Peter Fiasca's Newest Book Reviewed in YesPilates.com
By Suzanne Diffine
Peter Fiasca does the most beautiful Roll Up I've ever seen! And his first book, Discovering Pure Classical Pilates is equally as impressive. Despite the awkward, lengthy subtitle, Theory and Practice as Joseph Pilates Intended, The Traditional Method vs. The Lies for Sale, there is nothing inept about his discussions of the foundations, key elements, and transmutations of the system. Unlike the many "how-to" manuals on the market, this is a love story - one that makes the reader fall in love with Classical Pilates. It is a must-read for all Pilates teachers and practitioners, particularly those with non-traditional training.
Fiasca sets the tone early on, establishing his sincerity, legitimacy, and passion for the Method as he relates his journey into Contrology. He leaves the reader with no doubt as to what makes Pilates unique, emphasizing the athletic, corrective, and organic nature of the system.
Recounting the universally accepted principles of Pilates, he adds a seventh principle - cardiovascular conditioning. If this isn't enough to clearly define the Method, Fiasca goes on to explain the differences and similarities between Classical Pilates and physical therapy, dance, and yoga. His skillful writing and solid research make these comparisons striking.
Although informative, his discussion of the factors influencing Joseph Pilates and his work is less engaging. Since we know so little about Pilates' early life, much of this is educated speculation. Fiasca traces the roots of Pilates' mind/body connection to Greek influences on German culture and civilization. The origin of the third component of the system, the spirit, proves more elusive, leading to a lengthy examination of various religious concepts of spirit.
Chapter 4 is a joy to read! The highlight of the book is a discussion of the four necessary conditions of Classical Pilates. Fiasca delights the reader with well-turned phrases and powerful analogies, referring to "the symphonic arrangement of all of our movements" as The Art of Flow. When flow is viewed through the eyes of a classical practitioner, it takes on greater clarity: "we not only practice creating shapes, but we articulate these shapes and refine these shapes." Transitions, then, become an exercise in weight transference between movements. Equally as illuminating are his clarifications of flat-back position, breathing, and external rotation. In the world of Pilates manifestos, it doesn't get any better than this!
In contrast to the powerful prose are the graphics, which are often a distraction. Posed and sometimes even hokey, they do not reflect the organic nature of the work. One photograph shows Fiasca and Jamie Trout simultaneously performing front splits and Russian splits respectively on the same reformer. While this may be Pilates art, it does not enhance the concept of flow and the idea of creating shapes that the author emphasizes. Thankfully, he corrects this flaw in the second edition, utilizing classic photographs of the traditional method to more accurately reflect his intention.
Psychology AND Pilates mesh in the form of Metaphors for Living, a self-reflective tool Fiasca developed "to increase one's insight as discovered through the traditional Pilates method." An exploration of the parallels, as well as the differences, between psychology and Classical Pilates is instructive in helping students to determine appropriate boundaries when working with clients: "a single comment can have a lasting effect upon a student's life." The physical journey is inextricably linked to the emotional voyage. As a psychologist, Fiasca is well-equipped to offer guidance in this area, recognizing the symbiotic relationship between teacher and student. And his advice is invaluable.
Ever the consummate gentleman, he acknowledges those who provide him with material for the book or who contribute to the preservation of Classical Pilates. Equally as gracious, he declines to identify those who have bastardized Classical Pilates, seeking profit, power, or prestige. Citing the many reasons for the proliferation of these hybrid forms of Pilates, he reminds the reader that "Joseph Pilates communicated his entire vision and technique to Romana (Kryzanowska) and Jay (Grimes)." Other teachers only learned what worked for their bodies, thus creating their own versions of Pilates. Physical therapy-based versions further distort the original work. Although Pilates referred to his system as "corrective" exercise, it was designed to treat the normal, healthy body. Classical Pilates "is the only approach with a proven successful track record of creating health and well being since the early 1900s." Why mess with perfection?
Learning Classical Pilates is not easy, but the rewards are enormous. It cannot be mastered by watching a DVD, taking a weekend certification course, or reading a manual. It takes real work, real commitment, and the guidance of a well trained teacher. Furthermore, it is imperative to keep the pure work alive by continuing to study with qualified instructors, such as those listed in the Academy Directory, and spreading the word, just like Peter Fiasca.
Armed with a PhD. in psychology, a Pilates body, and a generous spirit, he is the ambassador of Classical Pilates. Seeing is believing...and reading is the path to enlightenment!
Suzanne Diffine' taught creative writing and literature in the Buffalo Public Schools for 30 years. Recognized for her accomplishments in the field of education, she appeared six times in Who's Who Among America's Educators and twice in Who's Who in America. For the past ten years, she has taught Pilates, currently at Pulse Pilates in Boca Raton, Florida. Suzanne is the national coordinator of Siri Dharma Galliano's Pilates Intensive in Big Bear Lake, California, on August 21-23, 2009. You may contact her at suzdif@aol.com.
Tags: Classical Pilates, Jay Grimes, Peter Fiasca, Romana Kryzanowska