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Julie Cronshaw
Приєднався 18 лют 2016
Tips from a ballet teacher - steps that go backwards
Here we explore a variety of ballet steps that go backwards.
Hello dancers! If you like my videos then feel free to explore my official website (Ballet's Secret Code) for lots (LOTS) more content! www.balletsecretcode.com/
Hello dancers! If you like my videos then feel free to explore my official website (Ballet's Secret Code) for lots (LOTS) more content! www.balletsecretcode.com/
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Відео
Tips from a Ballet teacher - fouetté of adage
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Some less explored fouettés of adage and fouettés sautés. Hello dancers! If you like my videos then feel free to explore my official website (Ballet's Secret Code) for lots (LOTS) more content! www.balletsecretcode.com/
Tips from a Ballet Teacher - Different kinds of Renversé
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Exploring different kinds of Renversé in the Cecchetti Method
Tips from a ballet teacher - Dégagé en tournant
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Exploring Dégagé en tournant, Dégagé en tournant, Dégagé en tournant à terre, the Cecchetti method, and more
Lesser known Pas de Bourreés
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Some lesser known ballet steps. Today we explore less familiar versions of Pas de Bourreés.
Different kinds of Fouetté
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Here we explore some lesser known types of Fouetté
Tips from a ballet teacher - lesser known tours en l'air
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A few lesser known types of tours en l'air
Different kinds of Allegro
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Exploring different kinds of Allegro Check out www.balletsecretcode.com/ AND www.TheCecchettiConnection.com for lots more about ballet technique and the Cecchetti Method.
The Secret meanings of Swan Lake - a short documentary
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This is my personal take on Swan Lake, exploring some of the hidden meanings within the ballet. Links to the Swan Lake videos used in this mini documentary are: Tchaikovsky: Swan Lake - The Kirov Ballet: ua-cam.com/video/9rJoB7y6Ncs/v-deo.html Tchaikovsky: Swan Lake - Bolshoi Theatre/Fayer (1957): ua-cam.com/video/V9lWG9z5SBY/v-deo.html Maya Plisetskaya in Swan Lake (1957): ua-cam.com/video/Ttr...
Tips from a Ballet Teacher - Three kinds of Allegro
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Exploring the three kinds of Allegro that are most recognisable in any ballet class and how to use them to improve dancing technically, for movement quality and dynamics.
The meaning of The White Act in Swan Lake
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A brief exploration of what the white act might really represent in Swan Lake's Act 2.
The 'Noah's Ark' of ballet steps
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More tips from a ballet teacher, today exploring my personal journey through the Cecchetti Diploma, and what helped.
Seven Movements of Dancing - in detail
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A more in depth video about the seven movements of dancing. You can watch Ballet's Secret Code, a documentary about the six physical principles underlying classical ballet technique, on UA-cam: ua-cam.com/video/ZGT4g7FHSvA/v-deo.html For more about ballet technique in the Cecchetti Method and to view dozens of beautiful exercises with commentaries from author Julie Cronshaw go to: www.balletsec...
What the Black and White swan characters represent in Swan Lake
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A series of videos exploring the deeper meanings of Swan Lake
What is the meaning of Siegfried's story in Swan Lake?
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What are the deeper meanings of this classical ballet? Here we explore beneath the surface of Siegfried's story. Do visit www.balletsecretcode.com/ for a package of over 150 videos in the Cecchetti method.
The secret meaning of each Act in Swan Lake
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The secret meaning of each Act in Swan Lake
Swan Lake Secrets - What is the meaning of the ruined Chapel?
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Swan Lake Secrets - What is the meaning of the ruined Chapel?
What is the meaning of the moon in Swan Lake?
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What is the meaning of the moon in Swan Lake?
What is the meaning of the lake in Swan Lake?
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What is the meaning of the lake in Swan Lake?
Tips from a Ballet Teacher - Why don't we do THIS anymore?
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Tips from a Ballet Teacher - Why don't we do THIS anymore?
Tips from a Ballet Teacher - Arabesque (five different kinds)
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Tips from a Ballet Teacher - Arabesque (five different kinds)
Tips from a Ballet Teacher - Different kinds of Relevés
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Tips from a Ballet Teacher - Different kinds of Relevés
Tips from a Ballet Teacher - The Importance of Eye Focus
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Tips from a Ballet Teacher - The Importance of Eye Focus
Tips from a Ballet Teacher - Port de bras
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Tips from a Ballet Teacher - Port de bras
Tips from a Ballet Teacher - Dance beautifully from any direction
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Tips from a Ballet Teacher - Dance beautifully from any direction
Tips from a Ballet Teacher - Pirouettes and Attitude
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Tips from a Ballet Teacher - Pirouettes and Attitude
Tips from a Ballet Teacher - Aplomb (important things to know)
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Tips from a Ballet Teacher - Aplomb (important things to know)
Tips from a Ballet Teacher - Mime and Gesture
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Tips from a Ballet Teacher - Mime and Gesture
Tips from a Ballet Teacher - What are you expressing?
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Tips from a Ballet Teacher - What are you expressing?
Tips from a Ballet Teacher - Lesser known Ballet positions and movements!
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Tips from a Ballet Teacher - Lesser known Ballet positions and movements!
❤
What a beautiful film on the true meaning of danse de ballet classique! I think every dancer has always known that dance was and is always meant to be a silent expression of emotion enhanced by the music .
Thank you for this very interesting video
Listening in an echo chamber is so pleasant.
Please do not be fooled or offended by my screen name. I am of course not knighted in anyway shape or form. I also am not trying to perpetuate that I am in anyway British or have any title other than Mrs. And American citizen. My screen name is only a compliment to the artistic appreciation and overall tradition present in the culture of the UK in contrast to what is popularly appreciated in American culture. Ok that said here is my real comment/ question. My mother was a non professional but very accomplished in ballet, gymnastics and other subjects. The other subjects won in the need to make a living but at 70 she still can do an aerial cartwheel in the backyard and is in very great health even with osteoporosis (treated thank goodness and even recovered beautifully from a fractured hip 10 yrs ago.) I attribute this to her lessons in ballet as a young woman. I took ballet as a small child but am short and was clumsy. Today as a 42 yr old I would love to pick it back up. I want to make sure I am trained in this methodology. Is there any online literature or beginner lessons online available that you are aware of?
Thank you for your message. I’m not sure if there are online Cecchetti classes for beginners but maybe you could start by contacting the 2 Cecchetti societies for a list of teachers and schools in the USA and they may have programmes that work online as well? George Massey has suggested I put together a beginner video for dancers wanting to learn ballet using the Days of the Week in the Cecchetti Method so this may yet happen. Sorry not to be more useful with info just now.
What is that image at minute 8:20?
The image slightly before 8:20 is from Ratmansky’s Swan Lake which he mounted for La Scala and Zurich Ballet Companies
Thank you ❤
Hi @juliecronshaw7013, gorgeous video illuminating that this story, indeed, goes much deeper than many are aware. The images you used in some transitions of this video (5:17, 8:31, 10:45) look like they're from a book or photocatalog -- they are absolutely stunning and I would love to know the name of the book, if you can provide it.
Hi Momo-e9s3r! The image used is on page 85 of a wonderful vintage book I inherited from a private collection, called ‘The Bolshoi Ballet’ by Yuri Slonimsky, 2nd revised and enlarged edition. (1960) Publisher: Foreign Languages Publishing House, Moscow. I used another image from this book of the duel scene in Romeo and Juliet in Ballet’s Secret Code also on Yt. Every picture in this book tells a story, as well as revealing the extraordinary level of technique and artistry, not only the dancers of course but also in the making of the productions that were staged at that time.
Extraordinary! Thank you Julie and others. #Nijinsky I remember him well. And #AnnaPavlova! Remember, the #scale does not define you as a person or a #dancer.
I loved your video BalletSecretCode. A celebration of life, the Cecchetti method, like Feldenkrein therapy or maybe the Vaganova method too, supports growth and good health. What a gift you are bringing into the world's consciousness!
As a non dancer these videos are very interesting and informative. Would have been better.if they didn't get filmed against the light coming in through the windows
does anyone know the song that is being played at 4:21?
It's the variation of Princess Florine from the Bluebird Pas de Deux from Act 3 The Sleeping Beauty
@@juliecronshaw7013 thank you!!🤩
I prefer the Vaganova method.
YES. THANK.
I am not a dancer but watching the students stretching beyond extreme human natural movements and watching the beauty and expressive feel of the logical movements you'very shown in this method it seems more expressive and beautiful than those unnatural stretches and movements you showed at the beginning, no wonder these people need replacement joints. Why not return to the logical movement of this genious' training from the past. A much more sensible method of work with the body's natural movements instead of against.
Marvellous and agree with you about gymnastic sport for modern dance.
Thank you for sharing your story!
The audience used to be educated 4:13
this is delight to look at,specially Salvio...
Is there a written version of the Cecchetti method? I experienced it under V.Celli
This is so interesting & I would have loved to know this as a teen that took dance from Alma Loth Wolfe that was taught at Peabody in Baltimore Maryland in the 1920-30’s. She had her own ballet school in Catonsville MD & retired about 1969 & I couldn’t find anyone to her caliber unless I went to Baltimore City & we lived too far. Thank you for this video. I STILL LOVE DANCE 50 years after stopping classes. ❤
Well stated
Ballet used to be based on something called LINE. Once that has gone, we are left with acrobatics. It is no longer ballet. Count me OUT!!
So interesting ❤
Absolutely adore this and so agree wholeheartedly thank you 💞
Very glad I came across this to improve my sense of history of the art. I am curious, since the rate of injury in the first studies provides the "normal" pattern of disability, did his technique result in better health and longer careers? Also the current repertory invariable is not 100 percent classical ballet, Half of the reps are non classical - and exaggerates movements/poses and/or takes them to extreme. Dont think classical masters of the old time would have approved, but it is evolution everyone seems to have accepted (and expect it) these days. Would modern companies be able to use his principles back again - and still keep their "modern" demands? Next of course is how/why the training changed. Will explore that at some point.
You have made some good points. Diaghilev’s dancers asked for Cecchetti to be their ballet master whilst they were on tour so they could stay in shape and one presumes, risk less injury. A career in classical ballet at any time in history, was and is unlikely to be a long one with the exception of very few dancers who reach the rank of Principal Dancer. Only then perhaps, they can pick and choose what they do and if they are discerning, avoid roles which cause more damage rather than less, to their bodies. I agree, the current repertoire of many ballet companies with their inclusion of neoclassical and contemporary choreography, can be even more brutal on dancers’ bodies today than ever before and going onstage in nothing but one’s underwear is also psychologically brutal. It all adds up to the potential for a dancer damaged on many levels. The old masters would doubtless turn in their graves. It is not evolution of ballet technique anymore, in most cases, it is a decline and fall. The arts are promoting and/or reflecting some very scary developments in western society. There is a managed direction towards a frightening demonic-transhumanist future, anti God, anti human. For example witness the opening of a recent sporting event, which I shall not name and fortunately did not watch. Until these unmentionable things are excised from the arts and society we will continue to push not just ballet but all the classical arts towards destruction, or at least morph into an unrecognisable state, in the west. I have hope for the survival of real classical ballet but not sure where Terpsichore’s flame will be lit next.
@@juliecronshaw7013 Thanks for the detailed response. I think the presence of certain people gives people/dancers psychological/emotional confidence. I am sure the dancers wanted him on tour - partially for that reason, plus as you mentioned, he adjusted the training to make it more pertinent to the situation/rep/dancer. During travel/tour, this becomes far more important - than in a familiar environment. Agreed even if the life span of the dancers has remained same, the lack of injuries would have been a significant benefit compared to current stats. I wonder what tday's injury/damage rates are - decades after the first study you mention. As for Principles having a choice. I am not sure how things would really work. I photograph for several well known companies, and from the informal association, I get the impression Principles are usually more used than lower ranks, especially in mixed reps. Also even if they are unionized, a returning contract may not be offered if the dancer is "difficult" to work with. A couple of soloists (I know personally) have intentionally left companies, after an injury - taken a break, and joined different company because they were being asked to return to dance before they felt comfortable. In any case, thanks for taking on the project. I can tell is was quite an accomplishment (from the detail/amount of work). Going to discuss him with some ballet masters I feel comfortable taking with.
@@asarkar that’s an interesting observation you make about the principal dancers. In the larger companies, such as the Royal Ballet here in the UK, I’m not sure if the principals work more or less than lower ranking dancers and if you have a favourite dancer you want to go and see they do not seem to be onstage all that often, compared to smaller companies, for obvious reasons. And another observation you made about ‘difficult dancers’, with which I agree, here I think applies more to dancers in ranks of soloist rather than principal. For example, Myriam Ould Braham of the Paris Opera just retired. She was not promoted to etoile after a stunning debut in SB years ago, and it took her another decade to finally reach this rank. (Nb There is a Concours annually for dancers to be promoted but not to the rank of etoile which is still a grace -and -favour appointment) During this ‘waiting’ time she danced in many, many roles of course but the brutal modern choreographies were not ideal for her tiny frame. How much longer could she have danced as a principal had she been promoted earlier and able to stay away from the stuff she wasn’t suited for? We will never know of course.
No doubt ballet has got a secret code. From "Bolero" to "Carmen" and back to "Bolero". It's enough to see one gesture made by the wrist.
How does this not apply to pretty much anything? Vocal technique is very easy to abuse for example. I was chatting with the colleague of mine from the conservatory where we both graduated. At present she teaches voice; she also is so dismayed by the number of young students who have some kind of fantasy of singing like somebody else. Instead of developing their own talents, they endanger their instrument by potentially forcing it to do something inappropriate. I was incredibly lucky after I graduated I encountered a teacher who guided me in such a fashion as to honor and proect my instrument. At age 75 still kicking ass!
The exact same thing has happened in popular music. Technical prowess on the guitar, for instance, valued higher than emotive playing that evokes emotion.
The same is happening in gymnastics. Compare the styles of Nadia Komenichi with Simone Biles. Komenichi is BY FAR the more appealing, talented and creative gymnast far more interesting to watch. Her moves are equally, if not moreso, daring than Biles. To me it seems like the differece between ART & ACROBATICS
I’ve never done ballet (or any dance) but I absolutely adored this!!! Recently I became interested in ballet because it’s influenced some fashion trends. In other words, because of the aesthetic. But I used to play and teach a classical instrument so I quickly connected with the musicality of ballet. I really admire the respect for the body that you’ve highlighted here. It’s so important!
I also appreciate the emphasis on basics. Once I was told that clarinetists were notorious for neglecting their scales and while I’d hated scales and thought they were useless until then I took it personally. Out of spite and stubbornness I became among the best at scales and it improved every aspect of my playing. Now I love them! I also took to heart how difficult it is to correct poor technique when it took my teacher well over a year to correct one of my classmates’ tongue posture even though they were extremely dedicated to fixing it. Ever since I’ve dreaded experiencing something like that. We also learn the importance of not pushing beyond your limits early on, if you begin playing high notes before you have the strength you’ll be flat. I honestly don’t know if it can be corrected… I guess reaching higher registers is a bit like going en pointe? My clarinet teachers (and one great chemistry teacher) taught me how to approach learning and it’s fascinating to see the similarities with Cecchetti. I was very lucky!! Sadly I quit clarinet due to undiagnosed adhd, after grade 6 it became harder and harder for me to practice long enough because of my difficulties staying still/still-ish. I miss the music but it’s not realistic for me. Maybe I should try ballet instead? If I do it’ll definitely be this method
Thank you for all this illuminating information 😊
Thank you so much for this channel. I'm working on a fictional book that has the characters dancing classical ballet, and yours is the first video channel that's been able to communicate the concepts in a way I (as someone who is not particularly physical) can understand. Best!
I don't like the modern lighting and especially lack of clothing. In my book if those props are required it shows a lack of true love of the movement of dance. Pavlova, Maria Tall Chief, Fontaine, Nureyev, etc. Nudity does NOT require talent.
I have never took a dance class but I don't know why I feel extremely passionate about ballet, not contemporary, not jazz, just ballet. I find peace in ballet music and my eyers are blessed every time I watch ballet dancers. I am heavily moved every time I watch ballet performers and aspire to become one--but for the longest time I just can't gather the courage since I think that at 14 it might be too late to start. I'm afraid that I won't be able to use the proper set of muscles that ballerinas learn to use starting out young. Or that I just can't be as talented as those who were taught much earlier. I'm willing to suffer a little bit but I don't know if ballet really is for me to learn, or maybe I should just be an audience. I need to know if passion for something doesn't necessarily mean you should do it or is that a go sign?
I have most trouble with renverse so thank you for clarifying.
Thank you... Unfortunately, most ballet students are unaware of the enormous contribution and value of Cecchetti training, which imbues the student with strong, clean, polished technique and beauty and subtly of line that readily adapts to the demands of different choreographies and styles.
Im studying Royal technique.. is it too different to Cecchetti??
After the beginner levels yes it will differ, and especially the at pre -professional and Diploma levels. The terminology in Cecchetti is different also, more extensive and precise, but it shouldn’t be a problem if you are studying to become a ballet teacher, good ballet teaching is based on fundamental principles which do not change in any system or method. NB There are two systems with Royal in the name here in the UK: Royal Ballet School and Royal Academy of Dance and they are also very different from each other.
Thank you for your work.😊
its so funny watching this, a dancers future is decided at birth through their genetic makeup, given to them by their parents, the same as athletes...it doesn't matter how hard you work or the excellence of technique, those people born with the correct genetic code will always rise above those who were unlucky enough to have been given genetic mutations.
You are correct mostly and nowadays everyone knows one cannot get past the front door of a major ballet school without perfect proportions and the rest, but there have been exceptions in the past and good training is never wasted.
Hi there! Is finding your aplomb reserved for the Italian and Russian methods, or could you find this in Balanchine’s technique (in the USA, for example)?
In my experience no, because there is a different emphasis on weight placement but generally the notion of aplomb as I have learned it, is not taught in any system but only by teachers who have had it taught them. (Maggie Black taught it but I cannot corroborate this as I never had the opportunity to take her classes). When I lived and worked in the USA in the late 80’s and early 90s I was fortunate to gain experience in different ballet techniques and to study with several teachers including those who were from SAB or who had had careers with NYCB or similar companies. The weight placement was over the toes for dancing Balanchine BUT! In those days there seemed to be was more knowledge or at least an awareness of correct aplomb than came later as many teachers said that they had originally been taught to keep the weight more centralised.
Thank you for sharing your knowledge about this! I think it's definitely still good to know about my true center, so I know what is happening to my body when I'm moving it around. I like to be aware! Thank you :)@@juliecronshaw7013
Superbly done!! Thank you!!
Ballet is uncompromisingly both art and sport … if one wants pure angst, misery with another also challenging technique… there are Martha Graham and others. One may select the flavor of dance they prefer … or one may appreciate the various styles, techniques, choreography available. Virtuosity has been appreciated since long before Nijinsky wowed Parisian audiences with both artistry & virtuosity. Ballet teachers are wise to be informed by the biomechanical, kinesiological underpinnings of training which minimizes the injuries, the science … balancing amongst the risks vs benefits of stubbornly-held traditional, sometime antiquated training practices. In some instances there are safer ways to train dancers. Actually, I admire the Cechetti technique and teaching, thou tradition should informed by advanced scientific understanding of the avoidance of injuries … and the mental well being of dancers.
From where are the „live action movie“ references from like in 8:45 ?
The vintage Swan Lake footage is from the Bolshoi 1950s film and the Kirov version with Liepa.
Those tours were awful, he didn’t even make all the way around
Thank you! I am an ex- dancer Vaganova trained, who has decided to start classes again. The tips given are so helpful and inspiring. 😊 Lastly, you have voiced the opinion that I've had for a long time that ballet should not be an athletic competition. I started realizing this terrible trend when I started looking back at famous dancers in the 70's and they were brilliant without overextended legs and acrobatics. They had more heart than most of the artists of the day. Bravo for your work.
Thank you! It does appear that dancers from decades before the 1980s ‘had more heart’. I know what you mean without going into detail.
But this has to be one of the most phenomenal documentations of ballet BEYOND what we think of as ballet.
Thank you!
I think we have to also consider the time period/s and technology. As technology has advanced so has the availability and exposure of anything in the world, which includes ballet. Which means that art and media/entertainment have been exposed/overexposed (arguably), fortunately and unfortunately. So, it's not that entertainment and art cant meet, bc art is SUBJECTIVE, but now with the knowledge and exposure, we have more phenomenal technicians which means it's that much more difficult to be an artist. Since we have seen almost all that we could see. So where to go from there when the bar is so high? Let's bot begin to diminish other forms of athletics and art/artists. Bc early ballerinas, like what was said in the video, would essentially be nobodies by today's standards.
Bring back the dance of ballet
Superb documentary. It should be given to all the ballet dancers