| Despite the awkward, lengthy subtitle, Theory and | | | | component of the system, the spirit, proves more |
| Practice as Joseph Pilates Intended, The Traditional | | | | elusive, leading to a lengthy examination of various |
| Method vs. The Lies for Sale, there is nothing inept | | | | religious concepts of spirit. |
| about his discussions of the foundations, key elements, | | | | Chapter 4 is a joy to read! The highlight of the book is |
| and transmutations of the system. Unlike the many | | | | a discussion of the four necessary conditions of |
| "how-to" manuals on the market, this is a love story - | | | | Classical Pilates. Fiasca delights the reader with |
| one that makes the reader fall in love with Classical | | | | well-turned phrases and powerful analogies, referring |
| Pilates. It is a must-read for all Pilates teachers and | | | | to "the symphonic arrangement of all of our |
| practitioners, particularly those with non-traditional | | | | movements" as The Art of Flow. When flow is |
| training. | | | | viewed through the eyes of a classical practitioner, it |
| Fiasca sets the tone early on, establishing his sincerity, | | | | takes on greater clarity: "we not only practice creating |
| legitimacy, and passion for the Method as he relates | | | | shapes, but we articulate these shapes and refine |
| his journey into Contrology. He leaves the reader with | | | | these shapes." Transitions, then, become an exercise in |
| no doubt as to what makes Pilates unique, | | | | weight transference between movements. Equally as |
| emphasizing the athletic, corrective, and organic nature | | | | illuminating are his clarifications of flat-back position, |
| of the system. | | | | breathing, and external rotation. In the world of Pilates |
| Recounting the universally accepted principles of | | | | manifestos, it doesn't get any better than this! |
| Pilates, he adds a seventh principle - cardiovascular | | | | In contrast to the powerful prose are the graphics, |
| conditioning. If this isn't enough to clearly define the | | | | which are often a distraction. Posed and sometimes |
| Method, Fiasca goes on to explain the differences and | | | | even hokey, they do not reflect the organic nature of |
| similarities between Classical Pilates and physical | | | | the work. One photograph shows Fiasca and Jamie |
| therapy, dance, and yoga. His skillful writing and solid | | | | Trout simultaneously performing front splits and |
| research make these comparisons striking. | | | | Russian splits respectively on the same reformer. |
| Although informative, his discussion of the factors | | | | While this may be Pilates art, it does not enhance the |
| influencing Joseph Pilates and his work is less engaging. | | | | concept of flow and the idea of creating shapes that |
| Since we know so little about Pilates' early life, much of | | | | the author emphasizes. Thankfully, he corrects this |
| this is educated speculation. Fiasca traces the roots of | | | | flaw in the second edition, utilizing classic photographs |
| Pilates' mind/body connection to Greek influences on | | | | of the traditional method to more accurately reflect his |
| German culture and civilization. The origin of the third | | | | intention. |