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This book is a great study of classical ballet technique. A good choice for both ballerinas, and just anyone with a love of dance and dance related exercise.
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Basic Principles of Classical Ballet: Russian Ballet Technique
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Although the stars of Russian ballet Anna Pavlova and Tamara Karsavina possessed a national manner of dancing, there was no truly Russian school of dancing until the 1930s. The development of this school was largely due to Mme. Vaganova (1879–1951), not only a great dancer but also the teacher of Galina Ulanova and many others and an unsurpassed theoretician.
The principles of Vaganova's system are presented in this well-known book. Mme. Vaganova's aim of creating a personal approach to the Russian dance was based on the critical assimilation of the experience of her contemporaries. Her ability to choose the best of what had been accomplished in the various ballet traditions (French, Italian, and Russian) and combine these into a unified teaching practice in itself amounted to a new school of dance. She firmly believed that the teaching process should be a planned exercise, ever changing with innovations in the dance. She sought from her pupils emotional expressiveness, strictness of form, a resolute, energetic manner of performance, and the understanding of the underlying coordination of movements.
Her book discusses all basic principles of ballet, grouping movements by fundamental types. Chapters cover battements, rotary movements of the legs, the arms, poses of the classical dance, connecting and auxiliary movements, jumps, beats, point work, and turns as well as material for a sample lesson. Diagrams show clearly the exact foot, leg, arm, and body positions for the proper execution of many steps and movements. The result is a fundamental theory of dance that offers dancers, teachers, and ballet lovers information often difficult to locate in other books.
118 illustrations.
The principles of Vaganova's system are presented in this well-known book. Mme. Vaganova's aim of creating a personal approach to the Russian dance was based on the critical assimilation of the experience of her contemporaries. Her ability to choose the best of what had been accomplished in the various ballet traditions (French, Italian, and Russian) and combine these into a unified teaching practice in itself amounted to a new school of dance. She firmly believed that the teaching process should be a planned exercise, ever changing with innovations in the dance. She sought from her pupils emotional expressiveness, strictness of form, a resolute, energetic manner of performance, and the understanding of the underlying coordination of movements.
Her book discusses all basic principles of ballet, grouping movements by fundamental types. Chapters cover battements, rotary movements of the legs, the arms, poses of the classical dance, connecting and auxiliary movements, jumps, beats, point work, and turns as well as material for a sample lesson. Diagrams show clearly the exact foot, leg, arm, and body positions for the proper execution of many steps and movements. The result is a fundamental theory of dance that offers dancers, teachers, and ballet lovers information often difficult to locate in other books.
118 illustrations.
192 pages, Paperback
First published June 1,1969
This edition
- Format
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192 pages, Paperback
- Published
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June 1, 1969 by Dover Publications
- ISBN
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9780486220369
- ASIN
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0486220362
- Language
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English
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17 reviews All reviews
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No en ihan sanasta sanaan lukenut
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This is an excellent book I recommend for every ballet dancer. It has great explanations and great illustrations. Although ballet techniques may vary the basic ballet positions, the structuring of the dance class from adagio to allegro and the organization of the ballet lessons apply to various techniques. I love the Russian ballet technique and dancers who have very expressive hand and arm movements (port de bras) and was excited to read this book. Vaganova explains the basis for performing various movements and positions, which I have wondered about when learning. Her technique, however, seems a bit strict to me. I also like that she indicates that the turnout (key in ballet) and the extent to which various leg and foot positions may be performed depends on the anatomy of the dancer and some dancers may never be able to achieve ca omplete textbook turnout with a lot a practice due to anatomical variations, and they are still excellent dancers.
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A staple read/manual on everything Vaganova method. Very anatomical and body mechanics oriented.
I own a copy and consult it frequently.
My dance teacher is officially trained in Vaganova method and this is how she teaches us too.
Combining this manual with our weekly instruction is a sure way to learn systematically and form a very good foundation.
I own a copy and consult it frequently.
My dance teacher is officially trained in Vaganova method and this is how she teaches us too.
Combining this manual with our weekly instruction is a sure way to learn systematically and form a very good foundation.
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Ahhh, my beloved ballet.
This is famed Russian ballet teacher Vaganova's style of dancing, written out. She discusses her style, how they are similar and different to French (École Française) and Italain (Cecchetti) schools. She describes different steps and gives an example lesson.
Lovely book, though with teachers definitely in mind.
This is famed Russian ballet teacher Vaganova's style of dancing, written out. She discusses her style, how they are similar and different to French (École Française) and Italain (Cecchetti) schools. She describes different steps and gives an example lesson.
Lovely book, though with teachers definitely in mind.
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The Bible of classical ballet training
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A must read for any classically trained dancer
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Helpful in learning the Vaganova Method and improving my technique!
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