Apollon Musagetes

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He was used to clean up, it was an everyday part of his work at the forge. This wasn't the forge though, it was the theater. The dancers had been in and out, well not exactly, there were hours in between where they worked and he tried. He didn't look like a dancer, at five foot six he was too short and wide. His arms were probably as big around as the waists of the ballerinas. That hadn't mattered to him though. They'd put him in the Repertoire, that was good, but still he did his best to stay out of sight as the dancers practiced. It didn't matter that he'd never had a lesson in his life, he knew how to memorize choreography. He'd listed the duel of fists as experience for dance. For some that would mean flexibility and movements that were very similar to ballet. For him it was a test of his body and how to link together movement after movement with his opponent, or in this case partner. It hadn't been enough.

He had no partner, but he stayed anyway. He'd received some strange looks because he had no proper tights. Instead he'd used those wrestling pants made from spandex, the ones with the lightning bolt silkscreened into the fabric. It took forever to put the slippers on, he'd asked several times and was passed by as though he were invisible. No longer wishing to be openly ignored, he positioned himself near a young blond elf and did what she did. He thought she was young anyway it was hard to tell with elves. A glance his direction had Kruger thinking he'd been busted. Feeling that she might sense that he wasn't supposed to be here, he stayed away once he had donned the complex things. Complex things, you always seem to involve yourself in them. You should learn better sometime Krugey my boy.

Boy, he hadn't been one for a long time, and he wasn't getting younger. The majority of the dancers looked far younger, that wasn't enough to make him leave. Neither was the pain in his toes as the wooden cup in the toe of those crazy shoes tortured him. Why had he come? In his heart he thought he had something to offer the theater, at the very least he carried a fan base from his other endeavors. In exchange for that he hoped this would help him out in the rings. Kruger wasn't sure exactly what he thought he'd get out of it, a little grace perhaps, or some speed. He'd put his body on the line before, this wouldn't be any different.

They'd all gone drifted out talking of the things they had worked on, for him it took everything he had to peel those shoes off and face the bloody mess he'd made of his toes. He sat in the dark of stage left, the stage lights were still shining brightly, obscuring everything from view beyond the stages edge. He couldn't make out even the nearest of the chairs in the orchestra pit. He could see a large dust mop though. He knew walking was going to hurt, that's really what made him different, he knew and did it anyway.

The wooden handle was familiar to his callused hands. The string head of the dust mop made a soft shush across the floor, like angels calling for quiet in the world. Once in a while he thought he caught the under tones of a conversation between a man and a woman, but he knew everyone had already left. There was a prop on the stage, a set of stairs that for a little while had been the place where the dancers sat until they were called. It was completely open underneath. Likewise there were no railings to hold onto if someone wished to climb the staircase. Kruger finished a pass on the stage, looked back at the stairs and lost himself to a memory. The wooden handle found itself propped against the curtain. The smith, the duelist, the wannabe dancer found himself positioned beneath the platform of the stairs.

In his head he could see the figure of a woman at the top of the stairs. If any were watching, they would see Kruger alone.

(OOC note: The interpretations given of the dance are from Kruger's POV. Any difference between actual interpretation is intentional.) Second tableau:

Variation of Apollo

Even as the ballerina disappears behind the curtain, Kruger steps forward quickly, ever so light on his feet. The lute's base rests on his left hip, left hand high on its neck. His right hand circles forward and up and Kruger, as Apollo does something he is very used to doing. He strikes a pose and waits for music that can only be heard in his head to change. Violins trill and Apollo's arm circles counter clockwise to play invisible strings. Hard to believe that only five minutes has passed since he set the dust mop aside and took his position under the stairs. The arm stops for a brief moment before going round again, and again, slowly at first then faster. Once it has made its fifteenth pass it rises and The Anvil, no Apollo is striking a pose once more.

Kruger looks towards the audience, his right hand coming down to support the base of the lute lovingly. He bends, lowering the neck of the lute towards the floor as if in offering, then shifts towards the right offering the body towards the floor on the other side. Perhaps he's trying to give it to the world, to teach them' Kruger was never sure, but it always seemed an offering of knowledge to him. Apollo moves forward offering the instrument one side and another, always in that bent over position. Six steps six offerings and the lute comes back to his hip. Now he looks off stage to his right while his fingers strum those invisible strings. A quarter turn and head bowed he backs up twice as far as he moved forward, standing with fingers still strumming then a quick flourishing cut of his hands signals the violin to cease.

The lute is then lifted up in both hands and moving over his head and behind across his shoulders, the would be dancer steps right then leaps high, with knees bent and feet behind him, his head is higher than the platform of the stairs as he passes in front of it. The lute extends right then left, and Apollo starts towards the left, another leap and the lute is shown off once again. Each pass bringing the dancer further forwards. Apollo raises the lute high overhead and leaps forward, the body of the instrument drops low in front of the dancer, and quickly tucked behind his left hip as he backed away again as though taking away whatever it was he had offered in the first place. Apollo poses one last time, lute resting on his hip and gives it a final strum before dramatically lowering it to the floor and rolling it end over end towards the front of the stage. When he stands the look on his face saying he no longer needs the device.

Long strides are taken, legs fully extended and arms out to the sides, the dancer moves in a clockwise circle about the stage on the balls of his feet. The moves are hesitant stiff to the point of being out of balance, whether that is Kruger's lack of experience or intentional is hard to say. Once he comes to face the audience again he starts a second pass the circle smaller the steps smoother and his arms no longer stay extended but move across his body as he progresses. Kruger's not really aware of the significance but to him it always seemed like growing from youth into adulthood.

Another turn and now he moves backwards making full use of his shoulders, or as full as someone his size really can. The dance never really explained to the smith, it seemed to him that this was like the setbacks experienced in life. There was sadness about him as he thought on it, and a determination to keep moving forward. That is exactly what the dancer did, despite having to move through the weight of his experiences or how low they dragged him. Ultimately that was when things opened for him and allowed him to rise once more and move freely. This was reflected through the leaps and pirouettes that Apollo was making, no longer the tentative things he'd done previously. The dancer moved first back then forwards on the stage. Stopping gracefully he looks around, and then down. He leans over finding the lute and raising it with a small smile as though caught in a recollection of his past and how difficult he'd thought the journey was, only to discover it was over too quickly.

Apollo drifts slowly backwards examining the lute, bringing it to his hip once again and strumming it as an old friend. Around him three ballerinas enter, or at least within Kruger's mind they entered.

One by one he touches their hands again and the process repeats itself, only to have them rise and form a line. Apollo positions himself on the left side of them, his body half turned towards them, his arm rises parallel to the floor, and the muses dance a few steps to the right. His arm floats downward, Apollo steps behind them his left arm coming up and pushes aside the pair of dancers on the left, and the one on the right is pushed aside with his right arm. She moves forward, and Apollo follows her. Her arms rise, and his move beneath them as she falls back against him. Apollo steps back, lowering her but not all the way, her waist bends momentarily before he is raising her again and lowering her forward so she can kneel on both knees. Her arms are spread wide, and her face looks whimsically towards the audience. Except there is no audience, or is there the lights are so bright, the auditorium so quiet it must be empty.

Moving back to the other two muses, as one they lift their inside arms up, Apollo's arms circle their waists as their arms loop over his head. He lifts them and carries the backwards, their knees bend and their bodies flow outwards as they look away from one another. Just in front of those stairs where it all began he lowers them to the floor, and the first muse rises, turning to join them. Her steps are graceful, though not slow. Apollo has freed his left hand, the pair of muses have taken each other's inner hands. The first muse has reached in to take Apollo's who's right hand is holding the dancer on the left sides hand. The first muse grasps the free hand of the right side muse and the dancers are tied together in a complex knot of limbs. To Kruger it's very clear that this is where Apollo has moved beyond simple instruction and into more intricate things.

The standing dancer begins to revolve around the trios of Apollo and the other two muses, their hands never separating. Their arms move to allow the circling dancer to be able to move without binding. She needs to rotate as she moves making the dance all the more complicated, yet beautiful. Three and a half complete revolutions, one for each of the muses and in the back of the smith's mind the half is to represent the progress made. They all release hands and the three dancers move towards the front of the stage, standing one in front of the other.

To any looking right at them they would only see the front dancer. Their arms rise, elbows bending slightly hands coming just over their heads, then they begin to bend and straighten each in a different place, always one of the three is standing straight. Apollo has followed along, coming up on the side but not too close, he stutter steps, bending forward arms wide but dances backwards, turning once behind them and leaping powerfully, only to move back to where he began, and leap once again. The three muses as he dances continue the intricacies of their movement. To Kruger it is poignant, it means that the master is no longer directing them but letting them work and checking them occasionally.

Three, times Apollo makes the trip, one for each of his muses. One by one he offers them his hand, taking them from the others, and flowing through delicate moves that lower them eventually to the ground only to rise and move towards the back of the stage.

Second Tableau:

Variation of Calliope

Not thirteen minutes has gone by. Is that all" It seems like so much more to Kruger, it seems like years have flown past. Perhaps it's simply the depth of his engagement in the performance. Regardless he sits looking at the three muses, they've been defined now, Termpsichore, Polyhymnia, and Calliope. The latter shall perform first. Calliope, beautiful voiced indeed reciting her epic poetry. The music moves her, light and airy, the dancer holding her prop and moving, flowing from step to step as she calls for the Attention of Apollo. She sweeps back towards the staircase, lowering her parchment lovingly, she no longer needs it. The steps forward show she has it all down, and recites it from the heart. Perhaps it is Homer's Illyad she recites for him, those lines from Homer soaring as the music takes a decidedly serious turn. It has to be serious for her words come from the heart, they tip and tear and sway all who can stand to listen. The dancer speaks through her moves hands moving from her chest outwards, emotion etched into her features. She leaps dramatically for emphasis, the sight powerful and moving, at least it would be if she were really there. Or isn't she, plainly he can see her but then he's the one seeing them all playing them through like an old recording of an even older movie. Perhaps he should be surprised that they were in color.

The music becomes even more intense and Calliope is making even more heart felt pleas to everyone who will listen head back as she dances beseeching the world to have a change of heart, to feel a hero's pain to know a heroine's loss, moving and jumping as she pours everything into her steps until she kneels before Apollo, her hand extended to him palm upward. Her face is down and away from him, as though afraid that her work wouldn't please him. Will he approve" In real time not even two minutes has been expended, but Kruger could swear he lived the Odyssey from start to finish. Apollo doesn't move, and before he even has the opportunity to respond the music changes again and Polyhymnia is in motion.

Variation of Polyhymnia

Polyhymnia's music comes out screechingly precise, and the dancer begins her movements just as precisely. Her mask prop his deposited early in her routine so that she may raise her finger to her mouth and speed across the stage. Direction changes are swift and irreversible, as Poly shows Apollo what she has done with the knowledge he gave her. Like a bee in flight she moves, a bee preparing for the winter to come. All must be perfectly done or there is risk for perishing too early.

The world would have Kruger believe that she is simply a mime, and silly but he knows that she brings distinction to those whose work will win them immortal fame. She is time honored for her beauty and precision, such precision as to elevate those she influences. Polyhymnia's dance is perfection and she's more than happy to so Apollo that perfection, while daring him to deny it! Proud her dance becomes, the steps arrogant and her face haughty until she turns to realize that Apollo has stood from his place of observation and demanded she remember herself.

Polyhymnia drops down covering her face in fear and embarrassment, she returns to her sense but already she has called the wrong attention upon herself. Skulkingly the dancer hurries away from Apollo, who fortunately lets his attention fall to Terpsichore, and her lyre, barely more than a minute has passed, but it was enough to see the pride of man rise to rival the gods.

Second Tableau:

Pas de Duex

Terpsichore moves towards him, standing over him and reaching to touch his extended finger with her own. Apollo is looking away from her, and then as a single violin begins to play he turns his head slowly to look up at her. A second violin comes in and she's turning to look down at him. Keeping hold of his hand she steps over his raised arm, raising her trailing leg and turning on her toes to swing her leg over his head. She turns further facing back to him and raises the leg even higher leaning down towards him as though to say, she dares to be closer. When her leg returns she seats herself on his knee, his hand dropping away from hers as she does. Her upper body sways slightly as her arms move slow and graceful, perhaps to tempt Apollo' Kruger couldn't say for sure, but whatever it was for Apollo never stopped looking at her.

Terpsichore lowered her arm, and Apollo looped his own over it, rising with her to move almost shyly across the stage with her. His arm circles her waist and her body bends forward once more extending her leg back and high. Apollo takes hold of her and lifts her up, slowly. Her body stays jackknifed until she is over his shoulder and upside down and Apollo let's Terpsichore slide forward to become upright once more. Her arms spread, and his hands are at her waist, he holds her as she bends far further forward than would be possible without him. No longer is he simply showing her, now it is an enhancement, and aide to give her better reach.

Kruger had worked with others at his level in the forge, their work meant to go together. The strength of his lines melding with the intricate work of the other smith, that was what this dance was about between them. How fitting it seemed as Apollo's strength let Terpsichore perform even more beautifully. Her body gained stability with his support, her flexibility smoother and easily achieved. The pair of them worked their way across the stage like an inlaid swept hilt rapier well worn by nobility. The detail work eye catching and attention holding, the real strength though lay in the blade itself. Concealed the blade does nothing to divert attention from the workmanship on the hilt, and Apollo following suit did nothing to obstruct the dance of the muse from her audience.

Terpsichore shone brightly, appreciating the support from Apollo, embellishing her movements to be even more attractive to them, and perhaps to him' One way and then the other the duo danced, him conserving movement so that she may draw the eye until her arm is over his shoulder and he can show his strength for them all. Lifting the muse he carries her back towards those stairs again, then sets her down on one toe, tilting her forward and dragging her to the right hand side of the stage. He leans hard, stretching to reach something only to right himself and her.

Second Tableau:

Coda

Just over twenty four minutes have gone by when Apollo and Terpsichore separate and stand side by side, an arm's length in between them. The music fell away, but only for a moment. A dramatic intro is played that has the two dancers moving forward a step or two then back spinning as Calliope and Polyhymnia come in one from the front of each side of the stage. They're moving in opposing arcs, meeting in the middle like mirrored opposites. Apollo and Terpsichore skirt towards the outside as the pair of muses moves inward toward one another. They're movements are clean and brisk as they use their toes to travel. Apollo and Terpsichore are on opposite ends of the stage and move unobtrusively off.

The two ballerina's seem not to notice that they had been anything but alone the whole time, as they meet center stage and then flit their way forward to the front right of the stage. Their movements exactly the same as they go first one way then backwards the other, hands rising above their heads. A hasty grace belongs to them that is a visual display of the delighted playing of the violins. They turn like dolls on a music box into the far reaches of the stage. Once there they move forward once again stepping and pirouetting, their turns oppose each other. They pause for nanoseconds then swing each other to move directly left still mimicking one to another.

As they move apart Terpsichore dances in from the right and passes in between them causing them to wait and watch her. Mesmerized by her movements, or perhaps it is intended as a reunion after an extended absence, they stand frozen until she flickers her way to the jaunty music back between them the other direction and the three of them make for the right of the stage. Apollo is entering from the left. Leaps and bounds into the air, as he passes across the stage. One thing still quite obvious as the smith, the fighter could still jump quite high, unless that was an illusion as well. There is no mistaking that his head has risen time and again above those stairs in the background. The three muses set out from their little corner watching as Apollo rockets back their direction. They do their best to make themselves small before him, perhaps to avoid his seeing them. Do they worry that he will judge their progress since they departed him' Perhaps they even fear he will not approve. If only they understood that he was directing them still, he moves and they move to where he wants them, though no command was given. Then he's sailing between the three splitting them into three separate directions as he races towards the back of the stage. His course alters with a fluid abruptness and he's spinning back toward the front and stepping between Calliope and Polyhymnia. His arms rise and they in recognition move to him and each take on in a looping grip.

Joy is on his face as he lifts and spins with the girls, a meeting that warms his heart and in turn theirs as well. Once he makes a full turn with them Terpsichore is moving forward to join the trios, stepping out in front of them. As one they all bow, the music alters again, its tenor less giddy, as the four of them move in unison one direction and another. The girls catch hold of his hands, racing in front of him as he in turn tries to hold them back. The master still wants control but the students have gained their own minds and confidence. Apollo stops resisting them, instead following along to observe perhaps to guide them left and right. Then they release him and move ahead, when he tries to join them they move past him leaving him alone at the front of the stage. Apollo looks upward, a bit lost and lonely, his body bent with it. Behind him the muses move forward, a clap of their hands to grab his attention as they join hands palms upward and Apollo lays his head on the makeshift pillow.

Behind them the other two muses stand on a single leg which is hidden behind Apollo's. Their bodies lean forward, one of them standing higher, her right leg rising above Terpsichore's. The other bends further forward becoming visible below Apollo and her sister. Her right leg rising highest of all to complete the circle, the four of them hold this positon long enough for the audience to see the meaning. Some will think it is the sun for this ballet is about Apollo is it not' Others will see it as the smith does, another representation of the cycle of knowledge and life. If only there were an audience that could truly see, silence is in the auditorium and all the dancers had gone home hadn't they"

The four of them flow out of that living sculpture, Apollo twisting and stepping back. The three muses rising to face him, as he extends his hand palm up they take it in their hands. One last time he will instruct them, and the lessons of the past aid the speed of the learning in the present. They flex backward only to be asked to bend forward. The movements perhaps deeper than ever before, and yet there is no resistance given from them. One time, two, and on the third, Apollo stops halfway, as though to say the rest is up to you. He lowers his hand away from them turns to the right and begins to walk slowly across the stage in front of those stairs.

Perhaps they are not stairs at all as Apollo makes another turn then begins to climb them. Behind him the three muses have followed him at regular intervals. They too turn to follow him up the stairs, but perhaps it is really a mountain" Maybe Apollo as he raises his arms upwards one before and one behind ascends Olympus? Unless he's no god, is he simply a man' He stands upon the platform atop the stairs, behind him the three muses are reaching forward and back as well, their fingers almost touching. From the wings of the right side of the stage Leto, Apollo's mother, and the two nymphs who brought him the lute appear. Leto stands rigid leaning back and looking up at her son, she is supported by the two nymphs.

Ascension, whether Apollo was a man who passed on his knowledge to his apprentices, or a god rising to his rightful place is uncertain to Kruger. What is certain to him is that this is the end. Silence still greets his ears as he makes his way back down those stairs.