View source for Ballet

{{Short description|Form of performance dance}}
{{hatnote group|
{{About|the dance form}}
{{Distinguish|Ballad}}
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{{Use dmy dates|date=July 2024}}
[[File:Edgar Degas - La Classe de danse.jpg|thumb|Classical bell tutus in ''[[The Ballet Class (Degas, Musée d'Orsay)|The Ballet Class]]'' by [[Edgar Degas|Degas]], 1874]]
{{Performing arts}}

'''Ballet''' ({{IPA|fr|balɛ|lang}}) is a type of [[performance dance]] that originated during the [[Italian Renaissance]] in the fifteenth century and later developed into a [[concert dance]] form in France and Russia. It has since become a widespread and highly technical form of dance with [[Glossary of ballet|its own vocabulary]]. Ballet has been influential globally and has defined the foundational [[ballet technique|techniques]] which are used in many other dance genres and cultures. Various schools around the world have incorporated their own cultures. As a result, ballet has evolved in distinct ways.

A ''ballet'' as a unified [[work of art|work]] comprises the [[choreography (dance)|choreography]] and [[music]] for a ballet production. Ballets are choreographed and performed by trained [[ballet dancer]]s. Traditional [[classical ballet]]s are usually performed with [[classical music]] accompaniment and use elaborate costumes and staging, whereas modern ballets are often performed in simple costumes and without elaborate sets or scenery.

==Etymology==
Ballet is a French word which had its origin in Italian ''balletto'', a [[diminutive]] of ''ballo'' (dance) which comes from [[Latin]] ''ballo'', ''ballare'', meaning "to dance",<ref name="chantrell" /><ref name="perseus" /> which in turn comes from the [[Greek language|Greek]] "βαλλίζω" (''ballizo''), "to dance, to jump about".<ref name="perseus" /><ref name="harper" /> The word came into English usage from the French around 1630.

In French, the word refers to a ballet performance, a ballet work, and possibly to the dance genre itself, although the expression ''danse classique'' also exists for the latter meaning, is less equivocal and is more commonly used when referring to the learning of this dance.{{Citation needed|date=December 2024|reason=True or not, this is an unsourced opinion from anon. The entire paragraph needs citing.}}

==History==
{{Main|History of ballet|Timeline of ballet}}
[[File:Ballet de la nuit 1653.jpg|thumb|left|upright|[[Louis XIV of France|Louis XIV]] as Apollo in the ''[[Ballet Royal de la Nuit]]'' (1653)]]

Ballet originated in the [[Italian Renaissance]] courts of the fifteenth and sixteenth centuries. Under [[Catherine de' Medici]]'s influence as Queen, it spread to France, where it developed even further.<ref name=":3">{{Cite book|title=Apollo's Angels: A History of Ballet|last=Homans|first=Jennifer|publisher=[[Random House]]|year=2010|isbn=978-1-4000-6060-3|location=New York|pages=[https://archive.org/details/apollosangelshis00homa_0/page/n30 1]–4|url=https://archive.org/details/apollosangelshis00homa_0|url-access=registration}}</ref> The dancers in these early [[Ballets de cour|court ballets]] were mostly noble amateurs.  Ornamented costumes were meant to impress viewers, but they restricted performers' freedom of movement.<ref name=":0">{{Cite book|title=Ballet: An Illustrated History|last1=Clarke|first1=Mary|last2=Crisp|first2=Clement|publisher=[[Hamish Hamilton]]|year=1992|isbn=978-0-241-13068-1|location=Great Britain|pages=17–19}}</ref>

The ballets were performed in large chambers with viewers on three sides.  The implementation of the [[proscenium]] arch from 1618 on distanced performers from audience members, who could then better view and appreciate the technical feats of the professional dancers in the productions.<ref>{{cite book | title=The Essential Theatre, Enhanced | date=28 March 2013 | first1=Oscar G. | last1=Brockett | first2=Robert J. | last2=Ball | page=115 | isbn=9781285687513 | publisher=Cengage Learning | url=https://books.google.com/books?id=5TEXAAAAQBAJ&pg=PA115 | access-date=8 July 2023 | archive-date=5 July 2024 | archive-url=https://web.archive.org/web/20240705202209/https://books.google.com/books?id=5TEXAAAAQBAJ&pg=PA115 | url-status=live }}</ref><ref>{{cite book
 | title=Baroque Modernity, An Aesthetics of Theater
 | first=Joseph
 | last=Cermatori
 | date=16 November 2021
 | page=9
 | isbn=9781421441542
 | publisher=Johns Hopkins University Press
 | url=https://books.google.com/books?id=sk1PEAAAQBAJ&pg=PA9
 | access-date=8 July 2023
 | archive-date=5 July 2024
 | archive-url=https://web.archive.org/web/20240705202210/https://books.google.com/books?id=sk1PEAAAQBAJ&pg=PA9#v=onepage&q&f=false
 | url-status=live
 }}</ref>

French court ballet reached its height under the reign of King [[Louis XIV]]. Louis founded the [[Académie Royale de Danse]] (Royal Dance Academy) in 1661 to establish standards and certify dance instructors.<ref>{{Cite news|url=http://mentalfloss.com/article/93297/art-power-how-louis-xiv-ruled-france-ballet|title=The Art of Power: How Louis XIV Ruled France ... With Ballet|date=15 March 2017|access-date=2017-10-02|language=en|url-status=live|archive-url=https://web.archive.org/web/20171002220137/http://mentalfloss.com/article/93297/art-power-how-louis-xiv-ruled-france-ballet|archive-date=2017-10-02 |publisher=[[Mental floss]]}}</ref> In 1672, Louis XIV made [[Jean-Baptiste Lully]] the director of the Académie Royale de Musique ([[Paris Opera]]) from which the first professional [[ballet company]], the [[Paris Opera Ballet]], arose.<ref name="craine" /> [[Pierre Beauchamp]] served as Lully's [[Ballet master|ballet-master]]. Together their partnership would drastically influence the development of ballet, as evidenced by the credit given to them for the creation of the five major positions of the feet.  By 1681, the first "ballerinas" took the stage following years of training at the Académie.<ref name=":0" />

Ballet started to decline in France after 1830, but it continued to develop in Denmark, Italy, and Russia. The arrival in Europe of the [[Ballets Russes]] led by [[Sergei Diaghilev]] on the eve of the [[World War I|First World War]] revived interest in the ballet and started the modern era.<ref name=":4">{{Cite book|title=Ballet 101: A Complete Guide to Learning and Loving the Ballet|last=Greskovic|first=Robert|publisher=[[Hachette Books|Hyperion Books]]|year=1998|isbn=978-0-7868-8155-0|location=New York, New York|pages=46–57}}</ref>

In the twentieth century, ballet had a wide influence on other dance genres,<ref>{{Cite news|url=https://www.nyfa.edu/student-resources/ballet-and-modern-dance/|title=Ballet And Modern Dance: Using Ballet As The Basis For Other Dance Techniques|date=5 August 2014|work=Student Resources|access-date=2017-07-26|language=en-US|url-status=live|archive-url=https://web.archive.org/web/20171002220627/https://www.nyfa.edu/student-resources/ballet-and-modern-dance/|archive-date=2017-10-02}}</ref>  Also in the twentieth century, ballet took a turn dividing it from classical ballet to the introduction of [[modern dance]], leading to modernist movements in several countries.<ref name="wulff" />

Famous dancers of the twentieth century include 
[[Mikhail Baryshnikov]],<ref name=ClassicFM/>
[[Erik Bruhn]],<ref>{{cite news
 | title=Erik Bruhn dies in Toronto; top dancer of his generation
 | first=John | last=Rockwell | date=2 April 1986
 | work=The New York Times
 | url=https://www.nytimes.com/1986/04/02/obituaries/erik-bruhn-dies-in-toronto-top-dancer-of-his-generation.html
 | access-date=2024-12-21 }}</ref>
[[Maria Tall Chief]],<ref>{{cite web
 | title=SAB Trailblazer – Maria Tallchief
 | publisher=School of American Ballet
 | url=https://sab.org/scenes/sab-trailblazer-maria-tallchief/
 | access-date=2024-12-21 }}</ref>
[[Jeanne Devereaux]],<ref>{{cite news
 | title=International star of dance, vaudeville dies at 98
 | first=Janette | last=Williams | date=29 August 2017
 | work=Pasadena Star-News
 | url=https://www.pasadenastarnews.com/2011/08/09/international-star-of-dance-vaudeville-dies-at-98/
 | access-date=2024-12-21 }}</ref>
[[Suzanne Farrell]],<ref>{{cite web
 | title=Legendary ballerina Suzanne Farrell reflects on career, 20 years as Krafft Professor at FSU
 | first1=Anna | last1=Prentiss | first2=Jamie | last2=Rager
 | first3=Jasmine | last3=Hur | display-authors=1
 | work=Florida State University News | date=16 November 2023 
 | url=https://news.fsu.edu/news/arts-humanities/2023/11/16/legendary-ballerina-suzanne-farrell-reflects-on-career-20-years-as-krafft-professor-at-fsu/
 | access-date=2024-12-21 }}</ref>
[[Margot Fonteyn]],<ref name=ClassicFM/>
[[Rosella Hightower]],<ref>{{cite news
 | title=Rosella Hightower, Prima Ballerina and School Founder, Is Dead at 88
 | first=Jack | last=Anderson | date=4 November 2008
 | work=The New York Times
 | url=https://www.nytimes.com/2008/11/05/arts/dance/05hightower.html
 | access-date=2024-12-21 }}</ref>
[[Gelsey Kirkland]],<ref name=ClassicFM/>
[[Natalia Makarova]],<ref name=ClassicFM/>
[[Arthur Mitchell (dancer)|Arthur Mitchell]],<ref>{{cite news
 | title=Arthur Mitchell obituary
 | first=Wendy | last=Perron | date=21 September 2018
 | work=The Guardian
 | url=https://www.theguardian.com/stage/2018/sep/21/arthur-mitchell-obituary
 | access-date=2024-12-21 }}</ref>
[[Rudolf Nureyev]],<ref name=ClassicFM/>
[[Anna Pavlova]],<ref name=ClassicFM/>
[[Maya Plisetskaya]],<ref>{{cite web
 | title=Maya Plisetskaya
 | website=International Dance Day
 | publisher=Futura Communications
 | url=https://www.international-dance-day.org/mayaplissetskaya.html
 | access-date=2024-12-21 }}</ref>
and 
[[Galina Ulanova]].<ref name=ClassicFM>{{Cite news
 | title=The ten greatest ballet dancers of the twentieth century
 | work=Classic FM | language=en | url-status=live
 | url=http://www.classicfm.com/discover-music/periods-genres/ballet/greatest-ballet-dancers/
 | access-date=2017-10-02 | archive-date=2017-10-02
 | archive-url=https://web.archive.org/web/20171002221516/http://www.classicfm.com/discover-music/periods-genres/ballet/greatest-ballet-dancers/ }}</ref>

==Styles==
[[File:MarieSalle.jpg|thumb|[[Marie Sallé]], classical ballet dancer]]
Stylistic variations and subgenres have evolved over time. Early, classical variations are primarily associated with geographic origin. Examples of this are [[Russian ballet]], [[French ballet]], and [[Italian ballet]]. Later variations, such as contemporary ballet and neoclassical ballet, incorporate both classical ballet and non-traditional technique and movement. Perhaps the most widely known and performed ballet style is late [[Romantic ballet]] (or [[Ballet blanc]]).<ref name="hammond">{{cite book |url=https://archive.org/details/balletbasics0000hamm/page/n1/mode/2up |isbn=978-0-07-255714-5 |title=Ballet basics | year=2004 |last1=Hammond |first1=Sandra Noll |publisher=McGraw-Hill Education }}</ref>

=== Classical ballet ===
{{main|Classical ballet}}
[[File:Swanlake015.jpg|thumb|The ''Valse des cygnes'' from Act II of the Ivanov/Petipa edition of ''Swan Lake'']]
Classical ballet is based on traditional ballet [[Glossary of ballet|technique and vocabulary]].<ref>{{Cite book|title=Technical Manual and Dictionary of Classical Ballet|last=Grant|first=Gail|publisher=[[Dover Publications]]|year=1982|isbn=978-0-486-21843-4|location=New York, US|url=https://archive.org/details/technicalmanuald00gail}}</ref> Different styles have emerged in different countries, such as [[French ballet]], [[Italian ballet]], [[English ballet]], and [[Russian ballet]].<ref name="warren89">{{cite book
 | title=Classical ballet technique
 | last=Warren | first=Gretchen Ward | year=1989
 | publisher=University Press of Florida
 | isbn=978-0-8130-0895-0
 | url=https://archive.org/details/classicalballett0000warr
}}</ref> Several of the classical ballet styles are associated with specific training methods, typically named after their creators (see below).  The [[Royal Academy of Dance|Royal Academy of Dance method]] is a ballet technique and training system that was founded by a diverse group of ballet dancers. They merged their respective dance methods (Italian, French, Danish and Russian) to create a new style of ballet that is unique to the organization and is recognized internationally as the English style of ballet.<ref name=":4" /> Some examples of classical ballet productions are: ''[[Swan Lake]]'', ''[[The Sleeping Beauty (ballet)|The Sleeping Beauty]]'' and ''[[The Nutcracker]].''<ref>{{cite web
 | title=10 Classical Ballets Any Kind of Dancer Should Know
 | date=26 September 2010 | website=DancePlug
 | url=https://www.danceplug.com/article/10-classical-ballets-any-kind-of-dancer-should-know
 | access-date=2024-12-23 }}</ref>

===Romantic ballet===
{{main|Romantic ballet}}
[[File:Giselle -Carlotta Grisi -1841 -2.jpg|thumb|upright|[[Carlotta Grisi]], the original [[Giselle]], 1841, wearing the romantic tutu]]
Romantic ballet was an artistic movement of classical ballet and several productions remain in the classical repertoire today. The Romantic era was marked by the emergence of [[Pointe technique|pointe]] work, the dominance of female dancers, and longer, flowy tutus that attempt to exemplify softness and a delicate aura.<ref name=":0" /> This movement occurred during the early to mid-nineteenth century (the [[Romantic era]]) and featured themes that emphasized intense emotion as a source of [[aesthetic]] experience. The plots of many romantic ballets revolved around spirit women (sylphs, wilis, and ghosts) who enslaved the hearts and senses of mortal men. The 1827 ballet ''[[La Sylphide]]'' is widely considered to be the first, and the 1870 ballet ''[[Coppélia]]'' is considered to be the last.<ref name=":3" /> Famous ballet dancers of the Romantic era include [[Marie Taglioni]], [[Fanny Elssler]], and [[Jules Perrot]]. Jules Perrot is also known for his choreography, especially that of ''[[Giselle]]'', often considered to be the most widely celebrated romantic ballet.<ref name=":0" />

===Neoclassical ballet===
{{main|Neoclassical ballet}}
[[File:Ballets Russes - Apollo musagète.jpg|thumb|[[Alexandra Danilova]] and [[Serge Lifar]], ''Apollon Musagète'', 1928]] 
Neoclassical ballet is usually abstract, with no clear plot, costumes or scenery. Music choice can be diverse and will often include [[Neoclassicism (music)|music that is also neoclassical]] (e.g. [[Igor Stravinsky|Stravinsky]], [[Albert Roussel|Roussel]]). Tim Scholl, author of ''From Petipa to Balanchine'', considers [[George Balanchine]]'s ''[[Apollo (ballet)|Apollo]]'' in 1928 to be the first neoclassical ballet. ''Apollo'' represented a return to form in response to [[Sergei Diaghilev]]'s abstract ballets. Balanchine worked with modern dance choreographer [[Martha Graham]], and brought modern dancers into his company such as [[Paul Taylor (choreographer)|Paul Taylor]], who in 1959 performed in Balanchine's ''[[Episodes (ballet)|Episodes]]''.<ref>{{Cite book|title=From Petipa to Balanchine: Classical Revival and the Modernization of Ballet|last=Scholl|first=Tim|publisher=[[Routledge]]|year=1994|isbn=978-0415756211|location=London}}</ref>

While Balanchine is widely considered the face of neoclassical ballet, there were others who made significant contributions. [[Frederick Ashton]]'s ''[[Symphonic Variations (ballet)|Symphonic Variations]]'' (1946) is a seminal work for the choreographer. Set to [[César Franck]]'s score of the same title, it is a pure-dance interpretation of the score.<ref name=":0" />

Another form, [[Modern ballet|Modern Ballet]], also emerged as an offshoot of neoclassicism. Among the innovators in this form were [[Glen Tetley]], [[Robert Joffrey]] and [[Gerald Arpino]]. While difficult to parse modern ballet from neoclassicism, the work of these choreographers favored a greater athleticism that departed from the delicacy of ballet. The physicality was more daring, with mood, subject matter and music more intense. An example of this would be Joffrey's ''Astarte'' (1967), which featured a rock score and sexual overtones in the choreography.<ref name=":4" />

===Contemporary ballet===
{{main|Contemporary ballet}}
[[File:Grace in winter, contemporary ballet.jpg|thumb|A ballet jump performed with modern, non-classical form in a contemporary ballet]]
This ballet style is often performed barefoot.<ref>{{cite book
 | title=The Oxford Handbook of Contemporary Ballet
 | year=2021 | isbn=9780190871499
 | editor1-first=Jill Nunes | editor1-last=Jensen
 | editor2-first=Kathrina | editor2-last=Farrugia-Kriel
 | publisher=Oxford University Press
 | url=https://books.google.com/books?id=nTkqEAAAQBAJ&pg=PA426 }}</ref> Contemporary ballets may include [[Mime artist|mime]] and [[acting]], and are usually set to music (typically orchestral but occasionally vocal). It can be difficult to differentiate this form from neoclassical or modern ballet. Contemporary ballet is also close to [[contemporary dance]] because many contemporary ballet concepts come from the ideas and innovations of twentieth-century modern dance, including floor work and turn-in of the legs. The main distinction is that ballet technique is essential to perform a contemporary ballet.

George Balanchine is considered to have been a pioneer of contemporary ballet. Another early contemporary ballet choreographer, [[Twyla Tharp]], choreographed ''Push Comes To Shove'' for the [[American Ballet Theatre]] in 1976, and in 1986 created ''In The Upper Room'' for her own company. Both of these pieces were considered innovative for their melding of distinctly modern movements with the use of pointe shoes and classically trained dancers.

Today there are many contemporary ballet companies and choreographers. These include [[Alonzo King]] and his company [[Alonzo King LINES Ballet|LINES Ballet]]; [[Matthew Bourne]] and his company [[New Adventures (dance company)|New Adventures]]; [[Complexions Contemporary Ballet]]; [[Nacho Duato]] and his [[Compañia Nacional de Danza]]; William Forsythe and [[The Forsythe Company]]; and [[Jiří Kylián]] of the [[Nederlands Dans Theater]]. Traditionally "classical" companies, such as the Mariinsky (Kirov) Ballet and the Paris Opera Ballet, also regularly perform contemporary works.

The term ''ballet'' has evolved to include all forms associated with it. Someone training as a ballet dancer will now be expected to perform neoclassical, modern and contemporary work. A ballet dancer is expected to be able to be stately and regal for classical work, free and lyrical in neoclassical work, and unassuming, harsh or pedestrian for modern and contemporary work. In addition, there are several modern varieties of dance that fuse classical ballet technique with contemporary dance, such as [[Hiplet (dance style)|Hiplet]], that require dancers to be practised in non-Western dance styles.<ref name=kourlas>{{Cite news|url=https://www.nytimes.com/2016/09/04/arts/dance/hiplet-an-implausible-hybrid-plants-itself-on-pointe.html|title=Hiplet: An Implausible Hybrid Plants Itself on Pointe|last=Kourlas|first=Gia | date=2 September 2016 | newspaper=[[The New York Times]]|issn=0362-4331|access-date=2016-12-03|url-status=live|archive-url=https://web.archive.org/web/20161221165024/http://www.nytimes.com/2016/09/04/arts/dance/hiplet-an-implausible-hybrid-plants-itself-on-pointe.html|archive-date=2016-12-21}}</ref>

== Technical methods of ballet instruction ==

There are six widely used, internationally recognized methods to teach or study ballet. These methods are the [[French ballet|French School]], the [[Vaganova method|Vaganova Method]], the [[Cecchetti method|Cecchetti Method]], the [[Bournonville method]], the [[Royal Academy of Dance|Royal Academy of Dance method]] (English style), and the [[Balanchine method]] (American style).<ref>{{cite book
 | title=Ballet Class, An American History
 | first=Melissa R.
 | last=Klapper
 | page=70
 | publisher=Oxford University Press
 | isbn=9780190908683
 | year=2020
 | url=https://books.google.com/books?id=v5XHDwAAQBAJ&pg=PA70
 | access-date=2023-07-08
 | archive-date=2023-07-19
 | archive-url=https://web.archive.org/web/20230719182013/https://books.google.com/books?id=v5XHDwAAQBAJ&pg=PA70
 | url-status=live
 }}</ref><ref>{{cite book
 | title=Discovering Dance
 | first=Gayle
 | last=Kassing
 | page=150
 | publisher=Human Kinetics
 | isbn=9781492584544
 | date=23 May 2014
 | url=https://books.google.com/books?id=yvB6DwAAQBAJ&pg=PA150
 | access-date=July 8, 2023
 | archive-date=July 19, 2023
 | archive-url=https://web.archive.org/web/20230719182012/https://books.google.com/books?id=yvB6DwAAQBAJ&pg=PA150
 | url-status=live
 }}</ref> Many more schools of technique exist in various countries.

Although preschool-age children are a lucrative source of income for a ballet studio, ballet instruction is generally not appropriate for young children.<ref>{{Cite news|last=Kaufman|first=Sarah L. Kaufman|url=https://www.washingtonpost.com/entertainment/theater_dance/parents-youre-enrolling-your-little-ones-in-the-wrong-kind-of-dance-class/2019/10/09/158aaaa6-e935-11e9-bafb-da248f8d5734_story.html|title=Parents, you're enrolling your little ones in the wrong kind of dance class|date=10 October 2019|newspaper=The Washington Post|access-date=8 February 2020|archive-date=7 February 2020|archive-url=https://web.archive.org/web/20200207160522/https://www.washingtonpost.com/entertainment/theater_dance/parents-youre-enrolling-your-little-ones-in-the-wrong-kind-of-dance-class/2019/10/09/158aaaa6-e935-11e9-bafb-da248f8d5734_story.html|url-status=live}}</ref>{{failed verification|date=March 2021}} Initial instruction requires standing still and concentrating on posture, rather than dancing. Because of this, many ballet programs have historically not accepted students until approximately age 8. Creative movement and non-demanding pre-ballet classes are recommended as alternatives for children.<ref>{{Cite book|last=Paskevska|first=Anna|url=https://archive.org/details/gettingstartedin0000pask|url-access=registration|title=Getting Started in Ballet : A Parent's Guide to Dance Education: A Parent's Guide to Dance Education | date=20 October 1997 | publisher=Oxford University Press, USA|isbn=978-0-19-802773-7|pages=[https://archive.org/details/gettingstartedin0000pask/page/30 30]|language=en}}</ref><ref>{{Cite book|last=Medova|first=Marie-Laure|url=https://books.google.com/books?id=J_-TYAg4FWsC&pg=PP11|title=Ballet for Beginners | year=2004 | publisher=Sterling Publishing Company, Inc.|isbn=978-1-4027-1715-4|pages=11|language=en|access-date=8 February 2020|archive-date=5 July 2024|archive-url=https://web.archive.org/web/20240705202214/https://books.google.com/books?id=J_-TYAg4FWsC&pg=PP11#v=onepage&q&f=false|url-status=live}}</ref>

=== French method ===
[[File:Flower Festival 01.jpg|thumb|upright]]
The French method is the basis of all ballet training. When Louis XIV created the [[Académie Royale de Danse]] in 1661, he helped to create the codified technique still used today by those in the profession, regardless of what method of training they adhere to. The French school was particularly revitalized under [[Rudolf Nureyev]], in the 1980s. His influence revitalized and renewed appreciation for this style, and has drastically shaped ballet as a whole.<ref>{{Cite news | first=Eric | last=Housh | url=https://www.tututix.com/ballet-methods-what-are-they/ | title=Ballet Methods: What Are They? {{!}} TutuTix | date=9 May 2016 | work=[[TutuTix]] | access-date=2017-07-26 | language=en-US | url-status=live | archive-url=https://web.archive.org/web/20171111202705/https://www.tututix.com/ballet-methods-what-are-they/ | archive-date=2017-11-11 }}</ref>  In fact, the French school is now sometimes referred to as Nureyev school. The French method is often characterized by technical precision, fluidity and gracefulness, and elegant, clean lines. For this style, fast footwork is often utilized in order to give the impression that the performers are drifting lightly across the stage.<ref name=":2">{{cite web|url=http://www.ottawaballetschool.com/Ballet-Methods.html|title=Different Ballet Methods|website=www.ottawaballetschool.com|access-date=2017-07-26|url-status=live|archive-url=https://web.archive.org/web/20170711192342/http://www.ottawaballetschool.com/Ballet-Methods.html|archive-date=2017-07-11}}</ref> Two important trademarks of this technique are the specific way in which the port de bras and the épaulement are performed, more rounded than when dancing in a Russian style, but not as rounded as the Danish style.<ref>{{Cite news | url=http://www.dancespirit.com/the_paris_opara_ballet_school-2326043328.html | title=The Paris Opéra Ballet School | date=31 December 2009 | work=[[Dance Spirit]] | access-date=2017-07-26 | language=en | url-status=live | archive-url=https://web.archive.org/web/20171111202705/http://www.dancespirit.com/the_paris_opara_ballet_school-2326043328.html | archive-date=2017-11-11 }}</ref>

=== Vaganova method ===
[[File:Agrippina Vaganova -Esmeralda 1910.jpg|left|thumb|upright|Agrippina Vaganova, "Esmeralda" 1910]]
The [[Vaganova method]] is a style of ballet training that emerged from [[Russian ballet]], created by [[Agrippina Vaganova]]. After retiring from dance in 1916, Vaganova turned to teaching at the Leningrad Choreographic School in 1921. Her training method is now internationally recognized and her book, ''The Fundamentals of Classical Dance'' (1934), is a classic reference. This method is marked by the fusion of the classical French style, specifically elements from the Romantic era, with the athleticism of the Italian method, and the soulful passion of Russian ballet.<ref name=":2"/> She developed an extremely precise method of instruction in her book ''Basic Principles of Russian Classical dance'' (1948).<ref name="vaganova48">{{cite book |url=https://archive.org/details/basicprincipleso0000vaga |isbn=978-0-486-22036-9 |title=Basic principles of classical ballet; Russian ballet technique | year=1969 |publisher=New York, Dover Publications }}</ref> This includes outlining when to teach technical components to students in their ballet careers, for how long to focus on it, and the right amount of focus at each stage of the student's career. These textbooks continue to be extremely important to the instruction of ballet today.

The method emphasizes development of strength, flexibility, and endurance for the proper performance of ballet. She espoused the belief that equal importance should be placed on the arms and legs while performing ballet, as this will bring harmony and greater expression to the body as a whole.<ref name=ibt1>{{cite web|url=http://ibtacademy.org/content/Vaganova-at-IBT|title=Vaganova Method|language=ru|access-date=2017-07-26|url-status=usurped|archive-url=https://web.archive.org/web/20171111202706/http://ibtacademy.org/content/Vaganova-at-IBT|publisher=[[International Ballet Theater Academy]] ibtacademy.org|archive-date=2017-11-11}}</ref>

=== Cecchetti method ===
[[File:Cecchetti jpg.gif|thumb|upright|Enrico Cecchetti with Anna Pavlova]]
Developed by [[Enrico Cecchetti]] (1850–1928), this method is one known internationally for its intense reliance of the understanding of anatomy as it relates to classical ballet. The goal of this method is to instill important characteristics for the performance of ballet into students so that they do not need to rely on imitations of teachers. Important components for this method is the emphasis of balance, elevations, [[Ballon (ballet)|ballon]], poise, and strength.<ref name="beaumont32">{{cite book |url=https://archive.org/details/cecchettimethodo0000beau |isbn=978-0-486-43177-2 |title=The Cecchetti method of classical ballet : Theory and technique | year=2003 |last1=Beaumont |first1=Cyril W. |last2=Idzikowski |first2=Stanislas |publisher=Courier Corporation }}</ref>

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. This method is well known for eight port de bras that are utilized.<ref name=":2" />

=== Bournonville method ===
[[File:August Bournonville by E. Lange.jpg|left|thumb|upright|August Bournonville]]
The Bournonville method is a Danish method first devised by [[August Bournonville]]. Bournonville was heavily influenced by the early French ballet method due to his training with his father, [[Antoine Bournonville]] and other important French ballet masters. This method has many style differences that differentiate it from other ballet methods taught today.<ref>{{cite web|url=http://www.bournonville.com/bournonville46.html|title=Bournonville.com|website=www.bournonville.com|access-date=2017-07-26|url-status=live|archive-url=https://web.archive.org/web/20171027025043/http://bournonville.com/bournonville46.html|archive-date=2017-10-27}}</ref> A key component is the use of diagonal épaulements, with the upper body turning towards the working foot typically. This method also incorporates very basic use of arms, pirouettes from a low développé position into seconde, and use of fifth position bras en bas for the beginning and end of movements.

The Bournonville method produces dancers who have beautiful ''ballon'' ("the illusion of imponderable lightness").<ref>{{Cite news|url=http://www.balletposition.com/blog/the-danish-way-of-dancing-it-all-started-with-bournonville|title=Bournonville: The Danish Way of Dancing - Ballet Position | date=17 June 2016 | work=Ballet Position|access-date=2018-09-11|language=en-GB|archive-url=https://web.archive.org/web/20180910191614/http://www.balletposition.com/blog/the-danish-way-of-dancing-it-all-started-with-bournonville|archive-date=2018-09-10|url-status=live}}</ref>

=== The Royal Academy of Dance method (RAD) ===
[[File:Young girls competing at the Royal Academy of Dancing (London) exams held in Brisbane and Toowoomba, 1938 (7946600826).jpg|thumb|Young girls competing at the Royal Academy of Dancing (London) exams held in Brisbane and Toowoomba, 1938]]

The [[Royal Academy of Dance|Royal Academy of Dance method]], also referred to as the English style of ballet, was established in 1920 by Genee, Karsavina, Bedells, E Espinosa, and Richardson. The goal of this method is to promote academic training in classical ballet throughout Great Britain. This style also spread to the United States, and is widely utilized still today. There are specific grade levels which a student must move through in order to complete training in this method.<ref name="rad2">{{cite book |url=https://archive.org/details/balletclassillus0000unse/mode/2up |isbn=978-0-09-186531-3 |title=Ballet class : An illustrated guide to the official ballet syllabus | year=1998 |publisher=Ebury Press }}</ref><ref name=rad1>{{cite web|url=http://www.dancevillage.com/en/dance-methods/royal-academy-dance.php|title=Ballet Training Techniques - The Royal Academy of Dance (RAD) - DANCE VILLAGE - dance portal and online community|website=www.dancevillage.com|language=en|access-date=2017-07-26|url-status=dead|archive-url=https://web.archive.org/web/20160227063431/http://www.dancevillage.com/en/dance-methods/royal-academy-dance.php|archive-date=2016-02-27}}</ref> The key principle behind this method of instruction is that basic ballet technique must be taught at a slow pace, with difficulty progression often much slower than the rest of the methods. The idea behind this is if a student is to put in a large amount of effort into perfecting the basic steps, the technique learned in these steps allow a student to utilize harder ones at a much easier rate.<ref name=":2"/>

=== Balanchine method ===
[[File:Suzanne Farrell and George Balanchine NYWTS.jpg|left|thumb|[[Suzanne Farrell]] and [[George Balanchine]] dancing in a segment of "Don Quixote" at New York State Theater]]
Developed by [[George Balanchine]] at the [[New York City Ballet]]. His method draws heavily on his own training as a dancer in Russia. The technique is known for extreme speed throughout routines, emphasis on lines, and deep pliés. Perhaps one of the most well known differences of this style is the unorthodox positioning of the body.<ref name=":2"/> Dancers of this style often have flexed hands and even feet, and are placed in off-balance positions. Important ballet studios teaching this method are the [[Miami City Ballet]], Ballet Chicago Studio company, and the [[School of American Ballet]] in New York.<ref>{{cite web|url=http://dancelessons.net/dancehistory/HistoryofBalletDance.html|title=History of Ballet Dance - Dance History Articles|website=dancelessons.net|access-date=2017-07-26|url-status=live|archive-url=https://web.archive.org/web/20170222002745/http://dancelessons.net/dancehistory/HistoryofBalletDance.html|archive-date=2017-02-22}}</ref>

== Costumes ==
[[File:Anna Pavlova 1912.jpg|alt=Prima Ballerina, Anna Pavlova|thumb|upright|Anna Pavlova (prima ballerina). Early materials for ballet costumes were heavy, hindering the dancer's movements.]]

Ballet costumes play an important role in the ballet community. They are often the only survival of a production, representing a living imaginary picture of the scene.<ref name="tutuetoile.com">{{Cite web |url=http://www.tutuetoile.com/ballet-costume-history/ |title=Ballet Costume History |website=[[Tutu Étoile]] |language=en-US |access-date=2016-11-18 |url-status=live |archive-url=https://web.archive.org/web/20161114160803/http://www.tutuetoile.com/ballet-costume-history/ |archive-date=2016-11-14}}</ref>

=== Renaissance and Baroque ===
The roots of ballet go back to the Renaissance in France and Italy when court wear was the beginning of ballet costumes. Ballet costumes have been around since the early 15th century. Cotton and silk were mixed with flax, woven into semitransparent gauze<ref name="tutuetoile.com"/> to create exquisite ballet costumes.

=== 17th century ===
During the 17th century, different types of fabrics and designs were used to make costumes more spectacular and eye catching. Court dress still remained for women during this century. Silks, satins and fabrics embroidered with real gold and precious stones increased the level of spectacular decoration associated with ballet costumes.<ref name="tutuetoile.com"/> Women's costumes also consisted of heavy garments and knee-long skirts which made it difficult for them to create much movement and gesture.

=== 18th century ===
During the 18th century, stage costumes were still very similar to court wear but progressed over time, mostly due to the French dancer and ballet-master [[Jean-Georges Noverre]] (1727–1810) whose proposals to modernize ballet are contained in his revolutionary ''Lettres sur la danse et les ballets'' (1760). Noverre's book altered the emphasis in a production away from the costumes towards the physical movements and emotions of the dancers.

European ballet was centered in the [[Paris Opera]].<ref name="tutuetoile.com"/> During this era, skirts were raised a few inches off the ground. Flowers, flounces, ribbons, and lace emphasized this opulent feminine style, as soft pastel tones in citron, peach, pink, and [[shades of chartreuse|pistachio]] dominated the color range.<ref name="tutuetoile.com"/>

=== 19th century ===
[[File:Olga Spessiva in Swan Lake costume, 1934 photographer Sydney Fox Studio, 3rd Floor, 88 King St, Sydney.jpg|thumb|upright|left|Olga Spessiva; Swan Lake Costume in the 20th century]]

During the early 19th century, close-fitting body costumes, floral crowns, corsages, and jewels were used. Ideals of Romanticism were reflected through female movements.<ref name="tutuetoile.com"/>

Costumes became much tighter as corsets started to come into use, to show off the curves on a ballerina. Jewels and bedazzled costumes became much more popular.

=== 20th century ===
[[File:Maggie Gripenberg 1916.jpeg|thumb|[[Maggie Gripenberg]] (in the middle) performing at the [[Finnish National Theatre]] in 1916]]
[[File:Jeanne Devereaux, 1927.jpg|thumb|left|[[Jeanne Devereaux]] (1912–2011) was a prima ballerina, starting as a child star at age 11, and continuing for the next four decades.  In 1935, she performed in front of [[King George V]] and [[Mary of Teck|Queen Mary]] in a Royal Command Performance.  No other American prima ballerina before had been asked to perform at such a prestigious event.<ref>Lesko, Kathleen Menzie.  ''Jeanne Devereaux, Prima Ballerina of Vaudeville and Broadway,'' p. 2, McFarland & Company, Inc., Jefferson, North Carolina, 2017.  {{ISBN|978-1-4766-6694-5}}.</ref>]]

During the 20th century, ballet costumes transitioned back to the influence of Russian ballet. Ballerina skirts became knee-length tutus, later on in order to show off their precise pointe work. Colors used on stage costumes also became much more vibrant. Designers used colors such as red, orange, yellow, etc. to create visual expression when ballet dancers perform on stage.

==Ballet as a career==
Professional dancers are generally not well paid, and earn less money than a typical worker.<ref name=":1" />  As of 2020, American dancers (including ballet and other dance forms) were paid an average of US$19 per hour, with pay somewhat better for teachers than for performers.<ref name=":1">{{cite web|date=8 September 2021|title=Dancers and Choreographers: Occupational Outlook Handbook|url=https://www.bls.gov/ooh/entertainment-and-sports/dancers-and-choreographers.htm|url-status=live|archive-url=https://web.archive.org/web/20120403113509/http://www.bls.gov:80/ooh/entertainment-and-sports/dancers-and-choreographers.htm |archive-date=2012-04-03 |access-date=2022-01-20|publisher=[[U.S. Bureau of Labor Statistics]]|language=en-us}}</ref>

The job outlook is not strong, and the competition to get a job is intense, with the number of applicants vastly exceeding the number of job openings.<ref name=":1" />  Most jobs involve teaching in private [[dance schools]].<ref name=":1" />

[[Choreography|Choreographer]]s are paid better than dancers.<ref name=":1" />  Musicians and singers are paid better per hour than either dancers or choreographers, about US$30 per hour; however, full-time work is unusual for musicians.<ref name="actors">{{Cite web|date=8 September 2021|title=Musicians and Singers: Occupational Outlook Handbook|url=https://www.bls.gov/ooh/entertainment-and-sports/musicians-and-singers.htm|archive-url=https://web.archive.org/web/20220121032030/https://www.bls.gov/ooh/entertainment-and-sports/musicians-and-singers.htm|archive-date=2022-01-21|access-date=2022-01-20|website=U.S. Bureau of Labor Statistics|language=en-us|url-status=live}}</ref>

== Health effects ==
Teenage girl ballet dancers are prone to [[stress fracture]]s in the [[first rib]].<ref>{{Citation|last1=Kiel|first1=John|title=Stress Reaction and Fractures| year=2018 |url=https://www.ncbi.nlm.nih.gov/books/NBK507835/|work=StatPearls|publisher=StatPearls Publishing|pmid=29939612|access-date=2018-11-05|last2=Kaiser|first2=Kimberly|archive-date=2020-11-12|archive-url=https://web.archive.org/web/20201112011117/https://www.ncbi.nlm.nih.gov/books/NBK507835/|url-status=live}}</ref> Posterior ankle impingement syndrome (PAIS) most commonly affects people who perform repetitive [[plantar flexion]], such as ballet dancers.<ref>{{Cite journal |last1=Yasui |first1=Youichi |last2=Hannon |first2=Charles P |last3=Hurley |first3=Eoghan |last4=Kennedy |first4=John G | year=2016 |title=Posterior ankle impingement syndrome: A systematic four-stage approach |journal=World Journal of Orthopedics |language=en |volume=7 |issue=10 |pages=657–663 |doi=10.5312/wjo.v7.i10.657 |issn=2218-5836 |pmc=5065672 |pmid=27795947 |doi-access=free }}</ref> [[Eating disorder]]s are thought to be common, and a 2014 meta-analysis suggests that studies do indicate that ballet dancers are at higher risk than the general population for several kinds of eating disorders.<ref>{{cite journal |last1=Arcelus |first1=Jon |last2=Witcomb |first2=Gemma L. |last3=Mitchell |first3=Alex |title=Prevalence of Eating Disorders amongst Dancers: A Systemic Review and Meta-Analysis |journal=European Eating Disorders Review | year=2014 |volume=22 |issue=2 |pages=92–101 |doi=10.1002/erv.2271 |pmid=24277724 |url=https://repository.lboro.ac.uk/articles/journal_contribution/Prevalence_of_eating_disorders_amongst_dancers_a_systemic_review_and_meta-analysis/9628844/1/files/17277974.pdf |access-date=29 June 2022 |archive-date=5 July 2024 |archive-url=https://web.archive.org/web/20240705202213/https://repository.lboro.ac.uk/articles/journal_contribution/Prevalence_of_eating_disorders_amongst_dancers_a_systemic_review_and_meta-analysis/9628844/1/files/17277974.pdf |url-status=live }}</ref> In addition, some researchers have noted that intensive training in ballet results in lower [[bone mineral density]] in the arms.<ref>{{Cite journal|last1=Wewege|first1=Michael A.|last2=Ward|first2=Rachel E.|date=August 2018|title=Bone mineral density in pre-professional female ballet dancers: A systematic review and meta-analysis|journal=[[Journal of Science and Medicine in Sport]]|volume=21|issue=8|pages=783–788|doi=10.1016/j.jsams.2018.02.006|issn=1878-1861|pmid=29526411|s2cid=3884127 }}</ref>

==Criticism==
Most ballet choreography is written so that it can only be performed by a relatively young dancer.<ref name=":5">{{Cite news|url=https://www.buzzfeednews.com/article/ellenoconnellwhittet/ballet-me-too-nycb-women-gender-injuries-sexism|title=Is There Such A Thing As Ballet That Doesn't Hurt Women?|last=O'Connell Whittet|first=Ellen|date=11 October 2018|work=[[BuzzFeed News]]|access-date=2018-11-05|language=en|archive-url=https://web.archive.org/web/20181105160602/https://www.buzzfeednews.com/article/ellenoconnellwhittet/ballet-me-too-nycb-women-gender-injuries-sexism|archive-date=5 November 2018|url-status=live}}</ref>  The structure of ballet – in which a (usually) male choreographer or director uses (mostly) women's bodies to express his artistic vision, has been criticized as harming women.{{by whom|date=September 2023}}<ref>{{Cite journal|last=Fisher|first=Jennifer| year=2007 | title=Tulle as Tool: Embracing the Conflict of the Ballerina as Powerhouse|journal=[[Dance Research Journal]]|volume=39|issue=1|pages=2–24|doi=10.1017/S0149767700000048|jstor=20444681|s2cid=194065932|doi-access=free}}</ref>

==See also==
* [[Ballet dancer]]
* [[Glossary of ballet|Ballet glossary]]
* [[Pointe shoe|Ballet pointe shoe]]
* [[:Category:Ballet-related lists|Ballet-related lists]]
* [[Dance and health]]
* [[List of ballets by title]]
* [[Western stereotype of the male ballet dancer]]

==References==
{{Reflist|refs=
<ref name="chantrell">{{cite book
| last = Chantrell
| first = Glynnis
| title = The Oxford Essential Dictionary of Word Histories
| year = 2002
| publisher =[[Berkley Books]]
| location = New York
| isbn =978-0-425-19098-2
}}</ref>

<ref name="wulff">{{cite book
| page = 44
| last = Wulff
| first = Helena
| author-link = Helena Wulff
| title = Ballet Across Borders: Career and Culture in the World of Dancers
| year = 1998
| publisher = [[Berg Publishers]]
| location = Oxford
| isbn = 978-1-85973-998-3
}}</ref>

<ref name="craine">{{cite book
| page = 2
| last1 = Craine
| first1 = Deborah
| last2 = MacKrell
| first2 = Judith
| title = The Oxford Dictionary of Dance
| year = 2000
| publisher = [[Oxford University Press]]
| isbn = 978-0-19-860106-7
| quote = It is from this institution that French ballet has evolved rather than the Académie Royale de Danse.
}}</ref>

<ref name="harper">{{cite web
 |last        = Harper
 |first       = Douglas
 |title       = Online Etymology Dictionary
 |url         = http://www.etymonline.com/index.php?term=ballet
 |url-status     = live
 |archive-url  = https://web.archive.org/web/20140413124908/http://www.etymonline.com/index.php?term=ballet
 |archive-date = 2014-04-13
}}</ref>

<ref name="perseus">{{cite web
 |last1        = Liddell
 |first1       = Henry George
 |last2       = Scott
 |first2      = Robert
 |title       = A Greek-English Lexicon
 |publisher   = [[Perseus Digital Library]]
 |url         = https://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.04.0057%3Aentry%3Dballi%2Fzw
 |url-status     = live
 |archive-url  = https://web.archive.org/web/20110629100532/http://www.perseus.tufts.edu/hopper/text?doc=Perseus:text:1999.04.0057:entry=balli%2Fzw
 |archive-date = 2011-06-29
}}</ref>

}}

==Further reading==
* {{cite book |last=Anderson |first=Jack |title=Ballet & Modern Dance: A Concise History |edition=2nd |year=1992 |publisher=Princeton Book Company, Publishers |location=Princeton, NJ |isbn=978-0-87127-172-3 |url=https://archive.org/details/balletmoderndanc00ande_0 }}
* {{cite book |last=Au |first=Susan |title= Ballet & Modern Dance |edition=2nd |year=2002 |publisher=[[Thames & Hudson]] world of art |location=London |isbn=978-0-500-20352-1}}
* {{cite book |last=Bland |first=Alexander |author-link=Alexander Bland |title=A History of Ballet and Dance in the Western World |url=https://archive.org/details/historyofballetd0000blan |url-access=registration |year=1976 |publisher=[[Praeger Publishers]] |location=New York |isbn=978-0-275-53740-1}}
* [[Adam Darius|Darius, Adam]] (2007). ''Arabesques Through Time''. Helsinki: Harlequinade Books. {{ISBN|951-98232-4-7}}
* {{cite book |last=Gordon|first=Suzanne|title=Off Balance: The Real World of Ballet|year=1984|publisher=[[McGraw-Hill]]|isbn=978-0-07-023770-4}}
* {{cite book |last=Kant |first=Marion|title=Cambridge Companion to Ballet | series = [[Cambridge Companions to Music]]|edition=1st |year=2007|publisher=Cambridge University Press, Publishers |location=Cambridge, UK |isbn=978-0-521-53986-9}}
* {{cite book |last=Kirstein |first=Lincoln |author-link=Lincoln Kirstein |author2=Stuart, Muriel |author-link2=Muriel Stuart  |title=The Classic Ballet |url=https://archive.org/details/classicballetbas00stua |url-access=registration |year=1952 |publisher=[[Alfred A Knopf]] |location=New York }}
* {{cite book |last=Lee |first=Carol |title=Ballet In Western Culture: A History of its Origins and Evolution |year=2002 |publisher=Routledge |location=New York |isbn=978-0-415-94256-0}}

==External links==
{{Commons}}
{{Wiktionary}}
* {{Cite EB1911|wstitle=Ballet}}

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