The Six Methods of Classical Ballet

         "Success depends in a very large measure upon individual initiative and exertion, and cannot be achieved except by a dint of hard work."

- Anna Pavlova

          After curiosity struck me, I decided to do a little research on the basic ballet techniques and styles used throughout the world. What I discovered were six different techniques, which are believed to constitute the basis of ballet.

            While these six styles all have unique characteristics of their own, I know from my own experience at various ballet studios, that most companies do not strictly adhere to a single method. Instead, a combination from multiple styles is often used within each class, creating a normalcy, if you will, of what can easily be thought of as a technique of its own; a mish mash of the most commonly used skills pulled from a variety of styles.

            Before we delve deeper into each method, I feel it important to note that the styles and techniques I am about to list pertain to the Russian, French, Danish, Italian, British, and American styles, which have originated over centuries with the evolution of dance.

Vaganova Method (Russian)

Agrippina Vaganova teaching in Russia

http://balletuni.com/course/faqs/

            A Russian ballerina and teacher, Agrippina Vaganova, developed the Vaganova method, and in 1934, published an instructional system called the “Basic Principles of Classical Ballet,” which concentrated on the details of teaching instructions, from when to teach, how long, and how much. Her style combined French and Russian styles of dance and put great emphasis on developing lower back strength, arm plasticity, flexibility, and endurance. The Vaganova method strives to create clean lines and movements, but with a gentleness, which encourages dancers to move their entire body harmoniously.

There are eight levels of training with the beginning levels focusing on the styling of the shoulders and body along with stability and strength of the back. Vaganova dancers tend to have high jumps and strong turns assisted by the use of the arms, and because many movements require being air born for as long as possible, to give the illusion of floating, great flexibility and extension is necessary, along with a strong torso. The Vaganova method is unusual in the placement of the hands and fingers, as it encourages apparent movement of the hands. The thumb should be near the middle finger, and the pointer and ring finger raised slightly. Mikhail Baryshnikov is known to be a Vaganova dancer. Because the Vaganova method is so technical, injuries aren’t as common.

Cecchetti Method (Italian)

 Enrico Cecchetti teaching Anna Pavlova in Paris 1920

http://en.wikipedia.org/wiki/Enrico_Cecchetti

            The Italian ballet master, Enrico Cecchetti, created the Cecchetti method. The primary goal of this method is for students to learn dance not by simply imitating the instructor’s movements, but by studying and internalizing the basic elements. Cecchetti also stressed quality over quantity, for he felt it was more important to do an exercise once correctly instead of multiple times incorrectly. Each exercise is balanced on both sides, with one side done one week and the other side done the next. Just as in the Vaganova method, Cecchetti dancers are taught to think of movement of each body part in relation to the entire body in order to create grace. The Cecchetti method is one of the main techniques of classical ballet and centers on fast footwork, clean lines, smooth transitions, natural turnout, and the flowing of arms from one position to the next. This method also has a thorough vocabulary with about forty adagios (slow dances/movements) and eight port de bras (movement of the arms.)

Ecole Fancaise (French)

http://images.frompo.com/i/nureyev-dancing

            A French dancer and choreographer, Rudolf Nureyev, created the Ecole Francaise method. Nureyev directed the Paris Opera Ballet and choreographed alternative versions of classic ballets including La Bayadere, Swan Lake, Romeo and Juliet, Cinderella, and Sleeping Beauty. Because his artistic direction was so strong, he formed and named a new generation of young principles called the Nureyev Babies. The Ecole Francaise method focuses on precision and elegance, and is known for its clean, sophisticated style stressing soft and graceful movements. Unlike other methods, Ecole Francaise focuses more on the fluidity and grace of the dancers rather than perfect technique. This style of ballet consists of extremely fast steps in order to give the illusion of drifting effortlessly on stage, and because of the romantic style, the music is often played more slowly than other methods.

Bournonville (Danish)

http://artsalive.ca/en/dan/meet/bios/artistDetail.asp?artistID=30

            The Bournonville method was created by a Danish dancer and choreographer by the name of August Bournonville. Living in the Romantic era, Bournonville believed a ballet should tell a love story, and that the male and female dancers should share equal importance. Unlike many other methods, the Bournonville method encourages dancers to display a balanced human nature rather than extreme feelings.

           Influenced by the early French school of ballet, the Bournonville method has preserved the technique of 19^th century French ballet. The main principle of this method is for dancers to “perform with a natural grace, dramatic impact and harmony between body and music.” An interesting aspect of this method is the way the eyes are lowered and naturally follow the moving leg as to create the impression of kindness rather than arrogance. Great detail is placed in the shape and placement of the arms, which are held in front of the body.

Bournonville’s choreography consists of quick footwork with no visible effort by the dancer. The speed of the legs should not effect the effortless, elegance of the arms and torso, for “the legs are the rhythm, the arms are the melody.” The Bournonville method requires basic arm movements and a lifted torso, along with a romantic poise and grace. Many movements both begin and end in fifth position and pirouettes (turns) are done with a foot in low develope (extended leg) position as a result of the long skirts that were worn during the time.

Royal Academy of Dance (English)

http://en.wikipedia.org/wiki/Royal_Academy_of_Dance

            Established in Long, England in 1920, the Royal Academy of Dance (RAD) is an international dance board that specializes in classical ballet. It is one of the youngest styles of dance and is often referred to as the English Style. This method was formed by combining the various techniques from Italian, French, Danish, and Russian styles and pays a great deal of attention to detail. The progression of difficulty in this method is often very slow, for it is believed “if enough time is spent achieving optimal technique before introducing new vocabulary, the easier it is for the student to learn the harder stoeps, whilst exercising basic technique to the maximum.” The Royal Academy of Dance is a very serious method for very dedicated dancers.

Balanchine (American)

http://www.balanchine.org/balanchine/01/bio2.html

            The Balanchine method was developed by choreographer George Balanchine, who was a graduate of the Vaganova Ballet Academy. This method of dance consists of rapid movements, very deep plié (bending), unorthodox positioning of the arms and hands, and a great emphasis on lines. Pirouettes (turns) are done with a straight back leg rather than a bent leg, and an extended front arm. Another distinctive feature is the arabesque, which allows the dancer’s hip to open towards the audience with the back arm placed back to create the illusion of a longer and higher line. The goal of the illusions is to make dancers look like they are “utilizing more space in less time.” Balanchine dancers must be exceptionally flexible and athletic, and injuries can easily occur for those inexperienced with such unusal technique. Balanchine’s method is filled with dramatic choreography and are taught at the School of American Ballet, the New York City Ballet, the Miami City Ballet, Ballet Chicago Studio Company, and the Suzanne Farrell Ballet in Washington D.C..

Information Bibliography:

• "Different Ballet Methods." Different Ballet Methods. N.p., n.d. Web. 06 Apr. 2015. <http://www.ottawaballetschool.com/Ballet-Methods.html>.
• Bedinghaus, Treva. "Vaganova Ballet - Vaganova Ballet Method." N.p., n.d. Web. 06 Apr. 2015. <http://dance.about.com/od/ball2/a/Vaganova-Ballet.htm>.
• Bedinghaus, Treva. "Cecchetti Ballet Method Characteristics." N.p., n.d. Web. 06 Apr. 2015. <http://dance.about.com/od/ball2/a/Cecchetti.htm>.
• Bedinghaus, Treva. "Royal Academy of Dance (And Its Ballet Method)." N.p., n.d. Web. 06 Apr. 2015. <http://dance.about.com/od/ball2/p/Royal_Academy.htm>.
• Bedinghaus, Treva. "French School - French School of Ballet." N.p., n.d. Web. 06 Apr. 2015. <http://dance.about.com/od/ball2/a/The-French-School.htm>.
• Bedinghaus, Treva. "Balanchine Method - Balanchine Ballet Training Method." N.p., n.d. Web. 06 Apr. 2015. <http://dance.about.com/od/ball2/a/Balanchine-Method.htm>.
• Bedinghaus, Treva. "Bournonville - Bournonville Ballet Method." N.p., n.d. Web. 06 Apr. 2015. <http://dance.about.com/od/ball2/a/Bournonville.htm>.

Picture Bibliogrpahy:

• "FAQs." Ballet Uni. N.p., n.d. Web. <http%3A%2F%2Fballetuni.com%2Fcourse%2Ffaqs%2F>.
• "Enrico Cecchetti." Wikipedia. Wikimedia Foundation, n.d. Web. 06 Apr. 2015. <http://en.wikipedia.org/wiki/Enrico_Cecchetti>.
• N.p., n.d. Web. <http%3A%2F%2Fimages.frompo.com%2Fi%2Fnureyev-dancing>.
• "Meet The Artists." Meet the Artists. N.p., n.d. Web. 06 Apr. 2015. <http://artsalive.ca/en/dan/meet/bios/artistDetail.asp?artistID=30>.
•  "Royal Academy of Dance." Wikipedia. Wikimedia Foundation, n.d. Web. 06 Apr. 2015. <http://en.wikipedia.org/wiki/Royal_Academy_of_Dance>.
• "Biography | The George Balanchine Foundation." Biography | The George Balanchine Foundation. N.p., n.d. Web. 06 Apr. 2015. <http://www.balanchine.org/balanchine/01/bio2.html>.