Examples?  Well, of course~

• Doing a Russian [center split] facing the front of the floor.
  
• A needle stretch facing the back of the floor
• Any ensemble balance or flexibility move [i.e. the aforementioned needle] in a tight form, unless you’re marching a drill team or gymnastics squad [hey, it happens]
• The angle of a sit roll can make or break you, boys and girls.   Take a look at it – especially if your performers have a tough time getting out of the ground while maintaining integrity in the spine and not releasing the tailbone.  [Hey, I still want them working on the skill, I just want them turned the other way, pleaseandthankyou]

And, while I know watercolor ballet dresses are lovely and fluttery and diaphanous and fantastically floaty… they are NOT a good choice to be constantly in and out of the ground in.  If there is any movement in your book when the skirt of your uniforms is up around the performers’ heads, it’s time to change the movement or change the costume.  Really, I’ll beg.  Pinky Swear.

These are just a few examples, and there are countless more.  What I find interesting is choreographers don’t INTEND to put their students in an unflattering light; they are merely blinded by the light moment, as it were.  Put on your audience eyes, and carefully watch angles.  You may be surprised.

And finally.  I. Do. Not. Want. To. See. The. Performers’. Thong.  EV. ER.  

Thank you for listening.
*tmc