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Facet #3 | Depth of Technique - The Invisible Key to Ballet
If you’ve been dancing for a while and wonder why your pirouettes aren’t
working yet, or why your petite allegro isn’t getting quicker, or why your
legs won’t stay turned out in the center or lift any higher, or why your
port de bras still doesn’t look quite how you want, then this is the facet
for you.
This facet of ballet is where we work to master movements within the ballet
paradigm, which involves turned out legs, pointed ankles, long toes,
stretched knees, elongated posture, and arm movements to extend our lines
from our back and create gestures.
We build the mechanisms that make ballet look and work correctly. The depth
of technique enables us to create the look of effortless elegance while
secretly and invisibly working really hard to control the body. It enables
us to use gravity & physics to our advantage to turn, leap, lift our legs
up high, and more.
And it is what gives ballet the “look” of gracefulness, and the “je ne sais
quoi” of floating across the stage.
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By Broche Ballet
4.9
1919 ratings
If you’ve been dancing for a while and wonder why your pirouettes aren’t
working yet, or why your petite allegro isn’t getting quicker, or why your
legs won’t stay turned out in the center or lift any higher, or why your
port de bras still doesn’t look quite how you want, then this is the facet
for you.
This facet of ballet is where we work to master movements within the ballet
paradigm, which involves turned out legs, pointed ankles, long toes,
stretched knees, elongated posture, and arm movements to extend our lines
from our back and create gestures.
We build the mechanisms that make ballet look and work correctly. The depth
of technique enables us to create the look of effortless elegance while
secretly and invisibly working really hard to control the body. It enables
us to use gravity & physics to our advantage to turn, leap, lift our legs
up high, and more.
And it is what gives ballet the “look” of gracefulness, and the “je ne sais
quoi” of floating across the stage.
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