THE APPROACH
to teaching classical ballet at Tiffany's Dance Academy is based on work
developed by Mabel E. Todd in her book, "The Thinking Body" [1938],
which is recognized as "a profound study of biomechanics, anatomy,
kinesiology and physiology, all brought to bear on a study of movement
education." Todd's work is further advanced in books by Sally Fitt and
Lulu Sweigard, two prominent movement analysis specialists. Rather than
restrict, limit or inhibit a teacher choreographically and creatively
[as strict adherence to syllabus teaching can do], this approach expands
a teacher's ability to create classes that are challenging and
motivating for the student, classes that are truly movement focused
rather than picture and pose based. This approach places emphasis on how
each individual student can achieve the (most) desirable results with
the least amount of (wasted) effort and tension based on the individual
student's natural kinesthetic awareness [movement awareness] and
physical assets with corrective attention paid to a dancer's
limitations, or physical challenges.
What follows is a brief description of work covered in each level of the
classical ballet program at Tiffany's Dance Academy.
BOY'S
BALLET, Pre / Jr. Ballet and BALLET 1:
This level emphasizes correct postural alignment, principals of turn
out, balance, control and elementary barre exercises with special
emphasis on the body directing and releasing the movement of the arms,
legs and head. Center work consists of a repetition of barre work, port
de bras, develope [adagio], temps lie, releve, eleve and positions of
the body in relationship to the eight points of focus [four walls and
four corners] of the room/stage. Special emphasis is placed on how
movement produces the shapes of classical ballet - - shapes do not
produce the movement. Emphasis is also placed on artistic expression
which dancers at TDA begin developing as young as 2/3 years old. Staff
at TDA will never lose sight of the fact
that we are helping in the development of the creative individual.
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BALLET 2:
All barre work from Ballet 1 with exercises becoming more complex and of
a longer duration, adding more work on the 3/4 pointe to increase
strength and flexibility. Increased study of the coordination of the
head/eye, arm and leg movements. More complexity to center practice,
reviewing all material from Ballet 1 and increasing the complexity and
duration of combinations.
Special emphasis is placed on the dancer's ability to connect and link
steps for fluid movement. At this level we encourage the dancer to
examine the combinations and plan ahead for self correction.
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BALLET 3:
At this level there is a marked developmental leap, both in the
technical aspects of class and in the seriousness with which training is
taken by the dancer. This is the age when the young dancer begins to
seriously evaluate past experience in dance, and to question whether or
not a career would be desirable or possible in this difficult
profession. Training intensifies to
match this period of self-evaluation. All past work is repeated in more
complex combinations increasing strength, endurance, stamina and ability
to link steps together in a fluid manner. Understanding of motivation,
movement goals, imagery and presentation are stressed with a better
understanding of the development of artistic expression becoming more
visible in the dancer. Register Now!
BALLET 4/5:
Reviewing and strengthening all of the work from previous levels. From
this level forward the plasticity, coordination and smooth connection of
movements of the arms, legs, feet, head and body is the primary
developmental goal. Rhythmic patterns are emphasized and attention is
given to aiding the dancer's ability to "tune in" to muscular feelings.
Emphasis is placed on greater stability and complexity in study of
adagio and developing the smooth, graceful and supple qualities in
movement. Study of
turning in open positions is part of daily routine at this level, as is
the study of battu and petite allegro which will in turn facilitate the
development of elevation in grand allegro. Regular and repeated
reference will be made as to the dancer's understanding of movement
goals and ability to "self correct". Register Now! |
