to Dimbovitsa, which lead to some of the new moves that come from an
assortment of these practice sessions over the years. It later came
to her attention that these suggestions were rooted in paintings the
boy would make of her from memory, and once she saw the paintings, a
new respect for what the boy had in mind was born, and a new respect
for his talent, and a dim, but growing awareness of the attention he
paid to her, to be able to paint her in such beautiful details, from
memory. The paintings rarely actually showed the skates themselves,
as he often portrayed her as a faery floating above the ice, in much
the same ways as others imagined her, but this in more concrete form
. . .a form that may well have been the root of the Giselle ballet.
If you actually extrapolate from such paintings, it becomes obvious,
in the extreme, that the choreography, costumes, set and setting all
are in reality those of the practice sessions of the Wonderlanders.
Pages:
27
28
29
30
31
32
33
34
35
36
37
38
39
40