Plot
Aya Fujii is a high school student who eats, sleeps, and breaths ballet, but an accident during the National Competition caused her an ankle injury that left her unable to dance for nearly a year. Although Aya recovers physically, it quickly becomes clear that she has not recovered psychologically. It isn't until she is invited to watch the performance of a small ballet troupe, called COOL, that Aya comes out of her funk. Now she has a new goal, to dance on stage with the charismatic leader of COOL: Akira Hibiya. However, since Akira has an incredibly strong presence and powerful charisma many girls have made such proclamations that have been ignored, thus Aya was labeled a fanatical fangirl and promptly escorted from the theater where the performance took place.
As the story progresses Aya struggles to prove her worth as a ballet dancer and earn her place in COOL while struggling with more typical teenage concerns such as grades and her friends. While the main focus is Aya throughout the plot line the readers learn more about the backgrounds of most of the supporting characters. Aya herself is not left out of the character development as she refines her ballet technique and matures emotionally throughout the narrative.
Read more about this topic: Forbidden Dance
Famous quotes containing the word plot:
“The plot was most interesting. It belonged to no particular age, people, or country, and was perhaps the more delightful on that account, as nobodys previous information could afford the remotest glimmering of what would ever come of it.”
—Charles Dickens (18121870)
“But, when to Sin our byast Nature leans,
The careful Devil is still at hand with means;
And providently Pimps for ill desires:
The Good Old Cause, revivd, a Plot requires,
Plots, true or false, are necessary things,
To raise up Common-wealths and ruine Kings.”
—John Dryden (16311700)
“Jamess great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofnessthat is, reluctance to engage in any direct grappling with what, in the play or story, had actually taken placeMthat his listeners often did not, in the end, know what had, to put it in another way, gone on.”
—James Thurber (18941961)