#cecchetti method

[elegantballetalk]

I have a theory, based on absolutely nothing except for vibes that the Italian school, the Cecchetti method, works best for boys—while the Russian school, the Vaganova method, works best for girls.

Funnily enough, I spiritually agree with you and your vibes.

Your question actually reminds me of something interesting I read recently regarding Foundations of Classical Ballet by Agrippina Vaganova. In the English translations of the text, the translated Vaganova manual was diluted of its original intent, including its specific focus on female training. In the translation, the generic term "dancer" replaced gendered references, erasing distinctions that might have influenced how training methods are perceived or applied to male versus female dancers. The American edition resulted in the loss of the original focus of the book as a resource intended for a female course of study.

But going back to your question, I think you're saying this because you're looking at Vaganova academy girls versus boys. To me, the main difference seems to be that eight years of training is enough for the girls, but boys seem to take longer to reach the relative level which girls manage to reach in eight years. At the same time, and I'm guilty of this too, we shouldn't confuse vaganava acedemy with the vaganova method!

But in general, I think Vaganova and Cecchetti both have strengths and weaknesses. Specifically for boys, I’m sure Cecchetti might be more practical, with its heavy focus on stamina and strength, ideal for jumps, and the focus on coordination and balance, key in partnering work. But Vaganova would build that "virtuosismo," which is fundamental to male dancers as well, because it’s not like all they do is jump—they also need to be expressive. But this reflection is superficial, and almost stereotypical because both methods will build on strength and artistry, so honestly, it's a generalisation not worthy of much merit.

We associate the Vaganova method more with girls because the girls are so good that we forget that it’s through athleticism that they manage the fluidity, expressiveness, and breadth of movement, which we associate with the Vaganova method, reinforcing the concept of ethereal quality often associated with female ballet dancers.

[ballet-symphonie]

Does that Anon even know that ballet was born in Italy? That the English method is the Cecchetti (an Italian) method? That the Vaganova method was quite literally born from Cecchetti + other influences? I can't believe they don't understand the historical significance of La Scala. But not only that! There are so many beautiful theatres in Italy, everywhere! Venice, Milan, Rome, Naples, Palermo... Does no one know how diverse Italy is??

In addition, Italy's ballet culture doesn't only exist on its reputation; it continues to be solid—past, present, and future. IL BALLETTO is Italian, and it always has been. From the very roots of its creation during the Renaissance, it was Italy that gave birth to the art form—Florence, Milan, and Venice were the true cradles of ballet, long before Russia, France, or anywhere else even thought to claim it as their own. Italian technique, the dramatic flair, the rich tradition of storytelling, the eleganza—it all comes from Italy, and that's why ballet continues to flourish here. Italy doesn’t just preserve its ballet heritage; it defines it. The passion, the history, the soul of ballet is Italian, and no one can rewrite that.

This doesn't take anything away from the Russians, who made it what it is today, but to a certain degree, the Russians added a layer of sadness, isolation, and toxicity that wasn't in the Italian school. The French, well, the Paris Opera was basically a brothel—let me just say that—ballet was just an excuse for patronage and exploitation of young ladies. But Italy? Dancers for the sake of joy, beauty, and everything joyful that comes from dance.

I have honestly nothing to add, this basically describes my emotions in response to the last anon response perfectly, thank you.

[tikitania]

I have a theory, based on absolutely nothing except for vibes that the Italian school, the Cecchetti method, works best for boys—while the Russian school, the Vaganova method, works best for girls.

You're onto something. This class at La Scala makes me thing the boys are having all the fun in ballet:

[dancerdiaries]

Does anyone still teach the Cecchetti method anymore outside of Italy, or am I among the last generation of dancers to be trained in it?

[thc-boltcr]

( kate walsh. cis woman. she/her. ) - let me introduce you to a member of the eversley family, cressida wilder is the matriarch’s youngest sister. they are fifty-one and are known as the bolter to the family because they are excellent fun, flighty, and unreliable when you get to know them, you think about the prima’s final bow; enough ex husbands to be scandalous, but not so many as to be utterly disowned but they’re still an eversley, nonetheless.

( this is quite long, tw for death & illness )

ORIGINS & FAMILY:

Name: Cressida Elizabeth Wilder, nee Arnoult

Nickname:  Cress, Red, Essie

Birthday: February 13, 1973

Place of Birth: Findlay Estate, somewhere fancy, England

Places Lived Since: London, Paris, St. Petersburg, Vienna, Amsterdam, New York, Los Angeles, Geneva

Current Residence: London

Notable Family Members: Eden Montague ( daughter ); Lord Edward Montague ( deceased, first husband ); Jacob Findlay ( younger brother, raised ); Ignes Eversley ( older sister ); Wolfe Madison ( second husband, divorced ); Blue Navarro ( ex-sister in law, sees as a sister ); Christian Wilder ( third / longest / favorite husband, deceased )

PHYSICAL:

Faceclaim: Kate Walsh

Height: 5’8

Build: slim

Hair Color: dark red  

Eye Color: grey

Jewelry? Tattoos? Piercings?: always wearing rings, both ears pierced, a few tiny hidden tattoos

Unique Mannerisms/Physical Habits: twisting her rings, talking with her hands, running when things get messy 

PERSONALITY:

Occupation: former world-renowned prima ballerina, occasional guest choreographer at the Royal Ballet

Languages Spoken: English, French, Russian, German

Positive Traits: outgoing, charming, emotive, devoted, meticulous

Negative Traits: obsessive, flighty, avoidant, manipulative, selfish 

Likes: good champagne, the first row of the balcony, clever banter, first editions, the second act of Giselle, live orchestras, New York in the winter and Paris in the spring

Dislikes: the entire concept of Dance Moms ( tv show ), Los Angeles,  brutalist architecture, driving, lazy choreographers, the cecchetti method, feeling trapped

Aesthetic: the hubris of such divine wealth and privilege; this house is not haunted – you are; the inherent masochism of ballet; physical intimacy like a drug – the prima always needs her audience; your daughter’s laughter carried across the breeze – watching desperately as she makes her own mistakes; collecting favors and lovers and fighting to hold your own; just enough ex-husbands to be scandalous but not so many as to be utterly disowned; the prima takes her final bow

HISTORY:

Ignes is the perfect, gracious daughter; Cressida always has one foot out the door and the other on the stage. She loves her older sister, truly does, but Cress knows they were never meant for the same thing. She’s a natural, a prodigy some say – and nearly fucking blew it by getting knocked up at 18 by the help. The Arnoult Patriarch would not allow this kind of shame brought upon the family – so Cressida gets a wealthy, titled, older husband and the Royal Ballet gets a generous donation to take her back once the child is born.

Eden is perfect, her own little paradise in a beautiful little girl. Cress never even considers giving her away, not when this child is the first person who might love her without any conditions. The best that can be said about Lord Edward Montague is that he gives her child legitimacy and his name and gives Cressida the freedom to be herself. She’s the darling of the ballet, a rising star – Eden grows up backstage and in studios, adored by all who meet her. Edward has his affairs and Cressida has hers – but he loves that baby as if she were his own. He dies from a fall from his horse when Eden is two, leaving his estate and titles to her and Cressida.

Eden is three when Cressida’s father shows up at their London home with his own five-year-old son in tow. Jacob’s mother, his second wife, passed and the man is too old and too set in his ways to raise yet another child. He likely expects Cressida to say no, and then he will move on to the more reasonable option of Ignes, but Cressida looks at her littlest brother and feels his grief and his fear and says yes without a second thought.

The next decade or so she graces stages across Europe, with two small children in tow. St. Petersburg in the chaos of the late 90s – oil barons and oligarchs falling under her spell and at her feet, but Eden and Jacob always come first, and she keeps the men wanting and chasing but always out of reach. A few years in Paris, and the lightly haunted house she still owns is full of happy laughter and bright playful children. Then they give New York a try.

She laughs when Wolfe Madison introduces himself to her at some gala event or another. She’s heard the name – actor, producer, Hollywood royalty in town working on his directorial debut – a gritty action movie in which he also stars. He falls, and who can blame him? She’s all legs and dark red hair – a tragic past with a dead husband, raising her half-brother alongside her daughter, and he’s cast her as his perfect wife. Beautiful and charming, but with just enough damage that men like this find alluring. Cressida says yes to marrying him, but no to Los Angeles – so they stay in New York (begrudgingly on his part ).

Maybe she actually loves him, or maybe it's the thrill of feeling like she’s found someone who can keep up with her. She moves to LA after a year, and Jacob gets into acting, nepotism and those dashing good looks and posh British charm taking him far. Eden goes to university – and suddenly Cressida finds herself utterly alone, at a third-rate ballet company in a city that worships the screen, married to a man who isn’t interesting enough to have as nasty a temper as he does. The best thing to come from this is Cressida’s relationship with Wolfe’s younger sister Blue, who she loves as if she were her own sister. The marriage ends in a flurry of shouting matches, tabloid headlines, and photographs of Wolfe’s face between the tits of a twenty-two-year-old stripper in Vegas.

Cressida moves back to Paris, it's where she’s always been happiest, and finishes her career with the Paris Opera Ballet. Here she meets Christian Wilder, a musician and composer with sad eyes and a gentle heart. They marry on a whim, on holiday in Normandy in some tiny medieval church officiated by an aging priest. It's perfect. In Paris they live in that haunted house, making peace with the ghosts. Cressida still teaches and choreographs for the ballet, and Christian writes her soaring concertos and silly little jingles and she loves them all.

The diagnosis is not entirely unexpected, but his health declines rapidly afterwards. He is at peace with his fate, but Cressida fights – she’s always the first one to run, how dare he leave before her? He laughs softly as she tells him this, demands that he stay – then makes her promise to follow the instructions he’s left regarding the music at his funeral. Cressida buries her heart with him in that grave, to a perfectly curated score. She keeps his last name, and still wears the ruby he gave her.

Now she’s in London, patron of the Royal Ballet and guiding the next generation of talent. But Ignes’s husband’s health is failing, and the vultures are circling the family. So off she goes - out of loyalty to her sister, the desire to see Eden and Jacob, and because these things are always so amusing to watch.  

[patricedumonde]

I have a theory, based on absolutely nothing except for vibes that the Italian school, the Cecchetti method, works best for boys—while the Russian school, the Vaganova method, works best for girls.

Maybe? I think it ultimately depends on the pedagogue.

[kafkasbug]

два - TWO

‘What do you mean you're not accepting my work?’ Yoongi grumbled as he stared into the dead, unfeeling eyes of his evil and cruel professor. At least, he seemed dead and unfeeling at that moment.

‘One would think that a Journalism major would be able to comprehend a sentence the first time it was said. I will not accept this poorly executed article, Mr. Min. I could find this text in a report from an eighth-grade procrastinator.’ The professor answered, not caring enough to lift his graying head off the papers he was so busily grading.

‘But you accepted everyone else's! I even went up to a ballet company owner. I did the proper research, I put the sources, I quoted correctly... I did everything by the protocol. Then why am I wrong?’ By the time he was finished talking, Yoongi was a raven-colored bombhead. His cheeks were reddened by the anger and embarrassment, his fists balled up, ready to break something--anything--other than his professor's face.

‘You didn't invest yourself in this work. May I remind you, Mr. Min, that this is no ordinary coverage you're doing. You’re in the Honors program, so act like it. This is mediocre compared to what I asked for, and I am being nice to your little paper. I could have a stuck-up company owner explain to me the story of ballet any day, why would I even want to read this?’ The professor pushed his glasses upwards, staring tiredly into the eyes of his angered student like one looks at a child when they can’t grasp something seemingly obvious. ‘You re-do this, I change your grade. Take it or leave it, Mr. Min, I get paid even if you fail.’

‘I don't even know what you want me to do. I spent a month working on this article--’ Yoongi began once again, unsure of what he was even going to say. His anger had settled down and made way for the emptying feeling of self-doubt. The aspiring journalist stared at the framed articles that decorated his professor's office, the black and white papers fitting almost too perfectly on the white walls. He was almost jealous of the hammered success.

"I'm giving you a chance. You're one of the few students I tolerate. Don't make me change that." His professor offered one last time, his voice falling down in severity.

Just like that, Yoongi ended up standing outside the Performance Arts building once again, hand clutching the corrugated paper that was his article; confused, frustrated and most importantly, unable to believe himself.

“Of course, you would do it, Min Yoongi. Accept a project without knowing what you're supposed to do just because you want to keep a goddamn high grade.”

Yoongi's inner monologue was interrupted when he heard two voices approaching, laughter resonating through the empty hallway of the building. He hid behind the corner, notepad in hand and ready to begin his mission impossible.

’Are you serious? They caught him dancing to the music of Giselle's solo?’ One of the voices, a female one, spoke; a mixture of disgust and curiosity making its way to Yoongi's ears.

’It's not the first time either. Last month someone saw him practicing Sugar Plum's part. That freak is just begging for attention, isn't he?’ Another voice answered, this time a male's.

Yoongi's eyebrows rose from their original position. He had only heard about this "freak" for a few seconds before the dancers began to talk about something different, but it was enough to spark up his attention. Maybe he wasn't an expert when it came to ballet, but he knew how important roles were for the dancers. A man who danced to the female part couldn't get too far, so why risk his career like that? What better way to begin exploring the world of ballet than finding an odd dancer who stood out from the crew?

Now, he only had to locate that one dancer; whom he only knew as "the freak".

Yoongi cursed himself once again for accepting the project once again and picked up his bag, ready to track down his target. He was sure that an easy interview with an outcast of the dancing industry was enough to land him a higher grade. Hopefully.

✑

Hoseok glared at a particular mirror, his reflection returning the glare with the same intensity. He was beyond angry, and he didn't know if it was because of his own stupidity, the tears he was beginning to spill, or the fact that he was sure to get called out during the next practice session.

He couldn't help but blame himself. No one told him to dance that part of the ballet. He decided to do so on his own, and thus, he could only blame himself, which was part of the reason why he was glaring so passionately at the mirror.

Hoseok himself had always been an oddity in action. His facial expressions and general body structure weren't very common and had always earned him more than a few whispered insults. He was always the outsider, and he made sure to never talk to anyone unless he had to. He was strict to himself, even more than his teachers, and he liked it that way. He liked himself that way, and he always felt proud of himself.

But now, now he just felt like an imbecile. An imbecile with a romantic tutu hanging loosely around his hips: as if it wasn't embarrassing enough to be caught dancing the other gender's part, he had to be caught wearing the garment.

Hoseok didn't like saying he was a male. He didn't feel like one, mainly because he didn't know how it felt.

For Hoseok, the line between genders was blurry and ambiguous, and he settled himself in that ambiguity.

For ballet, he had to decide himself, and they only gave him one choice: male.

He had done so well hiding from the public eye, that his slip just infuriated him further. If only he hadn't gotten overconfident and had kept the door locked. If only he hadn't been so cocky, then maybe he wouldn't have gotten caught by the two shadiest people he had ever met. So he glared further into the mirror because he had no other way of getting rid of his anger.

Something that Min Yoongi didn't know yet: "the freak", Jung Hoseok, wasn't only an outcast; he was a flaming, hot mess, and Yoongi was about to get caught in more than one problem with him.

[whysojiminimnida]

As a Cecchetti-trained ballet dancer (woot-woot), your description of Jimin doing hip hop was deeply relatable, also felt similar to the first time I tried tap... my feet. just don't do. the thing. You spend so much time trying to control every little thing, and then you're given a style that says "loosen up!" or "lower your center of gravity!" and your brain short circuits for a sec

Hi hi fellow balletomane - Enrico in the house! It's a great method to build a base, yeah? Oh hey let's stare at Baby Jimin in high school doing his thing:

Most modern ballet descends from Cecchetti, RAD, Vaganova and/or Bournonville, or in the case of Balanchine from both Cecchetti and Vaganova. Or in RAD's case from Marie Rambert - and she trained with Cecchetti. For my money Vaganova is my favorite but you can see the differences and blends in technique in most professional dancers. We all got trained somewhere by somebody. Cecchetti method is so excellent because it is standardized, it is absolutely methodical, and it incorporates all the anatomy you need to get it right. And in higher levels it grades mostly on artistry because by Grade Four you better have your technique in line, amirite? I apologize, kids. I get super nerdy and academic about ballet but I think if you read me at all you knew this. Oh look more pretty Jiminie doing some modern-y stuff that is pretty on his arms and OMG that lovely bit at the end, and none of this is Cecchetti like at all:

Regardless of school of technique, we all do get trained, right? We learn to hold isolations. Muscles go in specific spots and you hold them up or down or in or out or elongated or twisted like a dishrag (port de bras) or tight in a specific way. Angles are never in question if your technique is a solid one.

Just looking at Jiminie he looks a bit like a Russian. He does. The man is probably a Vaganova-method trained ballet dancer in my opinion, with Bolshoi big moves thrown in like English on a billiard ball. His hands are sooooo Kirov I just... gah. He's beautiful. I mean LOOK AT HIM: (He also has a bit of the Travis Wall going on in his contemporary but I suspect that's because Travis Wall is literally EVERYWHERE)

Which MAKES SENSE. The Korean National Ballet uses Vaganova in their academy but also has an exchange program with the Bolshoi. And Jiminie is a bit Bolshoi when he jumps and we know that the Bolshoi's training method is bigger and louder. So I'm gonna guess that Jimin's ballet teachers are probably Russian trained by way of Korea and looking at his technique that makes total sense. And his contemporary teachers are Travis Wall fans. Interestingly (as we know), Jimin didn't start out training as a dancer. He started out training as a martial artist. And that lends itself to a couple of specific things we see in his technique. One is his lower legs specifically from the knees down, including his feet. Guys don't train their arches the way girls do because largely they are not en pointe. They need their metatarsals for stability and their Achilles tendons for jumps and lifts. But Jiminie can have quite nice feet, we've seen him point them, we know it can be done ;)

The other is his barrel roll aerial (which probably has a cool martial arts name but I don't know it). Y'all know what I'm talking about. It's done in Tae Kwon Do and Kendo and Aikido and Kenpo as well as Goju-Ryu and I'm sure other disciplines. Jimin is a master of the lateral aerial and even uses a similar technique in his tours en l'air, angling himself forward and using his arms as rudders (which is a very Bournonville choreo choice but he leans for it every time). It makes for a beautiful rotation in the air. Tell me that man doesn't know his angles. Anyway anyway I have blathered on long enough, you got me over here just watching the man dance and running my jaw and not even addressing your original ask which: Yeah, I know. I'm sorry. I could run my jaw about Jimin's dancing for hours. Probably will. You asked though ;)

[elegantballetalk]

Today’s watch:

1932, Excerpts of classes given by Italian maestro Nicola Guerra at the “Teatro Reale dell’Opera di Roma” in 1932. (Now simply called Teatro dell’Opera di Roma)

[brittanycorporation]

Basics of Ballet: How To Get Started

Ballet is a well-known activity for young girls and boys interested in dance. Most ballet schools will have classes that accept students as young as three years old. Ballet students can keep practicing ballet recreationally, or they can aim to compete in ballet competitions or work towards a career as professional ballet dancers.

Today, ballet has become more inclusive, and most ballet schools nowadays will also have beginner ballet classes for adults or ballet fitness classes. Ballet is now more accessible to people who did not learn it as a child but would want to learn ballet as an adult, either for fun or as part of their active lifestyle. Ballet fitness classes are a subtype of ballet classes that focus mostly on exercises and workouts that are grounded in ballet theories and movements.

Whether you or your child wants to pursue ballet, it’s always best to start with the basics. When you begin to take classes, you can practice the basics of ballet at home. Just ensure that you have ample space to move and practice. The best way to support your newfound interest in ballet is to have a home that allows you to engage in activities you find joy in, such as ballet.

Build a home studio in your own modern luxury house at Lausanne at Crosswinds, or dedicate a corner of your condo at Alpine Villas Tagaytay as your ballet space. Brittany Living allows you to have a luxury lifestyle you love while living in a luxury community expertly designed by Brittany Corporation.

The History of Ballet

Ballet is a Renaissance-era dance form that originated in Italy. But it was only when the dance gained popularity in France and then Russia that ballet was codified and taught with a well-developed curriculum.

King Louis XIV established the Royal Dance Academy in France to standardize ballet and certify teachers and instructors. This is why, as you learn the basics of ballet, you will find that most of the terms used in this dance are actually in French.

Today, there are several styles of ballet, such as classical, romantic, neoclassical, and contemporary. Each style is identified by the different techniques and storytelling elements they use. There are also different methods of teaching ballet, which emerged from different countries and are often named after the person who developed them.

These teaching methods include the French School, the Vaganova Method developed by Agrippina Vaganova in Russia, the Cecchetti Method developed by Italian dancer Enrico Cecchetti, the Bournonville Method developed by Danish ballet master August Bournonville, the Royal Academy of Dance Method or the English style, and the Balanchine Method or American style developed by George Balanchine. Each school of ballet emphasizes different things in their teachings, but all follow the similar basics of ballet in their schools.

The Five Basic Positions of Ballet

Every beginner in ballet will learn the five basic positions for their feet and arms. These five positions are often some of the first lessons to be taught in a ballet class. These positions truly are the backbone of the basics of ballet and will allow dancers to progress to more advanced movements as they learn and gain strength.

Preparatory Position

While not officially part of the five basic positions, standing in a preparatory position is a crucial step in any dance class or performance. A dancer is not only judged by the way they move. They are also assessed based on how they stand and walk.

To stand in preparatory, a dancer has to stand with both feet in the first position, or with their heels together and toes pointing outward. Arms are down at the sides, but slightly forward, with wrists and fingers slightly bent. Dancers must stand straight, with the head and shoulders relaxed.

First Position

For the feet, the first position means standing with the heels touching, and the toes pointing outward. The legs are kept straight.

The arms are raised forward in front of the body in the first position. The elbows are bent slightly, making the arms slightly rounded. The fingers are pointed towards each other.

Second Position

In the second position, the feet are separated and they are about hip-width apart. The heels are still in, the toes remain pointed outward, and the knees remain straight.

For the arms, the second position means the arms are extended to the sides of the body. With the arms in a horizontal position, the wrist is bent slightly downwards.

Third Position

For the third position, take one foot and position it so that the heel of the front foot is touching the middle of the arch of the back foot. Knees are straight and toes point outwards.

The arms will now be in different positions relative to each other.  Raise one arm overhead, the arm opposite of the front leg. The other arm will remain raised horizontally at your side. This means that when doing the third position with the right foot in front, the left arm is raised overhead and the right arm is extended out to the side.

Fourth Position

In the fourth position, move one foot forward and away from the back foot. The heel of the front foot should be in line with the toe of the back foot.

For the arms, the arm raised overhead for the third position will remain overhead, while the other arm will be raised in front as if in the first position. Both elbows will be bent slightly, making the arms look slightly curved.

Fifth Position

The feet are brought close back together, with the heel of one foot touching the toe of the other foot. Both arms are raised overhead, with the elbows and wrists bent slightly to give that curved shape.

Basic Ballet Terms You Need to Know

As ballet is a highly technical form of dance, there are terms for each movement, and teaching dancers these terms also teaches the basics of ballet. These terms are often in French, and a ballet class often begins with these movements as part of the warm-up and training.

Barre

A barre is a bar attached to walls or a freestanding bar that dancers use for warm-ups, barre exercises, and for balance. Barre can be made of wood, metal, or plastic. It is usually about four feet tall and is either bolted to the floor or screwed into a weight-bearing wall. The barre is an important piece of equipment in ballet studios, as it provides support and stability for dancers while they are practicing.

Many ballet exercises are performed at the barre, and it is also used as a prop in some dance routines. Barre workouts have grown in popularity in recent years because they provide a low-impact form of strength training that can be performed by people of all levels of fitness. Whether you are a dancer or just looking for a new way to stay fit, working out at the barre can be a great option.

Plié

The plié is a fundamental movement in ballet. To execute a proper plié, a dancer must bend both knees while maintaining the legs and feet in a turned-out position. There are two types of pliés: the demi plié and the grand plié. The demi plié is a small bend; the feet remain flat on the floor throughout the movement.

The grand plié, on the other hand, is a deeper bend; during this movement, the heels are lifted off the floor. Though both types of pliés are essential for any ballet dancer, the grand plié is particularly important because it helps to build strength and resilience in the legs and feet.

Suggested Read: Eugene Ballet Gives A Feminist Spin To A Shakespeare Classic

Relevé

Relevé is an important movement in ballet. It is used to transition from one position to another and to create a fluid, graceful motion. The dancer must be very careful to maintain balance and control while performing a relevé. If done correctly, the movement will appear effortless and will add beauty and elegance to the dance. Although it may appear simple, relevé is actually quite complex and takes a great deal of practice to perfect. F

or beginners, it is important to start slowly and carefully before attempting to move faster or add any embellishments. With time and patience, any dancer can learn to execute a beautiful relevé.

Pirouette

A pirouette is a full turn on one foot. It’s a movement that dancers train to be able to do with increasing grace and skill. When executed correctly, a pirouette looks effortless, but it actually requires a great deal of strength and control. The dancer must be able to maintain balance while spinning at high speed. They must also have the flexibility to extend their leg fully and the stamina to sustain the turn for the duration of the music. A good pirouette is both technically sound and aesthetically pleasing, and it takes years of practice to perfect this challenging move. For many dancers, nailing that perfect pirouette is the ultimate goal.

En Pointe

En pointe is a technique used in ballet dancing, in which the dancer stands on the tips of their toes. This technique allows for a greater range of movement and makes it possible to execute complicated dance moves that would otherwise be impossible.

En pointe also refers to the fact that a dancer is ready to start training in pointe shoes, which is a more advanced skill. Pointe shoes are designed to support the dancer’s weight on the tips of their toes and enable them to dance for extended periods of time without pain or fatigue. Training in pointe shoes requires a great deal of strength and stamina, as well as a high level of skill. Dancers who have mastered en pointe technique are truly among the elite in the world.

Conclusion

One of the most beautiful and athletic dance forms is ballet. It welcomes dancers of all ages and skill levels. It is a dance that tells a story with the music and the movements. The dancers are lifted by the music, and their movements express the music’s emotions. The story is told through the beauty of the ballet, rather than through words. The dancers are in perfect harmony with the music and with each other. They move as one flowing entity.

The beauty of ballet is in its simplicity. There are no props or special effects, just the dancers and the music. Every performance is different and unique, yet there is always a sense of perfection. Ballet is a dance that will never be outdated or go out of style. It is a timeless art form that will always be appreciated by those who witness it.

Brittany has luxury properties that are as beautiful and timeless as Ballet

Augment your training in the basics of ballet with home practice in a home studio in your modern luxury house. Feel refreshed even as you get a ballet workout in when you live in the beautiful communities that Brittany offers:

Crosswinds Tagaytay

Crosswinds is a haven in the south that was inspired by Swiss architecture. At one of Tagaytay’s highest points, rows of picturesque chalets sit peacefully on a lush terrain. The sweet scent of over 35,000 pine trees fills the property, adding to the tranquility, while the music of interweaving winds soothes the senses.

Amore at Portofino

The Portofino story is Brittany’s testament to the exuberance of the Italian way of life, set in the heart of what has been dubbed the Vista Alabang. The magnificent homes are a faithful recreation of Old-World Italy’s quaint magnificence – where life is celebrated with such zeal every day – and much more. It has all of the hallmarks of high-end city living, including exclusivity, luxury, and proximity. In Portofino, only the status of its residents rivals the high standard of living.

The Promenade at Brittany Sta. Rosa

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[ballet-symphonie]

Ballet in the Media

Hey guys, I know this is a long-awaited list. This post contains books, news sources, and forums that focus on ballet. Obviously, this list contains official/public sites only. Suggestions about sites or titles to add are always welcome. In the future, I want to expand the list to include documentaries.

Books

(This section is limited to English for now)

History/Criticism

Bolshoi Confidential: Secrets of the Russian Ballet by Simon Morrison

Apollo's Angels: A History of Ballet by Jennifer Homans

The Ballet Lover by Barbara L. Baer

Celestial Bodies: How to Look at Ballet by Laura Jacobs

The Great History of Russian Ballet by Evdokia Belova

Ballet in Western Culture: A History of Its Origins and Evolution by Carol Lee

Behind the Scenes at the Ballets Russes: Stories from a Silver Age by Michael Meylac

Diaghilev’s Ballets Russes by Lynn Garafola.

Technique/Pedagogy

Foundations of Classical Ballet by Agrippina Vaganova

100 Lessons in Classical Ballet: The Eight-Year Program of Leningrad's Vaganova Choreographic School by Vera S. Kostrovitskaya

The Cecchetti Method of Classical Ballet: Theory and Technique by Cyril W. Beaumont

Classical Ballet Technique by Gretchen Ward Warren

Ballet Pedagogy: The Art of Teaching by Rory Foster

Technical Manual and Dictionary of Classical Ballet by Gail Grant

Dance Anatomy by Jacqui Haas

(Auto) Biography

A Body of Work by David Hallberg

Marius Petipa: The Emperor’s Ballet Master by Nadine Meisner

Nureyev: The Life by Julie Kavanagh

Dancer by Colum McCann

Dancing on My Grave by Gelsey Kirkland

Winter Season by Toni Bentley

Swan: The Life and Dance of Anna Pavlova by Laurel Snyder

Holding On to the Air by Suzanne Farrell

Mao's Last Dancer by Li Cuxin

Publications:

Dance Media Publications (Dance Magazine, Pointe etc)

Ballet Focus

Dance Europe

Site of Alastair Macaulay

Danser (French)

Ballet 2000 (Italian/French)

Granmilano (English/Italian)

Danza e Danza (Italian)

Opera Click (Italian)

Vogue ITA: Valentina Bonelli (Italian)

La Notte (English/Italian)

Vaganova Today (English/Russian)

Ballet Magazine Russia (Russian)

La Personne (Russian)

Kultura "Culture" (Russian)

Forums:

Ballet Alert

Ballet Talk for Dancers

Ballet Co

Ballet and Opera Friends (Russian)

Passion Ballet (Russian)

Dansomanie (French)

Danza World (Italian)

Opera Click (Italian)

[swanlake1998]

What ballet schools in the UK and Canada would you recommend to people who would begin as an adult?

Many ballet companies and ballet schools offer adult ballet classes. I mainly recommend looking up "adult ballet classes near me". I feel like most ballet schools are good in general and many more are offering classes for adults. Schools also have different methods of ballet that they specifically teach like French School, the Vaganova Method, the Cecchetti Method, the Bournonville method, the Royal Academy of Dance method (English style), etc. I hope this answer was helpful in some way.

[soemthingsparkly]

Okay I might send multiple Conrad headcannons so tell me know if they get annoying. Anyway Conrad is what one anon called him is a "bendy celery stick" so my headcannon is that little Connie did ballet. From age 3-13 his mom took to ballet classes against his father's wishes. Through ballet, he became pretty flexible and it was one of the few times he actually got to bond with his mom because she used to ballet with her sister before you know they had their feud. But then he quit because kids at

school made fun of him and it added more and more strain to his relationship with his mom. But little does she know when he is stressed he does ballet stretches and the Cecchetti method. Nick starts to notice and asked Conrad to teach him so that he can be more balance and flexibility. So Nickrad (that's the ship name right?) now does ballet together.

Conrad doing ballet? 

Holy shit, dude, I think I actually kinda vibe with this. 

I can’t imagine his mother being okay with him doing any kind of dance, but I can totally see him pulling off a Billie Elliot, where he starts doing dance classes behind his parents back. 

When his mom was married to the dentist, he had two step-sisters. Katie, who was five years older, and played lacrosse, and Beth, who was three years older and did ballet. 

Maybe one day everybody was out of the house and his mom asks Beth to take him to class with her, because he’s only 11 and can’t be left on his own yet.

Beth takes him along and Conrad ends up mimicking the moves from where he stands in the back corner of the room.

He and Beth conspire together and get him some dance shoes. He joins the class that runs parallel to hers and they practice together at home. It’s their little secret.

[mabelleflanerie]

A Review of Balanchine’s “Valse Fantasie” (performed by the American Ballet Theatre)

Preface: A few years ago I wrote a performance review piece after watching American Ballet Theatre’s Valse Fantaisie . I never published it on here but I stumbled upon it today and thought that I should share. After all, it may let us all imagine ourselves at the ballet or theatre...maybe even the opera. Something that may not happen again in a very long time. So...hope you enjoy.

On October 24th, I had the privilege of watching George Balanchine’s Valse Fantaisie performed by American Ballet Theatre. Valse Fantaisie, which translates to “Fantasy Waltz”, is a mystical performance of six dancers moving to a rhythmic and joyful piece of music by Mikhail Glinka. Balanchine’s neoclassical elements are quite visible in the choreography - With no story-line to fall on, the performance relied primarily on the visual and auditory allurement of the audience. From the stunning costumes, to the lively music, and the shapes and geometry that were created on stage, Balanchine (through ABT of course) was able to successfully hook his audience. Balanchine himself has stated that “A ballet may contain a story, but the visual spectacle, not the story, is the essential element. The music of great musicians, it can be enjoyed and understood without any verbal introduction and the choreographer and the dancer must remember that they reach the audience through the eye and the audience, in its turn, must train itself to see what is performed upon the stage.” [2]

The music, made up of quick and delicate melodies in B minor, goes by the ballet’s same name and was composed by Mikhail Glinka who is Russia’s first national composer and considered to be the country’s Mozart. [1] A live orchestra made the music come alive and its echo effect (string instruments playing first and then flutes echoing the same melody after) created a hypnotizing sensation which made the performance extremely bewitching for the audience. The costumes were of course a vital cause of this enchanting atmosphere as well. They were mystical and fairy like: The five female dancers wore blue-green tutus whilst the male dancer wore a white bodysuit with blue embellishments. 

Balanchine’s neoclassical elements are clearly evident in his choreography. The piece is stripped of detail and elaborate staging: “As a choreographer, Balanchine has generally tended to de-emphasize plot in his ballets, preferring to let ‘dance be the star of the show’”.[2]  There is no story line and the focus is completely on the music, the dancers, and their effortless technique. Gia Kourlas from the New York Times states that the the way in which the dancers move is what contributes to the airy feel: “Balanchine’s windswept, rapturous “Valse Fantaisie,” one man, James Whiteside, and five women, with Hee Seo in the lead, twist and turn to Glinka’s music as if their bodies were controlled by the air. It’s over before you know it: After four women exit, the leads leap into opposite wings”. 

Male lead, James Whiteside, displayed extreme athleticism and precision. Before joining American Ballet Theatre in 2012, Whiteside danced with Boston Ballet under instruction of director Raymond Lukens.[4] Female lead, Hee Seo, was trained in South Korea before joining American Ballet Theatre in 2004.[5] The corps consisted of Lauren Post, Melanie Hamrick, Paulina Waski, and Brittany De Grofft. Balanchine purposely chose four female corps de ballet members to dance without male partners in order to create his ideal choreographic structure on stage: “Balanchine offers a highly distilled treatment of one of his perennial themes… a solitary male has not one but several women to choose from. Another choreographer might have paired off the other women with partners, but Balanchine catches us off balance here. The man dances with a ballerina but he also dances in a frame of four other women. They are a miniature corps and an amplification of an ideal female. At the end, there is no lasting encounter. Everything vanishes - the soloists are swept off stage and the two principals leap out in opposite directions.”[6] 

There were a variety of different choreographic structures present throughout the nine minute long piece. Valse Fantaisie, being that it is a waltz performance, involved steps done in triple time such as pas de valses, ballancés, and a few series of pas de bourrées. Although the choreography was neoclassical, there were still many similar elements to the classical Cecchetti technique that I trained in. Because there were four female dancers part of the corps de ballet, and two lead dancers (one male and one female), there were a lot of circular pathways constructed by the corps which existed to highlight the two principal dancers. There were also many frequent exits and entrances: Sometimes, only the corps would be present on stage (usually performing a pas de quatre) and whenever the music would crescendo, the two principles dancers would appear and the corps dancers would exit leaving the principal dancers to perform a romantic pas de deux. And when all the dancers were present on stage, it usually involved the corps standing in a circle performing balancés around the principal dancers who were executing something more technically complex. For example, at one point in the performance, the corps executed balancés in a circular pathway around the lead dancers. While the corps were performing these balancés, the lead dancers did piqué arabesques across the floor.  Sometimes, the corps would also dance behind the principal dancers and mimic the very same movements. 

Although the ballet seems to have received mostly positive responses so far, there have been critiques made in terms of the casting. Kourlas for example, believes that Whiteside and Seo did not fully meet the demands of the piece: “Valse Fantaisie is a tale of speed and drive; Mr. Whiteside handled Ms. Seo admirably, but was given to stiffness in his solos, and Ms. Seo, in blue, started strong and faded in momentum”. [3]  Perhaps, this is because American Ballet Theatre rarely does works by Balanchine and so the dancers may not be as accustomed to the Balanchine method. It is also, just the very beginning of the season. Overall, I think the performance was outstanding: The costumes, the music, the choreography all perfectly synced together and created a very fantastical feel. 

To watch a 1973 version of the dance, click here.

1 "New York City Ballet - Home." NYCB. N.p., n.d. Web. 5 Nov. 2015. from http://www.nycballet.com/ballets/p/pas-de-trois-(glinka).aspx  2 George Balanchine - ABT. (n.d.). Retrieved October 28, 2015, from http://www.abt.org/education/archive/choreographers/balanchine_g.html  3 Kourlas, G. (2015, October 25). Review: Choreography Is the Star at American Ballet Theater. Retrieved October 28, 2015, from http://www.nytimes.com/2015/10/26/arts/dance/review-choreography-is-the-star-at-american-bal let-theater.html?_r=0  4 "AMERICAN BALLET THEATRE: JAMES WHITESIDE." AMERICAN BALLET THEATRE: JAMES WHITESIDE. N.p., n.d. Web. 10 Nov. 2015. http://www.abt.org/dancers/dancer_display.asp?Dancer_ID=300  5 "AMERICAN BALLET THEATRE: Hee Seo." AMERICAN BALLET THEATRE: Hee Seo. N.p., n.d. Web. 10 Nov. 2015. http://www.abt.org/dancers/detail.asp?Dancer_ID=155  6 Kisselgoff, Anna. "BALLET: 'VALSE-FANTAISIE'" The New York Times. The New York Times, 30 Apr. 1985. Web. 8 Nov. 2015. http://www.nytimes.com/1985/05/01/arts/ballet-valse-fantaisie.html Photos: Courtesy of Marty Sohl

[angelfccdie]

@ssjkallion replied to your post

Eyes emoji

oh shit i’ve been Spotted

fjfk;a whispers mostly it’s just this line here about the cecchetti method of teaching ballet-- “This method espouses the importance of recognizing that all parts of the body move together to create beautiful, graceful lines, and as such cautions against thinking of ballet in terms of the arms, legs, and neck and torso as separate parts.”

idk why, but it made me think of the way whis first described ultra instinct 6_6