The Barre Part IV

BATTEMENTS

Battements are as much a hip exercise as they are a foot exercise.  The body responds to the placement and transfer of weight during all battement formats.  Battement is one of those words (like pas and temps) that is frequently omitted and understood.  For example, frappé is short for battement frappé, etc. 







ROND DE JAMBE EN DE HORS (outward) AND EN DE DANS (inward)

Like pliés, rond de jambes should offer the dancer breath, stretch, and relaxation during the exercise.  While it is true that the rond de jambe is predominantly for the hip, the foot and ankle do gain great flexibility, power, and response to the floor during this practice.  Even the head, shoulders, and center gain knowledge of where and how to be placed during moves from front to side and back during the rond de jambe execution. 

Sometimes the speed should be very slow and alternately very fast, but the body should be uplifted and postured at all times, without tightly gripping the barre during movement.  There should be a relaxing stretch during rond de jambe par terre (on the floor).

The exercises listed in this and previous posts should be combined in as many formats as possible so the dancers can gain experience and learn the dynamics of position and velocity of execution.  As much port de bras as is valuable to the student should also be given.  A good practice, however, is centered on placement of shoulders and hips and weight change.  Port de bras and head freedom, with solarplexes well-carried at all times, give the dancer the composure to execute turns and jumps with ease and precision. 

These essential practices make it quite easy to advance through beginning to advanced practices.  Without the response to the floor for the foot, and the correct alignment of the body learned through these exercises, no amount of rehearsal will perfect the choreography.  The perfection lies in these simple exercises.

The Barre Part III

DÉGAGÉ BATTEMENT

The dégagé battement is usually of an upgraded speed.  Speed itself is not easily learned by the dancers and if the barre exercises are all metered slowly, the dancer will not form the correct attack for good dance execution during choreography. 

The dancer's speed of execution, particularly during petite allegro, is an exciting part of the dance art and should be learned from the beginning.  As a teaching technique, we want to press for speed as a method of isolating only the proper movements, as there is not time for extra motion.

Speed, accent, and plié, with the added dimentions of relevé and even pirouette, are good things to incorporate into the dégagé combination.  Dégagés are traditionally about 2 1/2 inches off the floor.  When executed with a petite developé on either the way in or the way out, the move is titled pas de cheval and makes excellent foot contour and a supple, yet strong foot.

FONDU

The fondu exercise can be intertwined with the dégagé and pas de cheval combinations.  A fondue is defined as any movement that lowers the body by bending one leg.  In a plié, both legs support the body; in a fondu, only one leg supports the body.  All battements can be touching (tendu), just off the floor (dégagé), at right angle, or fully extended (grand battement and/or grand fondu). 

The Barre Part II

TENDU

When there is time for a full class, the first tendu combination should be very slow and consider the half-point foot position when exiting and arriving in 5th position.  As the foot closes to 5th position from second, the toes should long to stay on the floor, fully stretched.  On the way out to the pointed tendu, the center of the foot should quickly arch into a fully extended point with the toes responding last, and pointing so long and fiercely that the brush is just a little bit under as the total arch of the foot is revealed in 2nd position.

There is a great need for the dancers to understand the accent of the tendu is either even or on the opening or closing.  Tendu with plié is a very different exercise from the straight closing.  While it is true that most of our center movement is connected with feet in 5th and demi plié, at the barre, a great deal is to be learned by isolating the foot and leg and keeping the relaxing plié out of the exercise.  The following barre exercises can and should incorporate plié during all or part of the exercise format. 

Also of importance during all the battement exercises is the exchange of weight during transfer from one foot to the other.  The body must learn to center itself over one supporting foot, then two, and then one again.  The idea that every closing is more uplifted and better pressed into position traveling into or out of 5th position should be at the forefront of the concentration during battement exercises.

The Barre Part I

PLIÉ

In plié exercises, there should be a mixture of elevé and relevé as well as grand plié.  We generally want to focus on the depth of the demi plié as we begin and initiate the motion with the tendon action at the hip.  Control and energize the deepening and returning action with the hip joints open and sustained by the gluteals and the small muscles down the back of the legs.

The correct position of the feet and knees is very important during plié exercises.  There should be little stress on the barre.  Correct position comes from inside the dancer, not from undue pressure on the barre or twisting of the feet and knees.

Upward energy should be the focus during the downward motion of the plié, and there should never be a complete stop at the bottom of the plié.  On the return, the energy should be focused on the stance and pressure down through the feet, but with the reservation that the back and line of head, neck, and shoulders is very squared-off and spatially lifting at all times.

Arms during the demi and grand plié should be varied in their pathways and truly classical in their movements through wide circles.  Special attention should be paid to finger and wrist action at this time as it is the beginning of class.  Stress and fingers out of harmony with the circular reference are indicators that the back and hips are not aligned correctly.

During plié practice, all the transitions between positions should be accomplished within the dance format and never should the body seem uncarried or unchoreographed in motion.  At the finish of the plié exercise, the body should be elongated and well-oxygenated.  Stress and force is not part of the activity.

PORT DE CORP

The port de corp combined with the plié exercise gives relaxation to the spine and encourages the ability to lift and separate each vertebra.  Front-to-back cambré as well as side-to-side also assist the arms to learn to pass through correct circles.  Cambré en ronde together with lifting and carrying the body onto and off off back cambré teaches the head and neck when and how to support the movement through the spine and build strength for correct execution. 

The stillness of the body below the hips on all cambré and port de corp movements allows the smaller muscles up the back of the leg and under the hips to learn to powerfully hold the stance as the upper body is curved in all directions.  It is very important to keep the knees drawn up securely in this portion of the exercise, and if there is to be a demi plié or fondu, that the hips, knees, ankles, feet, and toes are correctly aligned and not held in stress.

Floor Warm-Up Part IV

FOR THE FEET

Bring your legs together and position yourself on the highest half-toe your feet will give you while using your hands to maintain your balance.  Raise or lower the knees until you achieve your ideal position.  Then put your heels down and your hands behind you so your Achilles tendon is at its greatest length and let your tailbone hang straight down.  Shift your weight forward, then slowly uncurl and come to a standing position.  Feel the stretch through the entire spine and out the top of the head. 

FOR THE BALANCE

Half-Toe Roll-Throughs -- Stand in parallel position with the feet shoulder-width apart and hands loose at your sides.  Rise to half toe, bend your knees while remaining on half toe, lower the heels while remaining in plié, then straighten the legs.  Repeat as desired.  Remember, adjusting the feet to maintain balance is not poor quality of movement.  It is necessary for you to find your center and your body understands this.  Do not tighten in an attempt to make it look "perfect" or "hang on".  Next, raise your right foot to half toe, raise both feet to half toe, then lower the right heel while the left stays on half toe.  Alternate your feet and repeat as desired.  Then add a plié on the standing foot, pulling up at the hip of the standing leg each time.

Repeat the entire exercise in 1st position and 2nd position if desired.  If you don't want to do the entire sequence in 2nd, just do the last part with the plié.  Relax out of it by bending forward in reverse 1st position (toes together, knees bent, head down, hands on knees) and wiggle everything you can in this position (your tail, head, shoulders, back, etc.)  You'll probably feel stupid, but do it anyway.

Attitude à la Seconde -- Stand in 1st position with the arms in à la seconde.  Brush the right foot out and raise it to attitude à la seconde, then replace in 1st position.  Repeat on the left, then plié, bringing the arms down to 5th low.  Relevé and bring your arms to 5th high, thrusting the energy down into the floor and up out the top of the head at the same time.  Balance, then control the descent into a demi plié and return to the starting position.  Repeat as desired.  If you want, you can vary the position of the balance.  You can go from plié to one leg instead of two.  Then you can move the extended leg and maintain your balance.  Work with your body and do what you need. 

SOME PARTING WORDS

Allow yourself to be led as you learn these stretches.  It is the feeling, not the words we are after.  You can alter the rhythm of this warm-up as needed so your body gets the most out of it. 

Students need to be aware of the plateau signs.  Your hips will tell you when you have pressed them enough and will signal you to rest for a while and allow the connecting fibers to strengthen and acclimate to the new extremes of your rotation.

It is particularly important for you to monitor your spinal work as well as your rotational achievements.  This work should be considered evolutionary within your training and should be accomplished without pain or discomfort.  Pain and discomfort mean you are doing too much too soon and are out of control and are risking injury.  Be like the tortoise, not the Mad Hatter.  The exercises here will get you fully extended barre stretches very quickly if practiced daily and in a gentle manner. 

Your body will come to love and depend on this warm-up and it will be able to fortify itself against difficult professional work.  Dancing should not put our bodies at risk.  Honor your body and keep it safe, healthy, and strong. 

Professional Classes for Non-Professional Dancers

My readers who live in the Salt Lake City area can take advantage of an amazing opportunity.  Ballet West offers open classes for community members. 

Ballet West holds adult classes five times a week in the 3rd floor studios of the Capitol Theater, 50 West 200 South in downtown Salt Lake City.  Class times are Monday and Friday mornings: 9:00-10:30 am, Tuesday and Thursday evenings: 6:45-8:15 pm, and Saturday mornings: 10:30 am-12:00 noon. 

The classes are drop-in classes, which means you do not need to pre-register and can start at any time.  No audition required.  Just show up as often as you like.  Five times a week, every other week, once a month, or once a year…whatever works for you. 

Classes are given at a high intermediate/low advanced level, but we have all different levels of dancers attending, from a more beginner/elementary dancer to professional dancers during their time off!  We do have both men and women attending these classes.  The atmosphere is very welcoming… most of our attendees are dancers who have studied dance at some point earlier in life and are coming back because they miss having dance in their life.  Starting back can take time, so be gentle with your first classes back....  You can push yourself as hard or as easy as you like in these classes to make your time with us as enjoyable as you want!

Drop-in class prices are $12 for adults and $10 for students and seniors.  Pass cards are available for those who think they will be coming on a more regular basis.  5 classes for $57 ($47.50 for students and seniors); 10 classes $114 ($95 for students and seniors).  For more information, visit the Academy page at the Ballet West website.

Lights, Camera, Action!

Pointe shoes, tutus, sugar plum fairies, and princesses -- is it any wonder that little girls dream of being ballerinas?  Catering to that desire, movies about ballet have been around almost as long as film itself.  Despite the travesties that are the Barbie ballet movies, many ballet films provide a deeper study of the difficulties and sacrifices of the performers, rather than just a fluffy overview of the beauty of dance.  These four films in combination provide a fascinating introduction to the on-screen depiction of ballet.

The Red Shoes: The Classic Film about Classical Ballet

Roughly based on the Hans Christian Anderson fairy tale, The Red Shoes tells the story of Victoria Page (Moira Shearer), a young ballerina on the brink of stardom.  Intricately weaving backstage life with the thrill of performance, this film centers on Victoria's dilemma as she is torn between the composer who loves her and the impresario determined to fashion her into a great dancer. 

 
Center Stage: Ballet School 101
This 2000 movie features Amanda Schull as an aspiring ballerina and student at the competitive American Ballet Academy in New York (apparently based on the School of American Ballet).  Even though she's at the best school in the country, her life doesn't get any easier -- she and her friends face challenges with their weight, their teachers, and their dreams.  The film is, however, light as air and easy to watch.  Keep an eye out for Ethan Steifel (a real-life ballet star) as one of the company's hot-shot dancers.

The Turning Point: Dreams of Becoming a Ballerina

This movie is the story of two women (Shirley MacLaine and Anne Bancroft),  whose lives are dedicated to ballet.  Deedee left her promising dance career to become a wife and mother and now runs a ballet school in Oklahoma.  Emma stayed with the company and became a star, though her time is nearly past.  Both want what the other has and reflect back on missed chances as they are brought together again through Deedee's daughter, who joins the company. 

The Company: The Inner Workings of a Ballet Company

An inside look at the world of ballet.  With the complete cooperation of the Joffrey Ballet of Chicago, Robert Altman follows the stories of the dancers, whose professional and personal lives grow impossibly close, as they cope with the demands of a life in the ballet.  Neve Campbell plays a gifted but conflicted company member on the verge of becoming a principal dancer at a fictional Chicago troupe, with Malcolm McDowell playing the company's co-founder and artistic director.  An interesting look at the contemporary challenges facing dancers.

Floor Warm-Up Part III

ON YOUR HANDS AND KNEES

Back Extensions – On your hands and knees, bring your right knee to your nose, and then pass it by your left knee and up into a parallel attitude.  Repeat as desired.  On the last repetition, bring the knee to the nose, and then straighten the leg behind you with the toes on the floor.  Lift and lower a straight leg.  Repeat as desired.  Be certain that the hips are working parallel to each other and the floor and are not rolling, but are maintaining the correct position during extension of the working leg.

After the last repetition with a straight leg, slide back so you are in a half split, then lean forward over your bent knee and stretch your arms out over your head.  Relax your back leg, then lift your body and carry your arms to 2^nd.  Cambré back as your arms move to 5^th high, then come up.  Place your hands on the floor and extend your back leg as you lift your body weight off your knee.  Rotate your body toward your back leg so you are now facing sideways with your right leg stretched out to the side and your left leg bent under you.  Adjust your right leg as necessary until it is properly turned out. 

Place your right hand behind your knee and cambré over your extended right leg, then come up.  Use the hands to lift your body weight off your knee as you return to the front position with the right leg pulling backward and the right hip moving forward in opposition.  Turn and look over your left shoulder to see your right foot behind you.  Repeat entire exercise on the left.

IN 2^ND POSITION GRANDE ÈCARTÉ

2^nd Position Stretch – Sit in 2^nd with your legs as far to each side as possible.  Flex your feet and stretch your body forward down the center.  Reach forward with your arms to enhance the stretch.  Remember, if it hurts, it’s wrong.  When you cannot go down any further, point through your feet.

Side-to-Side Stretch -- Sit in 2^nd with your legs as far to each side as possible.  Cambré over the right leg, with your right hand wrapping around the foot, thumb around the arch and fingers across the top.  Place your left hand on your thigh and turn your body so it’s lying over your right leg, with your right hand still wrapped around your foot.  Return to the cambré position, then pull the body back up to the starting position.  Repeat on the left.  Repeat entire exercise as desired.

FOR THE WRISTS AND ANKLES

Sit in 2^nd (both arms and legs) with your legs as far to each side as possible.  Circle your wrists and ankles forward four times, then backward four times.  Flex your wrists and ankles straight up, then point through your feet and flex your wrists straight down.  Repeat an additional three times.

Ballet West

The 2010-2011 season of Ballet West began in late October with John Butler’s Carmina Burana paired with George Balanchine’s complex and inventive The Four Temperaments.  This was followed by the 2010 Ballet West Gala, an exclusive one-night only performance, especially crafted to highlight the strengths and talents of Utah’s flagship ballet company. 

Ballet West's next production is the classic holiday masterpiece, Tchaikovsky’s The Nutcracker (Dec. 4-31).  On December 30th and 31st, back by popular demand, Ballet West will present the “Nutty” Nutcracker featuring the same choreography but with fun flourishes and whimsical surprises. 

Tchaikovsky’s The Sleeping Beauty opens in time for Valentine's Day (Feb. 11-19), followed by Bolero (April 8-16), and Innovations (May 13-21).

Bolero features three major Utah premieres.  Opening with George Balanchine’s classic Chaconne, it moves to Jiri Kylian’s Sinfonietta, and finishes with Nicolo Fonte’s Bolero, set to the famous Ravel score. 

Innovations is described on Ballet West's website as "tomorrow's ballet [beginning] today" and as "a platform for some of America’s most up and coming choreographers". 

Tickets are on sale now for both individual shows and season passes.

Floor Warm-Up Part II

ON YOUR SIDE

Leg Lengthening With Rotation – Lay on your right side with feet in a pointed parallel position.  Lengthen the top leg and lift it a few inches.  In this exercise, lower is better.  Rotate both legs to a turned-out position, then back to a parallel position, and lower the leg.  Flex both feet and repeat the exercise, this time rotating only the top leg.  Continue to repeat as desired.  After the last repetition, move into a parallel passé position.  The top arm circles frontward and over the head, always keeping contact with the floor, until you must turn your torso and head to complete the arc.  On the return from this, both arms raise over the head and the body rotates to lie on your front in a turned-out passé position.  Press up to elbows or higher, even to suspension position if you wish.  At the top, look right, center, and left.

It is recommended that when in passé on stomach, you add a stretch of straightening the passé leg to à la seconde and push backward on the floor, easing into a 4^th position split.  Cambré forward, pulling the hip of the back leg forward, then cambré back into a full arch.  Lay back on your stomach and slowly lower leg, then bring your knees under you and stretch your arms out over your head as your hips reach back.  Gently uncurl, trying to sense each vertebra on the way up.  Repeat whole exercise on your left side.

Turned Out Leg Raises From Sus-Sous -- Lay on your right side with feet in a pointed sus-sous position.  Lengthen the top leg, then raise it in an à la seconde battement.  Bend to passé, then extend the leg back to its highest position.  Slowly lower the leg back to sus-sous.  The technical terminology for this sequence is battement à la seconde, passé, retiré, sus-sous.  Repeat as many times as desired.  On the last repetion, catch hold of the leg and encourage the height of the extension, making sure the lower leg is very straight and extended and that the hips are exactly in line.  Relax the ankle and knee of the working leg, placing the elbow at the front of the knee and pressing back while the energy in the hip presses forward, and then return to the stretch.  Repeat as desired. 

Lift the leg to a right angle and flex the foot as though you were going to stand on the ceiling, and lengthen out of the hip.  Point through the foot and come to passé.  Place the foot at the back of the knee and slide out to attitude derrière.  Drop the knee to a parallel position and slide through to a parallel passé, then rotate to a turned-out passé with the hips pressing forward and the working thigh back for best rotation.  Repeat as desired.  On the last repetition, slowly lower the leg back to sus-sous, keeping maximum rotation the whole way down.  Repeat whole exercise on your left side.

FOR YOUR KNEES

Turn to your stomach, curl your toes under, and very slowly bend and straighten your legs.  Repeat as desired.  When finished, bring your knees under you and stretch your arms out over your head as your hips reach back.  Gently uncurl, trying to sense each vertebra on the way up. 

Where Did That Come From?

Have you ever wondered where today's dancewear came from?  I know I have.  This little gem of a website explains it all.  The history of ballet slippers and pointe shoes, including some notable designers of said shoes.  The evolution of the ballerina's costume, from the incredibly heavy and complex gowns of the 15th century to the leotards and tights we all wear today.  It certainly makes me grateful that I'm a dancer today and not 50 or 100 years ago.

An Improv Performance

Last night, my singles' ward (a branch of our church for non-married members) had a cultural event/talent show.  We were split into groups and each group provided a dish from the country they were assigned, as well as preparing a presentation.  My group decided to put together a skit using four well-known Disney love songs as a parody of the dating situation at our university. 

The last song in our skit was "Once Upon a Dream" from Sleeping Beauty, which is based off the garland waltz from Act I of Tchaikovsky's score.  Certain members of the group remembered that I am a ballerina, and managed to talk me into performing a solo for that section of our skit.

Our group leader promised to cut the music and get me a copy in plenty of time for me to choreograph my piece.  I don't know what his definition of "plenty of time" is, but it certainly isn't mine.  He handed me the CD an hour before we were supposed to perform.

Luckily, I was already familiar with the song and had a rough idea of what I was going to do.  What they hadn't told me was that there would be two parts to our skit: the original songs and an Alvin-and-the-Chipmunks version.  So I had to throw together two pieces of varying tempos in less than an hour in the hall outside the gymnasium.  On-stage improvisation?  Definitely. 

I now have a whole new respect for those dancers who can go onstage, hear a piece of music for the first time, and dance.  Thank you to all my teachers over the years who taught me how to feel the music and go with it, however unwilling I was at the time. 

I encourage everyone to try this.  Pick a piece of music and just dance to it.  Do whatever you feel like and don't worry about technique or steps.  Just move.  Rather liberating, isn't it?

DanceHelp.com

The internet never ceases to amaze me.  I discovered this site completely by accident one day, and realized I had to share it with you. 

Dancehelp.com is a journal of dance information and inspiration to accompany students, performers, and choreographers in their dance endeavors. It is a compilation of dance articles, dance tips, dance news, dance forums, dance listings and educational information for the aspiring and professional dancer. It is also a free online dance guide to help today’s dancer in their quest for knowledge.

DanceHelp.com has one of the most comprehensive dictionaries of terminology I have ever seen.  They also have many articles on training and technique tips, performance tips, nutrition and general health tips, a Q&A section, the list goes on.  This site is a veritable goldmine of information that I highly recommend to all my dance friends.

Houston Ballet

The 2010-2011 Season of the Houston Ballet contains many exciting events.  It begins with the traditional holiday performance of The Nutcracker (Nov. 26 - Dec. 26), and continues on with the annual Jubilee of Dance (Dec. 3), Marie (Feb. 24 - March 6), The Sleeping Beauty (March 10-19), the Academy Spring Showcase (April 29-30), Raising the Barre (May 26 - June 5), and finishes with an adaptation of Shakespeare's The Taming of the Shrew (June 9-19).
According to Houston Ballet's official website, the Jubilee of Dance "is an evening not to be missed."  It will be comprised of three pieces choreographed specifically for the Houson Ballet by artistic director Stanton Welch and dancer Garrett Smith.

Marie, a full-length ballet choreographed by artistic director Stanton Welch, offers a new perspective on the often-controversial and always-fascinating life of Marie Antoinette. 

The Academy Spring Showcase gives the students of Houston Ballet's Ben Stevenson Academy a chance to "cap their studies with two performances of a program featuring works tailor-made to show them at their best."

Raising the Barre is a collection of three 21st century pieces: Rush, Grinning in Your Face, and a world premiere by celebrated Finnish choreographer Jorma Elo.

Tickets are on sale now for both individual shows and season passes.

Floor Warm-Up Part I

This is part one of the floor warm-up we do every day in my ballet class.  I love this warm-up because it gently works all the major muscle groups and helps improve flexibility. 

The first benefit of the opening floor exercises is to teach you to hear your body, so you can understand and respond correctly.  The floor should feel like a gentle ironing or a giant yawn as opposed to the torture rack from the Dark Ages. 

ON YOUR BACK

Ballet Sit-Ups – Awaken the spine, shoulders, neck, torso, and hamstrings.  Lay flat on your back with your legs together and arms at your sides.  Inhale as you raise your arms over your head into 5^th high, then exhale as you sit up, keeping your arms in 5^th high.  Lay over your legs and wrap your hands around your feet with your thumbs over your arches.  Hold for an 8-count.  Sit up with arms in 5^th high, then lower arms to 2^nd as you lean over slightly and look to the right.  Return to upright position, then repeat to the left.  Place teeth together as arms go to 2^nd and lift your chest and chin to the ceiling.  Return to 5^th high, then contract the center and roll down to the floor. 

Repeat, this time looking to the right, and then the left while lying over your legs, holding each for a 4-count.  When in the upright position, turn the torso to look over the right and left shoulders with arms extended, returning to 5^th high in between. 

Repeat a third time, this time alternating over the right and left legs, slightly bending each leg as you lean over it for a 1-count.  When in the upright position, turn the torso to the right and place the left hand on the outside of the right knee and apply a slight pressure as you look over your extended right shoulder and arm.  Return to 5^th high, then repeat to the left.  Contract the center and roll down to the floor.

Leg Raises – Work hips and awaken knees, ankles, metatarsals, and toes.  Lay flat on your back with your legs together and arms at your sides.  Raise both legs, then extend them straight up so your body forms an “L”.  Flex your feet, then point through.  Bring the knees back down, and lower legs so you are once again in the starting position.  Repeat three more times.

Fourth Front Extensions -- Lay flat on your back with your legs together and arms at your sides.  Bring right knee to your nose, and raise your head to meet it, keeping left leg lengthened on the floor.  Extend your right leg as the shoulders and head are returned to the floor, trying to bring your right knee down to meet your nose.  Relax at the ankle and knee, then extend.  Repeat three more times, then switch to the left leg.

Front Lifts -- Lay flat on your back with your legs together and arms behind your head.  Bring the left leg to parallel passé with the foot flat on the floor.  The right leg lengthens from the hip, then pushes up in 4^th front extension.  Repeat with a flexed foot, a pointed foot, and a flexed foot.  Change to right leg in parallel passé and repeat on the left.

Front Developpé and Rond de Jamb -- Lay flat on your back with your legs together and arms at your sides.  Bring legs to double turned out passé, then developpé the right leg to 4^th front extension.  Rotate leg to à la seconde, flex and point through the foot, then return to double passé and repeat with the left leg.  Be sure to keep a pulled out energy in the hip as you perform the rond de jamb movement and keep the hips from rolling to the right and left as the leg works.  Continue to repeat until each leg has gone through the exercise four times. 

À la Seconde Extensions – From the double passé of the previous exercise, lift both legs off the floor, keeping the position.  Extend both legs out à la seconde, flex and point through the foot, then return to the double passé.  Use the arms to aid in the stretch.  Repeat three more times.  On the last time, keep the legs in à la seconde with a flexed foot and give them either a gentle pulsing motion or gently rock from side to side.  Point through the foot and return to double passé.  Lower the toes to the floor, and slowly straighten the legs, holding the turnout for as long as possible.

Another Useful Site

This site is one I've used extensively in the past as a source for school papers, a technique reference guide, and a source for this blog. It's called Andros on Ballet, and is a veritable goldmine of information.

Andros on Ballet is a collection of articles about ballet history and classical ballet technique written by Dick Andros, a ballet teacher and writer who was based in New York City and provided this site to share the knowledge and stories he accumulated through his long career as a dancer and teacher.

Andros on Ballet also has a collection of over 130 biographies of persons who were significant to the history and progression of ballet and its technique. 

Unfortunately, Mr. Andros passed away in 2009, so the site will not be updating any longer.

Jules Perrot

Jules-Joseph Perrot was born in France in 1810. He first drew attention to his talent in his native Lyon by imitating the antics of the comic dancer Charles Mazurier. This led to an engagement at the Gaîté Théâtre in Paris in 1823. Moving to the larger, more prestigious Porte-Saint-Martin Théâtre, he became a pupil of Auguste Vestris, who prepared him for his successful debut in 1830 at the Paris Opéra.

Despite the period's prejudice against male dancers, Perrot was highly applauded for both his classical and his mime dancing. Within a year, he was promoted to the top rank of premier sujet (principal dancer) and selected to partner Marie Taglioni in Flore et Zéphire. A combination of knee trouble and the professional jealousy of his partner led to his resignation from the Opéra in 1835.


Perrot then toured Europe as a dancer and choreographer and was joined by the young ballerina Carlotta Grisi in Naples. As her teacher, mentor, and suitor, he accompanied her to London in 1836, and then to Vienna, where he produced his first important ballet, Der Kobold (1838). He hoped to marry Grisi, but although a daughter was born as a result of their liaison, she was reluctant to enter into such a commitment.


In 1841, Grisi was engaged at the Paris Opéra, but no offer was forthcoming for Perrot. He was, however, to be closely involved in her first Paris creation, Giselle. Most of the action was devised by him, but any hope he might have had that his contribution would be formally acknowledged was dashed because he was not officially on the payroll. As a result, the choreography was long credited solely to the Opéra’s ballet master, Jean Coralli.


Perrot and Grisi went their separate ways and Perrot began his seven-year association with London's opera house, Her Majesty's Theatre. He started in 1842 as assistant to the aging ballet master, André Deshayes, but gained full control by 1843. This was to be the most productive phase of Perrot's career. Working with nearly all the most celebrated ballerinas of the time, he produced 23 ballets of varying importance, including several lasting masterpieces, each skillfully crafted to highlight the particular qualities of its ballerina. For Fanny Elssler, he produced Le Délire d’un peintre (1843); for Fanny Cerrito, Ondine (1843) and Lalla Rookh (1846); for Grisi, La Esmeralda (1844); and for Lucile Grahn, Eoline (1845) and Catarina (1846). He also staged an extraordinary series of multi-stellar divertissements, among them the sensational Pas de quatre (1845).


Pas de quatre was particularly amazing because it was the first effort in the history of ballet to persuade four of the most famous ballerinas of the day to appear together. The ballet displayed the artistry of Taglioni, Cerrito, Grisi, and Grahn, without any one of them feeling disadvantaged. This was quite a feat considering the professional rivalry between these ladies. The performance left the public and critics speechless and was discussed for a long time after.


Pas de quatre was followed by other divertissements of the same type: Le Jugement de Pâris (1846), Les Éléments (1847), and Les Quatre Saisons (1848).


Perrot left for Russia in 1849, where he was engaged as principal ballet master of the Imperial Russian Ballet in St. Petersburg until 1860. There he produced expanded versions of Esmeralda and Catarina and a series of major new works, including The Naiad and the Fisherman (1851), The War of the Women (1852), and Gazelda (1853), all for Grisi, and Armida (1855) for Cerrito.

Perrot retired after a disappointing season in Milan in 1864. In later years, he gave classes at the Paris Opéra, where he was immortalized by the Impressionist artist Edgar Degas in paintings such as The Dance Class (1874). Perrot died in France on August 24, 1892.

A Useful Site

As I was searching for useful information to post on this blog, I came across this particular website.  It's the official site for Gaynor Minden, but don't let that throw you off.  There is far more to this site than product promotion. 

On the second half of the side menu bar, there is a section entitled "Info For Dancers".  This section has links to articles on the history of pointe work and the funtionality of pointe shoes; health and safety tips; advice for parents and teachers; dancer biographies; and much more. 

I was particularly intrigued by the "All About Pointe" section.  It tells you how a pointe shoe works, what the different parts of a pointe shoe are, and what exactly is inside a pointe shoe.  For that section, Gaynor Minden took 12 different brands of pointe shoes, in addition to their own, and cut them in half lengthwise.  It was rather enlightening.

A Brief History of French Ballet

The French began to distinguish themselves in the art of ballet during the 16^th century.  Catherine de Medici’s Le Ballet Comique de la Reine, the first ballet for which a complete score survived, was performed in 1581 and established Paris as the capital of the ballet world. 

Early ballets were danced by aristocratic amateurs in a hall with the royal family on a dais at one end and spectators in galleries on three sides.  Since much of the audience saw the ballet from above, the choreography emphasized the elaborate floor patterns created by lines and groups of dancers.  Poetry and songs accompanied the dances.  Most French court ballets consisted of dance scenes linked by a minimum of plot.  Because they were designed principally for the entertainment of the aristocracy, rich costumes, scenery, and elaborate stage effects were emphasized. 

The court ballet reached its peak during the reign of Louis XIV (1643-1715).  Louis adored dancing and made his ballet debut as a boy.  But it was in 1653, when he was about 16, that he danced his most memorable piece.  He performed a series of dances in Le Ballet de la Nuit and for his final piece he appeared as Apollo, god of the sun.  Because of this, he became known as the Sun King.

In 1661, Louis founded the Académie Royale de Danse, now the Paris Opera Ballet, to train professional dancers for his court.  Louis himself stopped dancing in 1670, and his courtiers followed his example.  By then the court ballet was already giving way to professional dancing. 

At first, all professional dancers were men, and men in masks danced women's roles.  The first female dancers to perform professionally in a theater production appeared in 1681 in a ballet called Le Triomphe de l'Amour

Eighteenth-century dancers were encumbered by masks, wigs, or large headdresses, and heeled shoes.  Women wore panniers, hoopskirts draped at the sides for fullness, and men often wore the tonnelet, a knee-length hoopskirt.   Marie Camargo caused an uproar when she shortened her skirts and adopted heelless slippers to display her sparkling jumps and beats.  Her rival, Marie Sallè also broke with custom when she discarded her heels and corset and danced in Greek robes, her hair down and unornamented, for her own ballet, Pygmalion (1734).



With the French Revolution came a fashion revolution in ballet.  Dancers wore soft, flexible shoes rather than heels.  Costumes were much lighter and more flowing, and skirts shortened. 

The ballet La Sylphide, first performed in Paris in 1832, introduced the period of the Romantic ballet.  The Romantic period began as people became interested in stories of escape from the real world to dreamlike worlds or foreign lands and is arguably the most important period to the development of modern ballet.   

Ballet technique was expanded, especially for women, to express the new ideas.  For example, ballerinas learned to dance en pointe for brief periods of time.  This achievement helped them look like heavenly beings visiting the earth, but barely touching it.  Romantic ballet presented women as ideal and, for the first time, gave them greater importance than men.  Male dancers became essentially porters, whose purpose was to lift the ballerinas and show how light they were. 

The ballet Giselle is a perfect example of this period in time.  The title role is one of the most sought-after in ballet.  In the first act, Giselle must convey the innocence and love of a country girl, as well as the heartbreak of betrayal; in the second act, she must appear otherworldly, yet loving.  As a result, this role demands technical perfection, outstanding grace and lyricism, and great dramatic skill. 

The popularity of ballet in France began to wane in the second half of the 19^th century.  Even Saint-Leon's Coppelia (1870) was not enough to restore the glory of ballet.  Travesty roles, such as the role of Franz in Coppelia, were part of the reason ballet was losing its Parisian audiences.  Ballet in Paris might have had a rebirth, but in mid-July 1870, the Franco-Prussian war started.  By August, the Opera closed, and the Germans besieged the French capital in September. 

Following the siege, much of France’s best talent went to Russia.  Paris Opera ballerinas tried to keep ballet alive in Paris, but despite their best efforts, the center of the ballet world moved to Russia.

Overture

Before we get into the main act, we need a bit of an introduction.  As stated in the subtitle, this is a blog on the history of ballet, the various goings-on in some of the major American companies, the tools that make the craft possible, terminology, and examinations of technique. 


The subjects addressed in this blog are things I feel any dancer would like to know, and many things they should know, about their craft.  Some posts will be drawn from my own experience as a dancer, while others will come from professionals and other accredited sources.  All terminology will be in the proper French first, then their more common names, if applicable.  Technique will be drawn mostly from a modified Cecchetti method, as that is the style I was trained in.


Thank you for visiting this site, and let the show begin!