Hello dancers! If you like my videos then feel free to explore our official website (Ballet's Secret Code) for lots (LOTS) more! www.balletsecretcode.com/ And you can watch the documentary film free right here on youtube: ua-cam.com/video/ZGT4g7FHSvA/v-deo.html Also, if you find my work useful and would like to donate something to help the cause (of any amount at all - it all helps!) then you can PayPal us a donation to justjawj@hotmail.com. We really really appreciate it! Lastly - here is the full list of videos available on our website. We worked really hard on them. Enjoy :) Monday: 1 - Assemblé Cecchetti 2 - Commentary 3 - Adage; Coupé et fouetté 4 - Commentary 5 - Temps levé, chassé, coupé, fouetté, posé, assemblé, entrechat trois, en avant et en arrière 6 - Commentary 7 - Développé croisé avec relevé, glissade, entrechat six de côté 8 - Commentary 9 - Demi - contretemps, entrechat six de côté (en diagonale) followed by pas de bourrée entrechat six en tournant (autour de la salle) 10 - Commentary Tuesday: 1 - Adage; Developpé fouetté Cecchetti 2 - Commentary 3 - Adage - Pas de chaconne Cecchetti 4 - Commentary 5 - Adage - Tour en dedans pirouette renversé développé à la seconde 6 - Commentary 7 - Pas de bourrée, dégagé, petits battements, dégagé, fouetté, jeté, chassé, pas de chat 8 - Commentary 9 - Relevé, petits battements, posé, petits battements, pas de bourrée, pas de bourrée avec allongée 10 - Commentary 11 - Jeté battement, rond de jambe sauté, etc. 12 - Commentary 13 - Pas de bourrée, posé, fouetté to arabesque, tombé, pas de chat 14 - Commentary 15 - Douze ballonnés, piqués, tombés, pas de bourrée 16 - Commentary 17 - Jeté, petits battements, deux ballonnés en avant 18 - Commentary 19 - Jeté, petits battements, deux ballonnés en arrière 20 - Commentary Wednesday: 1 - Adage; Pas de la Mascotte 2 - Commentary 3 - Jeté rond de jambe sauté, deux fois, jeté, trois ronds de jambe sautés 4 - Commentary 5 - Salvo - Temps levé développé, temps levé fouetté, jeté, gargouillade volée, deux jetés, etc. 6 - Commentary 7 - Muriel - Temps levé développé, temps levé fouetté, jeté, gargouillade volée, deux jetés, etc. 8 - Commentary 9 - Deux (slow) gargouillades en - dehors, deux (quick) gargouillades en - dehors, etc. 10 - Commentary 11 - Ronds de jambe relevé retombé, etc. 12 - Commentary 13 - Demi - contretemps, rond de jambe relevé en dedans, jeté devant allongé à l’arabesque, etc. 14 - Commentary 15 - Coupé dessus en tournant, septs ronds de jambe en tournant en-dehors, etc. 16 - Commentary 17 - Full contretemps, assemblé dessus, ronds de jambe sauté, réleve en attitude, etc. 18 - Commentary 19 - Double rond de jambe sauté en dehors, posé en avant, etc. 20 - Commentary Thursday: 1 - Adage -Pas de l’Alliance 2 - Commentary 3 - Glissade derrière, jeté to arabesque croisée, dégagé en tournant, entrechat six 4 - Commentary 5 - Jeté, relevé, posé, coupé, cinq fois (with ending) 6 - Commentary 6B - (Additional observation) 7 - Glissade derrière, jeté à l’arabesque croisée, etc. 8 - Commentary 9 - Pas de bourrée, jeté en attitude, quatre fois etc. 10 - Commentary 11 - Pas de bourrée couru grand jeté en tournant, pas de bourrée couru, fouetté sauté en tournant dans 1ère arabesque 12 - Commentary Friday: 1 - Adage; Glissade Cecchetti 2 - Commentary 3 - Adage; Glissade de Mami 4 - Commentary 5 - Glissade cabriole devant, glissade cabriole derrière, etc. 6 - Commentary 7 - Brisé volé en avant, brisé volé en arrière, grand pas de basque, entrechat trois 8 - Commentary 9 - Pas de basque battu, etc. 10 - Commentary 11 - Posé, cabriole devant, trois fois, pas de bourrée dessus à la quatrième arabesque allongée 12 - Commentary 13 - Entrechat quatre, entrechat quatre volé, deux fois, trois entrechats quatres, entrechat six 14 - Commentary 15 - Brisé dessus, cabriole devant fermée, entrechat quatre, entrechat trois, brisé volé en avant, cabriole fouetté, jeté battu, cabriole derrière fermée 16 - Commentary 17 - Pointework Observations - (with Emma Moran) 18 - Pointework Observations (with Madeline Squire as a Student) Saturday: 1 - Adage - Six relevés 2 - Commentary 3 - Adage -Deux grands ronds de jambe en l’air avec arabesque 4 - Commentary 5 - Fouetté sauté à six temps en arrière 6 - Commentary 7 - Coupé sauté, ballonné, jeté en tournant, posé, jeté, posé, jeté 8 - Commentary 9 - Temps levé, chassé en arrière deux fois, temps levé posé deux fois, jeté élancé à l’attitude, pas de bourrée renversé, assemblé coupé derrière, entrechat six 10 - Commentary 11 - Temps levé, chassé croisé, temps levé en arabesque croisée, coupé dessus, ballonné, grand jeté en tournant, posé 12 - Commentary 13 - Additional steps for men - Deux temps levés, chassés en arrière, assemblé devant, double tour en l’air 14 - Commentary 15 - Commentary only - Pas de l’ange (additional steps for men) En Diagonale: 1 - Pas de bourrée en dedans, jeté, fouetté en tournant en dedans, développé à l’arabesque 2 - Commentary 3 - Coupé fouetté, coupé fouetté en tournant, coupé, pas de basque, tour en attitude renversé 4 - Commentary 5 - Pas de bourrée en tournant, coupé trois temps levés en 4ème arabesque en tournant, etc. 6 - Commentary 7 - Temps levé chassé, deux fois, deux tours en dehors (with arm movement and renversé) 8 - Commentary 9 - Additional steps for men - Double tour en l’air, chassé en arabesque, glissade, cabriole etc. 10 - Commentary Barre: 1 - Pliés 2 - Commentary 3 - Pliés - Additional Summary 4 - Battements tendus, relevés and dégagés 5 - Commentary 6 - Ronds de jambe à terre avec ronds de jambe jetés 7 - Ronds de jambe à terre - Commentary - Muriel 8 - Holding the arms in à la seconde - Commentary 9 - Battements frappés 10 - Commentary - Salvo 11 - Commentary- Muriel 12 - Petits battements 13 - Petits battements - Commentary - Muriel 14 - Ronds de jambe en l’air 15 - Ronds de jambe en l’air - Commentary- Muriel 16 - Adage movements - Commentary 17 - Grands battements & battements balancés 18 - Commentary - Salvo 19 - Commentary - Muriel 20 - Value of the Cecchetti Barre 21 - Barre Summary Centre Practice & Pirouettes: 1 - First set of Ports de bras - Salvo 2 - Second set of Ports de bras - Muriel 3 - Commentary 4 - First set of Ports de bras & grands battements - Muriel 5 - Commentary 6 - Battements tendus & dégagés 7 - Commentary 8 - Ronds de jambe à terre 9 - Commentary 10 - Battements frappés & petits battements (with 2nd ending) 11 - Commentary 12 - Grande préparation pour pirouette en dedans (in 1st arabesque and on the knee) - Muriel 13 - Commentary 14 - Grande préparation pour pirouettes en dedans - Salvo 15 - Commentary 16 - Pirouettes en dehors sur le cou-de-pied 17 - Commentary 18 - Deux tours en-dehors, rond de jambe à l’attitude croisée, etc. 19 - Commentary 20 - Série de coupé, rond de jambe, pas de bourrée renversée 21 - Commentary Interviews with Katharine Kanter: 1 - Cecchetti - Why take on the challenge? 2 - Muriel Valtat - interview 3 - Salvatore Nicolosi - interview 4 - Muriel Valtat & Julie Cronshaw - interview 5 - George Massey - interview 6 - Morta Grigaliūnaitė - interview 7 - Florence and the Hamlyn School 8 - Nicoletta Santoro - interview 9 - Alessandra Alberti - interview 10 - Elisa Corsini - interview www.balletsecretcode.com/
It’s not too late! As a dancer and much later, as a student teacher, I would have loved to have had the opportunity to study more Vaganova, Balanchine, Bournonville and the French school.
Cecchetti: I’m not a dancer. I’m have mirror touch synesthesia (please look it up!!). What that means is, when I watch you, I actually feel (exposing the neck) WHAT YOU FEEL! It utterly sucks! Imagine: You’re trying to have an ordinary shop at Marks & Sparks, and so spot someone sad. And NOW you’re sad. And it’s not emotional. It’s predeterminately NEUROLOGICAL. Enter the overriding musicality of rudimentary ballet (cuz I’m not naive, I’m 56)! No, actually it’s called mirror touch synesthesia. But, well, whatever. I concede.
Thank you for explaining this! Do you mind sharing if it only affects you when it’s another person or do you experience this synesthesia with animals as well? I read that it can differ between people. I imagine advertising would be really disruptive for you!!! I sometimes have trouble with ads because of sensory sensitivity when the volume is much louder than the video. And sometimes they include unexpected violence or aggression which is often triggering for me. I think ads should have to match the tone of what you’ve chosen to watch if they have to be there!
ceccchetti method is like shakespeare: fascinating from a historical perspective, but not so relevant for actual, everyday, use. i mean, he died in 1928; of course things are going to change. i do find it amusing, though, how antagonistic you are towards the modern, russian-based use of the head in favor of the more antiquated one..
Hi Bob, thank you for your comments. I’m sure Cecchetti would not mind a comparison with Shakespeare! I am not antagonistic towards the “Russian” use of the head. It is the quality of the turn and lack of understanding behind how it is used that concern me.
Personally, I do find this method and the implications of the nuanced differences from today's typical teachings to be quite relevant artistically, socially, and even politically. Aggressive dancing may make for a popular spectacle, but cultivating the qualities mentioned in this video are more important than ever: listening, empathy, and a mind for gentleness towards those around you. I'm not perfect in any of these areas, however they are extremely relevant today.
I find your comment extremely myopic. Shakespeare is as Universally relevant today as ever. So it is with Cecchetti. I was lucky to have been Cecchetti trained from the age of 4 to 12, then I kept what was in my bones and incorporated it into British RAD training. I can say that next to my fellow students and dancers, my placement and relationshiptv to the audience was always more rock solid and specific and taught me to actually COMMUNICATE feelings to the audience by the placement of my hands, my arms, my head. My EYES. I always knew EXACTLY what angle to be at on stage for the most beautiful line. It is the most beautiful and humanistic ballet method in my opinion. It looks surprisingly simple but isn't! ❤ So grateful for my training😊. I'm sure my parents didn't know anything about the different methods when I told them I wanted to dance, so I am grateful they found Olga Fricker in Los Angeles where I grew up! The Cecchetti examiners came down from Canada yearly for our exams. Which also included written terminology. So many dancers today are just trained to freakishly stretch and get the leg up as high as possible with ugly hands and arms and 60 pirouettes. I have no desire to see that. It means nothing. Thank you Julie for your wonderful videos!! ❤❤❤ Mary.
@@sixpoems i never said i liked aggressive dancing---i implied that a dancer would find it harder to find a successful job outside of england with this technical style. i had multiple teachers tell me that this method was detrimental towards dancers getting contracts as it gave them so many strange little quirks.
@@marygoodson4920 yes, the relevant aspects of the technique were incorporated into the russian style and the RAD styles. the pure cecchetti technique is antiquated.
@@sixpoems I’m real, except when I do cechetti I feel like a damn bot. Glad you enjoy this style. To me, it feels like I might as well be the trunk of a tree.
Hello dancers! If you like my videos then feel free to explore our official website (Ballet's Secret Code) for lots (LOTS) more! www.balletsecretcode.com/
And you can watch the documentary film free right here on youtube: ua-cam.com/video/ZGT4g7FHSvA/v-deo.html
Also, if you find my work useful and would like to donate something to help the cause (of any amount at all - it all helps!) then you can PayPal us a donation to justjawj@hotmail.com. We really really appreciate it!
Lastly - here is the full list of videos available on our website. We worked really hard on them. Enjoy :)
Monday:
1 - Assemblé Cecchetti
2 - Commentary
3 - Adage; Coupé et fouetté
4 - Commentary
5 - Temps levé, chassé, coupé, fouetté, posé, assemblé, entrechat trois, en avant et en arrière
6 - Commentary
7 - Développé croisé avec relevé, glissade, entrechat six de côté
8 - Commentary
9 - Demi - contretemps, entrechat six de côté (en diagonale) followed by pas de bourrée entrechat six en tournant (autour de la salle)
10 - Commentary
Tuesday:
1 - Adage; Developpé fouetté Cecchetti
2 - Commentary
3 - Adage - Pas de chaconne Cecchetti
4 - Commentary
5 - Adage - Tour en dedans pirouette renversé développé à la seconde
6 - Commentary
7 - Pas de bourrée, dégagé, petits battements, dégagé, fouetté, jeté, chassé, pas de chat
8 - Commentary
9 - Relevé, petits battements, posé, petits battements, pas de bourrée, pas de bourrée avec allongée
10 - Commentary
11 - Jeté battement, rond de jambe sauté, etc.
12 - Commentary
13 - Pas de bourrée, posé, fouetté to arabesque, tombé, pas de chat
14 - Commentary
15 - Douze ballonnés, piqués, tombés, pas de bourrée
16 - Commentary
17 - Jeté, petits battements, deux ballonnés en avant
18 - Commentary
19 - Jeté, petits battements, deux ballonnés en arrière
20 - Commentary
Wednesday:
1 - Adage; Pas de la Mascotte
2 - Commentary
3 - Jeté rond de jambe sauté, deux fois, jeté, trois ronds de jambe sautés
4 - Commentary
5 - Salvo - Temps levé développé, temps levé fouetté, jeté, gargouillade volée, deux jetés, etc.
6 - Commentary
7 - Muriel - Temps levé développé, temps levé fouetté, jeté, gargouillade volée, deux jetés, etc.
8 - Commentary
9 - Deux (slow) gargouillades en - dehors, deux (quick) gargouillades en - dehors, etc.
10 - Commentary
11 - Ronds de jambe relevé retombé, etc.
12 - Commentary
13 - Demi - contretemps, rond de jambe relevé en dedans, jeté devant allongé à l’arabesque, etc.
14 - Commentary
15 - Coupé dessus en tournant, septs ronds de jambe en tournant en-dehors, etc.
16 - Commentary
17 - Full contretemps, assemblé dessus, ronds de jambe sauté, réleve en attitude, etc.
18 - Commentary
19 - Double rond de jambe sauté en dehors, posé en avant, etc.
20 - Commentary
Thursday:
1 - Adage -Pas de l’Alliance
2 - Commentary
3 - Glissade derrière, jeté to arabesque croisée, dégagé en tournant, entrechat six
4 - Commentary
5 - Jeté, relevé, posé, coupé, cinq fois (with ending)
6 - Commentary 6B - (Additional observation)
7 - Glissade derrière, jeté à l’arabesque croisée, etc.
8 - Commentary
9 - Pas de bourrée, jeté en attitude, quatre fois etc.
10 - Commentary
11 - Pas de bourrée couru grand jeté en tournant, pas de bourrée couru, fouetté sauté en tournant dans 1ère arabesque
12 - Commentary
Friday:
1 - Adage; Glissade Cecchetti
2 - Commentary
3 - Adage; Glissade de Mami
4 - Commentary
5 - Glissade cabriole devant, glissade cabriole derrière, etc.
6 - Commentary
7 - Brisé volé en avant, brisé volé en arrière, grand pas de basque, entrechat trois
8 - Commentary
9 - Pas de basque battu, etc.
10 - Commentary
11 - Posé, cabriole devant, trois fois, pas de bourrée dessus à la quatrième arabesque allongée
12 - Commentary
13 - Entrechat quatre, entrechat quatre volé, deux fois, trois entrechats quatres, entrechat six
14 - Commentary
15 - Brisé dessus, cabriole devant fermée, entrechat quatre, entrechat trois, brisé volé en avant, cabriole fouetté, jeté battu, cabriole derrière fermée
16 - Commentary
17 - Pointework Observations - (with Emma Moran)
18 - Pointework Observations (with Madeline Squire as a Student)
Saturday:
1 - Adage - Six relevés
2 - Commentary
3 - Adage -Deux grands ronds de jambe en l’air avec arabesque
4 - Commentary
5 - Fouetté sauté à six temps en arrière
6 - Commentary
7 - Coupé sauté, ballonné, jeté en tournant, posé, jeté, posé, jeté
8 - Commentary
9 - Temps levé, chassé en arrière deux fois, temps levé posé deux fois, jeté élancé à l’attitude, pas de bourrée renversé, assemblé coupé derrière, entrechat six
10 - Commentary
11 - Temps levé, chassé croisé, temps levé en arabesque croisée, coupé dessus, ballonné, grand jeté en tournant, posé
12 - Commentary
13 - Additional steps for men - Deux temps levés, chassés en arrière, assemblé devant, double tour en l’air
14 - Commentary
15 - Commentary only - Pas de l’ange (additional steps for men)
En Diagonale:
1 - Pas de bourrée en dedans, jeté, fouetté en tournant en dedans, développé à l’arabesque
2 - Commentary
3 - Coupé fouetté, coupé fouetté en tournant, coupé, pas de basque, tour en attitude renversé
4 - Commentary
5 - Pas de bourrée en tournant, coupé trois temps levés en 4ème arabesque en tournant, etc.
6 - Commentary
7 - Temps levé chassé, deux fois, deux tours en dehors (with arm movement and renversé)
8 - Commentary
9 - Additional steps for men - Double tour en l’air, chassé en arabesque, glissade, cabriole etc.
10 - Commentary
Barre:
1 - Pliés
2 - Commentary
3 - Pliés - Additional Summary
4 - Battements tendus, relevés and dégagés
5 - Commentary
6 - Ronds de jambe à terre avec ronds de jambe jetés
7 - Ronds de jambe à terre - Commentary - Muriel
8 - Holding the arms in à la seconde - Commentary
9 - Battements frappés
10 - Commentary - Salvo
11 - Commentary- Muriel
12 - Petits battements
13 - Petits battements - Commentary - Muriel
14 - Ronds de jambe en l’air
15 - Ronds de jambe en l’air - Commentary- Muriel
16 - Adage movements - Commentary
17 - Grands battements & battements balancés
18 - Commentary - Salvo
19 - Commentary - Muriel
20 - Value of the Cecchetti Barre
21 - Barre Summary
Centre Practice & Pirouettes:
1 - First set of Ports de bras - Salvo
2 - Second set of Ports de bras - Muriel
3 - Commentary
4 - First set of Ports de bras & grands battements - Muriel
5 - Commentary
6 - Battements tendus & dégagés
7 - Commentary
8 - Ronds de jambe à terre
9 - Commentary
10 - Battements frappés & petits battements (with 2nd ending)
11 - Commentary
12 - Grande préparation pour pirouette en dedans (in 1st arabesque and on the knee) - Muriel
13 - Commentary
14 - Grande préparation pour pirouettes en dedans - Salvo
15 - Commentary
16 - Pirouettes en dehors sur le cou-de-pied
17 - Commentary
18 - Deux tours en-dehors, rond de jambe à l’attitude croisée, etc.
19 - Commentary
20 - Série de coupé, rond de jambe, pas de bourrée renversée
21 - Commentary
Interviews with Katharine Kanter:
1 - Cecchetti - Why take on the challenge?
2 - Muriel Valtat - interview
3 - Salvatore Nicolosi - interview
4 - Muriel Valtat & Julie Cronshaw - interview
5 - George Massey - interview
6 - Morta Grigaliūnaitė - interview
7 - Florence and the Hamlyn School
8 - Nicoletta Santoro - interview
9 - Alessandra Alberti - interview
10 - Elisa Corsini - interview
www.balletsecretcode.com/
Maestro Cecchetti established a perfect harmony between art and science, so unique that no other system can imitate!
I love the way it is not aggressive. Endearing. Thank you.
Found your Ballet Secret Code fascinating, thank you.
Thank you ! Understand and applying, a most elegant way to communicate and express with your audience.
Love watching your videos I'm amazed at how difficult the Checetti method is🥺congratulations to those dancers as well they're beautiful!👏
🌊💃🌊
Thank you for this very thoughtful and intriguing explanation. 💜
Have always wanted to learn the Cecchetti method,this is brilliant,can’t wait to watch more,thank you for this
Very interesting. Thank you.
Superb!
I always wanted to learn Cechetti, but we only learned Vaganova and a bit of Balanchine 😢
It’s not too late! As a dancer and much later, as a student teacher, I would have loved to have had the opportunity to study more Vaganova, Balanchine, Bournonville and the French school.
Cecchetti: I’m not a dancer. I’m have mirror touch synesthesia (please look it up!!). What that means is, when I watch you, I actually feel (exposing the neck) WHAT YOU FEEL! It utterly sucks! Imagine: You’re trying to have an ordinary shop at Marks & Sparks, and so spot someone sad. And NOW you’re sad. And it’s not emotional. It’s predeterminately NEUROLOGICAL. Enter the overriding musicality of rudimentary ballet (cuz I’m not naive, I’m 56)! No, actually it’s called mirror touch synesthesia. But, well, whatever. I concede.
Thank you for explaining this! Do you mind sharing if it only affects you when it’s another person or do you experience this synesthesia with animals as well? I read that it can differ between people. I imagine advertising would be really disruptive for you!!! I sometimes have trouble with ads because of sensory sensitivity when the volume is much louder than the video. And sometimes they include unexpected violence or aggression which is often triggering for me. I think ads should have to match the tone of what you’ve chosen to watch if they have to be there!
ceccchetti method is like shakespeare: fascinating from a historical perspective, but not so relevant for actual, everyday, use. i mean, he died in 1928; of course things are going to change. i do find it amusing, though, how antagonistic you are towards the modern, russian-based use of the head in favor of the more antiquated one..
Hi Bob, thank you for your comments. I’m sure Cecchetti would not mind a comparison with Shakespeare! I am not antagonistic towards the “Russian” use of the head. It is the quality of the turn and lack of understanding behind how it is used that concern me.
Personally, I do find this method and the implications of the nuanced differences from today's typical teachings to be quite relevant artistically, socially, and even politically. Aggressive dancing may make for a popular spectacle, but cultivating the qualities mentioned in this video are more important than ever: listening, empathy, and a mind for gentleness towards those around you. I'm not perfect in any of these areas, however they are extremely relevant today.
I find your comment extremely myopic. Shakespeare is as Universally relevant today as ever. So it is with Cecchetti. I was lucky to have been Cecchetti trained from the age of 4 to 12, then I kept what was in my bones and incorporated it into British RAD training. I can say that next to my fellow students and dancers, my placement and relationshiptv to the audience was always more rock solid and specific and taught me to actually COMMUNICATE feelings to the audience by the placement of my hands, my arms, my head. My EYES. I always knew EXACTLY what angle to be at on stage for the most beautiful line. It is the most beautiful and humanistic ballet method in my opinion. It looks surprisingly simple but isn't! ❤ So grateful for my training😊. I'm sure my parents didn't know anything about the different methods when I told them I wanted to dance, so I am grateful they found Olga Fricker in Los Angeles where I grew up! The Cecchetti examiners came down from Canada yearly for our exams. Which also included written terminology. So many dancers today are just trained to freakishly stretch and get the leg up as high as possible with ugly hands and arms and 60 pirouettes. I have no desire to see that. It means nothing. Thank you Julie for your wonderful videos!! ❤❤❤ Mary.
@@sixpoems i never said i liked aggressive dancing---i implied that a dancer would find it harder to find a successful job outside of england with this technical style. i had multiple teachers tell me that this method was detrimental towards dancers getting contracts as it gave them so many strange little quirks.
@@marygoodson4920 yes, the relevant aspects of the technique were incorporated into the russian style and the RAD styles. the pure cecchetti technique is antiquated.
Please stop with the Cechetti method.
???
I wish healing upon this poster, be they actual or bot. Please continue with the Cecchetti method, as it is so interesting to many.
@@sixpoems I’m real, except when I do cechetti I feel like a damn bot. Glad you enjoy this style. To me, it feels like I might as well be the trunk of a tree.
Why bother making such a negative post? If you don't care for it, why did you watch the video?
If you felt like a tree trunk you weren't doing it correctly! The strength is supposed to enable you to be light!