A Comparative Analysis of Two Methods of Teaching: The

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Master's Theses Graduate College

4-1979

A Comparative Analysis of Two Methods of Teaching: The A Comparative Analysis of Two Methods of Teaching: The

Cecchetti Method of Classical Ballet and the Royal Academy of Cecchetti Method of Classical Ballet and the Royal Academy of

Dance Dance

Barbara Ann Ruemenapp

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A COMPARATIVE ANALYSIS OF TWO METHODS OF TEACHING:

THE CECCHETTI METHOD OF CLASSICAL BALLET AND

THE ROYAL ACADEMY OF DANCE

by


A Thesis Submitted to the

Faculty o f The Graduate College in p a r t ia l fu lf i l lm e n t

o f theDegree o f Master o f Arts

Western Michigan U n ive rs ity Kalamazoo, Michigan

A p ril 1979

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

ACKNOWLEDGEMENTS

In w r it in g th is th e s is , I have g re a tly benefited from the

advice, concern and constructive c r it ic is m o f Dr. E lisabeth

Hetherington, Dr. Janet S t i l lw e l l and Dr. Bruce Lloyd. They have

indeed shared w ith me th e ir knowledge and u n s e lfis h ly gave to me

th e ir time whenever i t was needed. As the f i r s t student in the

Department o f Dance to w r ite a th e s is , I appreciated th e ir much

needed help and advice. My g ra titude goes to them and also to

Mr. Michael Meeusen fo r h is constant support and encouragement.



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RUEMENAPP• BARBARA ANNA COMPARATIVE ANALYSIS OF TWO METHODS OF TEACHINGS THE CECCHETTI METHOD OF CLASSICAL BALLET AND THE ROYAL ACADEMY OF DANCE.

WESTERN MICHIGAN U N IV E R S IT Y . M . A . , 1979

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TABLE OF CONTENTS

CHAPTER PAGE

I INTRODUCTION ......................................................... 1

S ign ificance and Background o fthe S t u d y .................................................... 5

Purpose o f the Study and Statement o f the P rob lem ............................................ 6

Need fo r the S tu d y .................................... 7

D e lim ita tions o f the Study .................... 7

D e fin it io n o f Terms ................................ 8

I I REVIEW OF RELATED STUDIES AND LITERATUREAND A BRIEF HISTORICAL OVERVIEW OF BALLET.........................................................................11

I I I THE CECCHETTI METHOD OF CLASSICAL BALLET . 17

IV THE ROYAL ACADEMY OF DANCE................................. 25

V SUMMARY AND EVALUATION ..................................... 33

APPENDIX.................................................................... 43

BIBLIOGRAPHY ........................................................ 46

i i i


CHAPTER I

INTRODUCTION

"Under the stress o f jo y , Man makes words. These words are not enough, he prolongs them. The prolonged words are not enough; he modulates them. The modulated words are not enough, and w ithout even perceivina i t h is hands make gestures and h is fe e t s ta r t to move."-

Dance is a pa rt o f one o f the o ldest o f the a r ts , the a r t o f

movement. To trace the o r ig in s o f dance, i t is necessary to go back

beyond the beginnings o f h is to ry in to p re h is to r ic times. As nearly

as can be determined, p r im it iv e dances are concerned w ith the

seasons o f the year, inc lud ing the seasons o f vegetation, the

seasons o f the t r ib e 's development o r h is to ry , dances w ith socia l

overtones (fa m ily b ir th and death dances, marriage and sexual dances,

war and welcome dances, and t r ib a l in i t ia t io n dances) and dances w ith

re lig io u s overtones (worship o f the t r ib e 's d e ity ) . Many cultures

have produced th e ir own forms o f "dance" or motion o f the body.

In th is way, we view dance as a d a ily use o f expression and not as

an a r t form devised to in te re s t an audience.

The a r t o f th e a tre , o f which th e a tr ic a l dance is a p a rt, is an

a r t o f re la t iv e ly recent times. I t emerges during the very

beginning o f modern h is to ry in the period known as the Renaissance.2

^ i r s t e in , L inco ln , Dance, A Short H is to ry o f C lassic Theatrica l Dancing. New York: Dance Horizons, In c . , 1936. p. 1.

2Guest, Iv o r , The Dancer's H eritage. Baltim ore: PenguinBooks, 1960, p. 13.

1


2

The term Renaissance, o r re b ir th , re f le c ts man's emergence from the

Dark Ages in to the Age o f Enlightenment.

The Renaissance began in I ta ly during the fourteenth century.

The ru le rs o f th is time (Lorenzo the M agnificent, the Medici ru le r

o f Florence, Galeazzo Sforza, Duke o f M ilan) were overly concerned

w ith the b r il l ia n c e o f th e ir courts. I t mattered g rea tly to these

ru le rs th a t they should appear important in the eyes o f th e ir

neighbors. I t was these people who became patrons o f the a rts and

provided a r t is ts (those who worked in the visual and the performing

a r ts ) , s c ie n tis ts and philosophers w ith the opportun ities to achieve

in th e ir various f ie ld s . Professional dancing-masters were important

figu res at these I ta lia n courts. Under th e ir in fluence , dancing

developed from a pastime in to an a r t form. They created th is a r t

form to include a d e f in ite , elaborate and systematic technique

because o f th e ir hope to r is e above and outshine th e ir neighbors.

Our present b a lle t technique has developed from th is in fluence.

The French discovery o f th is example o f I ta lia n cu ltu re was

s ig n if ic a n t ly valuable in the development o f b a lle t . Although court

dancing was common in France, i t had l i t t l e value other than as a

form o f merriment, w ith the appearance o f the I ta lia n dancing-

masters a t the French cou rt, dancing became a re fined and essential

pa rt o f co u rtly a c t iv i t ie s . French court b a lle t had been born.

Catherine de M edici, who married Henri I I and became Queen o f

France, brought to the French court the I ta lia n 's fondness fo r

dancing. On October 15, 1581, by her corranand, the B a lle t Comique


de la Rein was performed. I t was choreographed by Beaujoyeulx and

considered to be the f i r s t real b a lle t ever presented.1 The death

o f Catherine de Medici in 1589 made l i t t l e d iffe rence in the

po pu la rity o f French court b a lle t because the impact o f dance was

so great th a t i t became permanent. This type o f dance was enhanced

by the French courts and was fu r th e r nurtured by the personal

in te re s t o f Henri IV , Louis X I I I and Louis X IV .2

Under Henri IV , simple ballet-masquerades o f a comical nature

were performed. During the re ign o f Louis X I I I , court b a lle t

de te rio ra ted and became melodramatic and music began to play an

important ro le . The most b r i l l i a n t phase o f court b a lle t emerged

under Louis XIV. I t was during th is time th a t the f iv e positions

o f the fe e t, as defined by Beauchamps, were accepted as a basis fo r

b a lle t technique. Louis XIV appreciated the value o f good teaching

and in 1661 he founded the Academie Royale de Danse. I n i t i a l l y

the Academie Royale de Danse consisted o f th ir te e n dancing-masters,

who were to "re -e s ta b lish the a r t in i t s p e r fe c t io n " .3 This was to

be an in s t i tu t io n where teachers o f dance would arrange a b a lle t

tra in in g program and curriculum fo r students des iring to become

professional dancers.

Anderson, Jack, Dance. New York: Newsweek Books, 1974.p. 12.

2Guest, op. c i t . , p. 99.

3lo c . c i t . , p. 20.


In the m id-eighteenth century, Jean Georges Noverre began his

career as the most in f lu e n t ia l choreographer o f h is century.

Noverre's con tribu tions to the a r t o f b a lle t are s t i l l in use today

In his Le tters on Dancing and B a lle ts , published in 1760, Noverre1

states th a t

"B a lle ts should be u n ifie d works o f a r t . That every element contribu tes to the development o f the main theme, tha t technica l exh ib itio n s fo r th e ir own sake should be discouraged and th a t such implements to movement and expression as heeled shoes and cumbersome s k ir ts should be abo lished."

These proposals are re levant to the b a lle t d 'a c tio n as well as to

modern b a lle t .

During the nineteenth century, Carlo B lasis made considerable

con tribu tions to the a r t o f dance. B a lle t vocabulary expanded

tremendously during th is period as did the necessity fo r s tructu red

teaching. Balsis began to cod ify b a lle t by in s tru c tin g teachers,

who in turn taught other teachers. In a d d itio n , his book, A

Theore tica l, P ractica l and Elementary T reatise on the A rt o f

Dancing was comprised o f a study based on dance and the "theory and

practice and a h is to ry o f i t s r is e and progress from e a r lie s t times

intended as well fo r the in s tru c tio n o f amateurs as the use o f

professional persons".2 As a re s u lt o f th is p u b lic a tio n , the

teaching o f c lass ica l b a lle t became more r ig id ly s truc tu red . An

in te re s t in b a lle t was aroused.

Anderson, op. c i t . , p. 35.

2K irs te in , op. c i t . , p. 237.


S ign ificance and Background o f the Study

The theories and methods behind the teaching o f c lass ica l

b a lle t are s t i l l serious concerns o f the dance en thusiast. I t is

v i ta l to the dancer, professional o r non-professional, to have

adequate tra in in g throughout his career. Without proper tra in in g

the young dancer can expect no fu tu re in the a r t and is susceptib le

to bod ily in ju r ie s .1

From the beginning, and as the dancer progresses, i t is c ruc ia l

to study w ith a q u a lif ie d and knowledgeable in s tru c to r .2 This

in s tru c to r must be w ell versed in the mechanics o f c lass ica l b a lle t ,

as w ell as concerned w ith the physical needs and emotional balance

o f the dancer. The dance teacher is dealing w ith an e n tire

pe rsona lity in add ition to an id e a lly proportioned body. A dancer's

frame o f mind is ju s t as important as the height o f the extension

or the depth o f the p M e . The focus o f the teaching by a q u a lif ie d

in s tru c to r w i l l concentrate on the e n tire growth o f the in d iv id u a l.

This includes a knowledge o f the anatomy of the body and the concern

o f the teacher fo r the development o f the s tudent's mind in regard

to the p r in c ip le s o f b a l le t . 3

Methods o f teaching c lass ica l b a lle t were formed because o f

xTerry , W alter, The B a lle t Companion. New York: Dodd, Meadand Company, 1968. p. 135.

2lo c . c i t . , p. 136.

3Te rry , op. c i t . , p. 135.


6

the great concern to ra ise the leve l o f c lass ica l b a lle t tra in in g

and to create in te rn a tio n a l standards o f b a l le t . 1 Two well-known

and h ig h ly respected methods are The Cecchetti Method o f C lassical

B a lle t and The Royal Academy o f Dance. I t is the aim o f each

method to ensure and maintain high standards o f teaching.

As a pa rt o f th is study, the h is to ry and theory w i l l be traced

as w ell as the practices involved in each method o f teaching. A

check-1 ist o f the systems w i l l be developed fo r comparison.

Because no such c h e c k - lis t e x is ts , th is w i l l hopefu lly be a unique

co n trib u tion o f th is study.

Purpose o f the Study and Statement o f the Problem

The purpose o f the present study is to examine two systems in

the teaching o f c lass ica l b a lle t : The Cecchetti Method o f C lassical

B a lle t and The Royal Academy o f Dance. I t is the in te n tio n here

to analyze two respected methods. A comparison w i l l show the

s im ila r it ie s and d iffe rences and the strengths and lim ita t io n s o f

these two approaches and provide a basic understanding o f these

methods. -Therefore, the major consideration o f the present study

is : In using th is c h e c k - lis t as a guide w i l l one system prove to

be more e ffe c tiv e than the other?

^ o e l , Lydia, "Tested and Found Not Wanting." Dance Magazine, X L III (Ju ly 1969), p. 30.


Need fo r the Study

7

Methods o f teaching c lass ica l b a lle t are rigorous systems

devised w ith a care fu l regard fo r the laws o f kinesio logy and

designed to create q u a lit ie s essentia l to the dancer. These

inc lude, among o thers, q u a lit ie s such as balance, poise, s trength ,

e le va tio n , f l e x ib i l i t y and b a llo n .1 Id e a lly , th is is the technical

aim o f a l l methods concerned w ith the teaching o f c lass ica l b a lle t .

Each system possesses i t s own theory by which to best achieve these

re s u lts . The Cecchetti Method o f C lassical B a lle t and The Royal

Academy o f Dance have produced professional dancers w ith these

q u a lit ie s . Anna Pavlova, Leonide Massine, Serge L ifa r , Frederick

Ashton, Marie Rambert and Anthony Tudor were Cecchetti tra ine d ,

w h ile the R.A.D. system produced dancers such as Margot Fonteyn

and Tamara Karsavina, and others. However, no comparative method

studies con trasting these two systems have been undertaken to date.

Therefore, i t would seem th a t such a study would add to the e x is tin g

body o f knowledge fo r teaching b a lle t .

D e lim ita tions o f the Study

The present thes is is confined to the study o f the teaching

methods o f two systems: The Cecchetti Method o f C lassical B a lle t

and The Royal Academy o f Dance. Dealing exc lus ive ly w ith b a lle t ,

1Beaumont, C y r i l , The Cecchetti Method. London: Messrs. A & C Black, L td . , 1938. p. 1.


8

th is study makes no prov is ion fo r other forms o f dance. I t is

p r im a rily concerned w ith the s tru c tu re o f these two systems in

regard to the teaching o f c lass ica l b a lle t . A h is to ry o f each

system w i l l be provided and, in a d d itio n , the purported in te n t

and purpose o f each system. The educational process fo r b a lle t

in s tru c to rs w i l l be reviewed as w ell as con tribu tions made in the

f ie ld o f dance education.

Both systems are considered superior approaches.1 The aim o f

th is study is not to judge these systems but to evaluate th e ir

strengths and lim ita t io n s and present the find ings o f these

d if fe re n t but substan tia l and e ffe c tiv e methods o f teaching.

D e fin it io n o f Terms

Technical terms germane to the present study are defined below.

The source used was Gail Grant's Technical Manual and D ictionary o f

C lassical B a lle t , published in New York by Dover P ub lica tions, In c .,

in 1950.

Adage - Slow and co n tro lle d movements.

A llegro - B risk , l iv e ly . A term applied to a l l b r ig h t and b risk movements.

Assemble - Assembled o r jo ined together. A step in which theworking fo o t s lides w ell along the ground before being swept in to the a ir . As the fo o t goes in to the a ir the dancer pushes o f f the f lo o r w ith the supporting le g , extending the toes.

1ib id . , and Joe l, op. c i t . , p. 30.


9

B a lle t - An a r t is t ic dance form characterized by grace and p re c ision o f movement and an elaborate formal technique; a th e a tr ic a l work o r entertainment in which a choregrapher has expressed his ideas in group and solo dancing to a musical accompaniment w ith appropriate costumes, scenery and lig h t in g .

B a lle t d 'a c tio n - A b a lle t w ith a p lo t or s to ry . For example,The Sleeping Beauty.

Ballon - Bounce. Ballon is the l ig h t , e la s t ic q u a lity in jumping in which the dancer bounds up from the f lo o r , pauses a moment in the a i r and descends l ig h t ly and s o f t ly , only to rebound in the a ir l ik e the smooth bouncing o f a b a ll.

Barre - The wooden s tru c tu re , placed along the w a ll, th a t the dancer l ig h t ly holds during side p rac tice .

Battement - Beating. A beating action o f the extended or bended leg.

Choreography - This term is used to describe the actual steps, groupings and patterns o f a b a lle t or dance composition. A choreographer is one who composes or invents b a lle ts o r dances.

Combinations - A chain o f steps, enchainment.

Enchainment - L inking. A combination o f two or more steps arrangedto f i t a phrase o f music.

Frappe - S truck. A s tr ik in g movement o f the fo o t on the f lo o r .

Jete - Thrown. A jump from one leg to the other in which the working leg is brushed in to the a ir and appears to be thrown.

P irouette - Whirl or sp in .

Placement - Correct alignment o f the body.

P lie - Bent, bending. A bending o f the knee or knees. This is an exercise to render the jo in ts and muscles s o ft and p lia b le and the tendons f le x ib le and e la s t ic , and to develop a sense o f balance.

Pointe - The ra is in g o f the body on the tip s o f the toes.

Port de bras - Carriage o f the arms.

Quick-study - The dancer performs a combination th a t has been shown to him only one time.


R.A.D. - The abbrevia tion fo r The Royal Academy o f Dance.

Rond de jambe - Round o f the le g , th a t is , a c irc u la r movement o f the leg .

S ty le - A manner by which b a lle t technique is performed.

Tendu - Stretched.

Unseen enchainments - The dancer performs a combination th a t has been explained to him in only verbal terms. No demonstration has been presented.

An o u tlin e o f the remainder o f the thes is is as fo llo w s . The

next chapter w i l l deal w ith a review o f re la ted studies and

l i te ra tu re . Chapter I I I , The Cecchetti Method o f C lassical B a lle t,

is an h is to r ic a l descrip tion o f th is method. Chapter IV , The

Royal Academy o f Dance, w i l l provide an h is to r ic a l sketch o f th is

system. Chapter V, Summary and Evaluation, a c h e c k - lis t w i l l be

presented together w ith the summary and eva luation o f the systems.


CHAPTER I I

REVIEW OF RELATED STUDIES AND LITERATURE AND A BRIEF HISTORICALOVERVIEW OF BALLET

The purpose o f the second chapter is to provide a review o f

re la ted studies and l i te ra tu re and a b r ie f h is to r ic a l perspective

o f dance. An examination o f a number o f sources inc lud ing the

D isserta tion Abstracts was undertaken. There were no l is t in g s o f

studies describ ing , analyzing or comparing e ith e r The Cecchetti

Method o f C lassical B a lle t or The Royal Academy o f Dance. Through

examining the pub lica tions Dance Magazine and Dancing Times i t was

found th a t each method was studied alone and not compared to any

other system.

W ritten requests fo r in form ation were made to The Cecchetti

Council located in Ann Arbor, Michigan, and The Royal Academy. The

Royal Academy has two headquarters; the main headquarters are

located in London, England and the United States headquarters are

located in Upper M on tc la ir, New Jersey. However, a l l in form ation

received was documented in other sources. A w ritte n syllabus was

not received from e ith e r system.

Guest1 maintains th a t the f i r s t curriculum fo r the tra in in g o f

b a lle t was established by Louis XIV in 1661. This system was ca lled

the Academie Royale de Danse. Today, in add ition to The Cecchetti

1Guest, op. c i t . , p. 99.

11


12

Method o f C lassical B a lle t and The Royal Academy o f Dance, the

most common methods concerned w ith the teaching o f c lass ica l b a lle t

are the Russian, Vaganova and Bournonville methods.

The Russian method o f teaching encompasses the s ty le and

technique o f Marius Petipa (a c tu a lly French-born).1 The Russians

have adopted the standardized French vocabulary. This is not a

graded and precise method, but ra ther a s ty le o f performing b a lle t

which leaves the tra in in g to the d isc re tion o f the in s tru c to r .

The Vaganova Method is a s p e c if ic system developed from the

Russian schoo l.2 This is the accepted s ta te supported teaching

method which now p reva ils throughout the U.S.S.R. and is also

taught in various parts o f the world. The Vaganova Method is based

upon the pedagogical theories o f Agrippina Vaganova.3

The Bournonville Method consists o f several pedagogical guides

composed by August B ou rnonv ille .4 His system is preserved in s ix

set classes. When taught by h is most dedicated d isc ip les these

classes remain b a s ica lly the same from year to year.

Dancers who tra in a t a v a r ie ty o f schools and w ith d if fe re n t

teachers often fin d con trasting methods o f in s tru c tio n s tim u la ting

1Anderson, op. c i t . , p. 64.

2loc . c i t . , p. 145.

3ib id .

4loc . c i t . , p. 46.


13

and h e lp fu l. However, i t is believed by Te rry1 th a t studying

w ith in an in d iv idua l method may be an exce llen t way fo r some

students to t ra in . These systems encourage and produce in d iv id u a lity .

On the other hand, in studying only one system, those who do not

possess a natura l d rive and imagination may not achieve the

q u a lit ie s essentia l to become a professional dancer. Such q u a lit ie s

inc lude, among others, the need to be daring and experimenting, and

by being exposed to more than one system these q u a lit ie s may be

achieved. Although b a lle t technique is f a i r ly standard; the

d if fe re n t methods o f teaching i t may mean th a t the s ty le might

vary. Students have ind iv id ua l needs which can be accommodated in

some systems b e tte r than in others.

Of course, i t is not possible fo r every b a lle t student to

tra in in a s p e c ific method. Although these methods are well-known

and widespread throughout the w orld , they are not ava ilab le everywhere.

The student then faces the task o f find ing an adequate in s tru c to r .

Few states require licens ing and those th a t do are concerned b a s ica lly

w ith the physical f a c i l i t ie s o f the s tud io . The law has no

provisions fo r the requirements o f b a lle t in s tru c to rs ; anyone is

allowed to teach b a lle t . U nfortunate ly, people who have not had

adequate tra in in g themselves or do not have the proper understanding

o f b a lle t technique teach in th is f ie ld . I t is not unusual to f in d

these people teaching b a lle t in th e ir homes on a cement o r t i l e

^ e r r y , op. c i t . , p. 148.


f lo o r which is a completely unsuitable medium in regard to the

safe ty o f the dancer's body. Without proper guidance, the uninformed

student may f a l l in to the hands o f these charlatans.

A workable procedure is fo r the student to study where

professional b a lle t dancers receive th e ir t r a in in g .1 In a small

community, i f possib le, the student should study a t the loca l

studios where professionals stop to "take c lass" w hile on to u r.

Regional b a lle t companies, which are products o f loca l dance

s tud ios , form the regional b a lle t associations and perform in

annual b a lle t fe s t iv a ls . By attending these fe s t iv a ls the student

is exposed to the strengths and lim ita tio n s o f th e ir loca l b a lle t

schools.2

However, some fin e b a lle t teachers are in te rested only in

teaching and not the organization o f a b a lle t company. The student

must v i s i t the schools in the area to fin d the knowledgeable and

dedicated teacher. As a gu ide line , the student should look a t the

progress made by the graduates o f the school.

Even when the student finds a q u a lif ie d in s tru c to r w ith whom

to study, he rea lizes tha t th is is only a stepping stone to the

mastery o f his a r t . 2 Whether he studies w ith in a structured system

or w ith an independent teacher, ce rta in q u a lit ie s cannot be taught.

I f the b a lle t steps mastered in the classroom are going to have

lib i d.

Zferry, op. c i t . , p. 155.


15

meaning on stage they must be trea ted l ik e "movement w ords".1

The motions o f the body must have meaning. Eloquence is given to

otherwise meaningless steps by c o lo r, s tre ss , accent, tim ing ,

sharpness, softness, flow ingness, speed and placement o f the

head and limbs among other c h a ra c te r is t ic s .2

The key word in b a lle t technique is s ty le ; s ty le is what

d istingu ishes the professional dancer from the amateur. I t is the

q u a lity possessed by the dancer to dazzle the audience. Some

believe i t to be almost magical and c a ll i t a r t i s t r y . 3 Although i t

can be nutured, the basic p o te n tia l is inna te ; fo r th is reason, no

two b a lle rin a s ever dance in the same manner.4 Innate p o ten tia l is

also re fle c te d in the s tudent's dance tra in in g . I t is th is po ten tia l

and tra in in g which helps them develop th e ir unique s ty le o f dance.

A c lass ica l ro le makes special a r t is t ic demands on the

b a lle r in a . There is an unending va r ie ty o f possible in te rp re ta tio n s

in a c lass ica l b a lle t. The a r t is t ic dancer does not perm it the

ro le to become a standard series o f steps. Each step becomes a pa rt

o f the character in the ro le . This is unique w ith every dancer.

I t is s ty le which gives a c lass ica l b a lle t i t s beauty and meaning.5

1ib id .

2i b id .

3i b id .

4loc . c i t . , p. 157.

5i b id .


With th is aspect o f s ty le in mind, i t is important fo r the

dancer to remember th a t although he can tra in w ith in an exce llen t

method and w ith a q u a lif ie d and knowledgeable in s tru c to r , his

success in the performance aspect o f c la ss ica l b a lle t is la rg e ly

determined by his hard work and special ta le n ts .1

The purpose o f th is chapter was to review studies and

l i te ra tu re in th is f ie ld as well as render a b r ie f h is to r ic a l

overview o f b a lle t . The la t te r was achieved, the former was not

because only a lim ite d number o f studies were found. However, th is

i t s e l f is an important discovery in d ica tin g perhaps more should be

done and th is poses a question fo r us to ponder, "Why haven't more

studies been w ritte n in regard to these h ig h ly respected methods o f

dance?"

1i b i d .


CHAPTER I I I

THE CECCHETTI METHOD OF CLASSICAL BALLET

Enrico Cecchetti was born in Rome on June 21, 1850. His

parents were dancers and saw to i t th a t he began his dance tra in in g

a t an ea rly age. As a student o f Giovanni L e p r i, who had studied

under Carlo B la s is , Cecchetti developed a b r i l l i a n t technique.

During h is career as a performer, Cecchetti was popular throughout

Europe and was successful in both La Scala and London. He was

esp ec ia lly noted fo r h is v ir tu o s ity w ith p iro ue ttes . I t was in

1887 when Cecchetti appeared a t the Mariinsky Theatre in St.

Petersburg (now the K irov Theatre in Leningrad) th a t he created

the ro les o f B luebird and Carabosse in Tchaikovsky's The Sleeping

Beauty. 1

Cecchetti was the p r in c ip a l teacher o f the Imperial Russian

B a lle t and i t s a f f i l ia te d school from 1890 through 1902. I t was

here where he taught Olga Prebrajenska, Tamara Karsavina and Vaslav

N ijin s k y . Cecchetti was the o f f ic ia l in s tru c to r o f the D iaghilev

B a lle t Russe from 1910 to 1918 but b r ie f ly l e f t the company in 1913

to to u r w ith h is famed p u p il, Anna Pavlova. He and h is w ife , the

dancer Giuseppina de Maria, opened a school in London in 1918.

Among th e ir pupils were A lic ia Markova and Serge Li fa r . He then

1,1 C ecchetti, E nrico ." Encyclopedia Americana, VI, 1977.

17


18

directed the b a lle t school a t La Seal a from 1925 u n t i l his death

on November 13, 1928.1

The Cecchetti Method o f C lassical B a lle t was o r ig in a lly

formed in London, England as the Cecchetti Society Branch o f the

Imperial socie ty o f Teachers o f Dancing. The Cecchetti Method o f

C lassical B a lle t, as we know i t in the United S tates, was formed in

1939. This was a re s u lt o f a d iv is io n o f the Michigan Chapter o f

Dance Masters o f America in to an organization dedicated to main

ta in in g the standards and methods o f b a lle t tra in in g established by

Enrico C ecche tti.2

The Cecchetti Method o f C lassical B a lle t organizes C ecchetti's

teachings and w ritin g s in to a sequence o f grades which are c a re fu lly

measured as to the degree o f d i f f ic u l t y and physical development.

I t provides a system o f accredited examinations to te s t the student's

p ro fic iency w ith in these grades. The Cecchetti Council o f America

bases i t s s y lla b i on those o f the Cecchetti Society Branch o f the

Imperial Society o f Teachers o f Dancing located in London, England.

The Michigan organization was the f i r s t s ta te socie ty to sponsor a

b a lle t committee w ith a r ig id system o f teaching and exam ination.3

Anna Pavlova was the most famous pupil o f Enrico Cecchetti.

1 i bi d.

2_________ , "Meet The Cecchetti Council o f America." DanceMagazine, XLII (October 1968), 68.

3ib id .


She is considered the model student by the Cecchetti C ounc il.1

Pavlova2 speaks o f Enrico Cecchetti in th is manner:

"The fe e lin g o f deep g ra titud e I have fo r what you have taught me is blended w ith my love and respect fo r your pe rsona lity .

In an age when people no longer understand th a t to teach others i t is necessary f i r s t to work hard and long onese lf, and to have an actual experience o f the stage; when by the a id o f se lf-advertisem ent anyone can take the name o f "p ro fesso r"; when schools are opened a t random where pup ils are taught anything except the a r t o f dancing - you, w ith in f in i t e patience and loving care, have honestly and modestly pursued the great work o f in c luca tin g your pup ils w ith the covenants o f true a r t .

When you fin ished your b r i l l i a n t career as the f i r s t dancer o f your day, you devoted your l i f e to the d i f f i c u l t a r t o f teaching o thers, and w ith what proud s a tis fa c tio n you can now look round, fo r , in every pa rt o f the world, nearly a l l who have made a name fo r themselves in choreography a t the present time have passed through your hands. I f your goddess, Terpsichore, is s t i l l in our m idst, you, by r ig h t , are her favored High P r ie s t."

The p r in c ip le ob jective o f The Cecchetti Method is to create

high standards in the tra in in g o f students fo r c lass ica l b a l le t .3

I t endeavors to reduce the dancer's tra in in g to an exact science

by imposing a form ula, evolved over the years, to t ra in the dancer.

Proper tra in in g in the Cecchetti system w i l l condition the dancer

to w ithstand the pressures o f pub lic performance. I t w i l l also

strengthen the dancer's muscles, tendons and nerves to re a d ily

respond to the requirements o f the choreographer.

^ a c s te r , Olga, The Master o f the Russian B a lle t . New York: E. P. Dutton and Company, 1923. p. 4.

2 i b i d.

3Beaumont, op. c i t . , p. 1.

‘M bid.


The Cecchetti Method is an unalterable regime in which each

day o f the week has i t s own p a rt ic u la r set o f exercises. This

ensures th a t a l l types o f steps are re lig io u s ly practiced in a

planned sequence. The muscles o f the body are toned to a c a re fu lly

ca lcu la ted degree by properly s tre tch ing and con trac ting each set

o f muscles. Exercises are always executed to the l e f t as w ell as

the r ig h t , beginning w ith the r ig h t side one week and the le f t side

the next. There is no v a ria tio n to th is p rac tice .

H ilda Butsova,1 a student o f Enrico Cecchetti comments,

'The sequence escapes me, but I th ink i t was a lle g ro on Mondays, beginning w ith assembles f ro n t , back e tce te ra ; je t£ s on Tuesdays; beats on Wednesdays; p iroue ttes on Thursdays, center barre w ith big jumps and pointe work.We had pointe work every day a t center o r barre and wore pointe shoes a l l the time. S oft shoes were considered 'men's shoes'. I lik e d Wednesdays and avoided p iroue tte days. Cecchetti would say, 'Butsova, I no tice tha t Thursdays you always have something the matter w ith you .'But I s t i l l got away w ith i t .

His center work was tendus, ronds de jambe; frappes done sixteen times; po rt de bras w ith battements. Thepo rt de bras was from Bournonville or V estris upon whomhe enlarged. Cecchetti was not a great innovator. I t was his d is c ip lin e a"d his being such a p e rfe c t io n is t th a t made him great. I f one did things hard enough andlong enough, they worked fo r you."

In The Cecchetti Method o f C lassical B a lle t the student is

taught to th in k o f the movement o f the fo o t, arm, leg and head in

re la tio n sh ip to the e n tire body, not as a separate movement. This

develops a fe e lin g fo r the co rrec t body alignment. C y ril W. Beaumont,2

bu tsova , H ilda , "C ecche tti." Dance Magazine, XLIV (November 1972), 68.

2op. c i t .


21

b a lle t h is to r ia n and expert in the Cecchetti system, describes The

Cecchetti Method as

" . . .c la s s ic in its p u r ity and c le a r-cu t s ty le ; i t is c la ss ic in i t s strenuous opposition to a l l extravagance and fussiness o f movement; i t is c lass ic in i t s ins istence on the importance o f l in e . "

The Cecchetti Method contains an e n tire vocabulary o f movement.

The student should not learn to dance by try in g to im ita te the

movements o f his teache r.1 The Cecchetti Method demands th a t the

student learn to dance through studying basic p r in c ip le s governing

the a r t . This requires consistent a ttitu d e s o f personal and

professional in te g r ity on the pa rt o f the in s tru c to r .

Although Cecchetti in s is te d upon his s t r i c t program o f d a ily

p ra c tice , he advocated th a t each day the lesson be followed w ith

studying unseen enchainment composed by the in s tru c to r . This w i l l

develop the s tuden t's quick-study a b ili j ty in regard to new steps

and enchainment.2

Many dancers be lieve th a t p ra c tic ing a ce rta in set o f exercises

each day o f the week can be sou l-destroying and the student may

lose in te re s t. The advocates o f The Cecchetti Method rep ly to th is

question by asking i f a student attends class in order to amuse

him se lf and be enterta ined by the teacher, or whether he is taking

^ o c . c i t . , p. 2.

2ib id .


classes fo r the sole purpose o f learn ing to dance. Just as i t is

v i ta l to the musician to p ractice scales and exercises d a ily , they

believe i t is v i ta l to the dancer to tone h is body w ith d a ily

regimens. The planned physical development o f the student is a

concern o f The Cecchetti Method. I t o ffe rs the teacher a completely

balanced and analyzed system o f theory and execution o f b a lle t

techn ique.1 Those who espouse the Cecchetti system believe th a t

others who claim to be able to t ra in a dancer through "in tens ive

tra in in g " over a short period o f time are deceiving the student.

Those who be lieve in The Cecchetti Method th ink th a t "the dancer

is t r u ly born o f t o i l , te a r and sw eat."2

The dancer cannot dance u n t i l he has forged a body instrument

completely su ited to his a r t . I t is fo r th is purpose th a t Cecchetti

devised his series o f adages. These adages are extremely d i f f i c u l t

and designed to produce expression in b a lle t technique. I t is not

u n t i l the dancer can perform these movements as second nature tha t

he w i l l dance w ith expression and the tru e q u a lity o f s ty le as we

believe were envisioned by C e cch e tti.3

The Cecchetti Method o f C lassical B a lle t is composed o f seven

grades consisting o f fou r c h ild re n 's grades and three professional

1 , Cecchetti Council o f America. InformationPamphlet. Michigan, 1978, p. I .

2loc . c i t . , p. 3.

3op. c i t .


23

grades (Elementary, Intermediate and Advanced). The Cecchetti

Council o f America is governed by an Executive Board which operates

w ith in a framework to adm inister and advise i t s committee areas,

es tab lish c r i te r ia fo r teacher p a rtic ip a tio n and student progress

and to ensure informed teaching practices. The Executive Board

consists o f ten Charter Members, the Chairman o f the General Board

who is elected by the General Board Members, the Junior Branch

Chairman and two E lective Board Members who are elected by the

Executive Board from the Associated "A" members.

There are branch committees in Ohio, Texas, I l l i n o is ,

Washington, D.C., Pennsylvania, Northern and Southern C a lifo rn ia .

The Cecchetti Council's a c t iv it ie s encompass f iv e major regions o f

the United States and are represented by the fo llow ing committees:

East Coast, South East, Ohio, Pennsylvania, Western Michigan, Mid

west, South West, Northern and Southern C a lifo rn ia .

The Council is responsible fo r the tr i-ann ua l examinations in

the D e tro il area as well as in various committee areas. Candidates

fo r teacher examinations are accepted only a fte r in tensive study

and tra in in g and upon the recommendation o f a sponsor. When students

are properly prepared, they are presented fo r examinations by th e ir

teachers. In a d d ition , Tra in ing Courses are con tinua lly held

throughout the year by the Branch Committee and the Executive Board.

The Cecchetti Council o ffe rs a wide program o f pu b lica tions ,

re fresher courses and b a lle t conferences.


C yril W. Beaumont1 gives his account o f The Cecchetti Method

o f C lassical B a lle t as fo llow s :

" I be lieve the Cecchetti system to be in fa l l ib le and physicians have te s t i f ie d to the soundness o f i t s anatomical p r in c ip le s . Given a su ita b le body, i t w i l l , in the course o f a few years, change the neophyte in to a s k il le d dancer endowed w ith a l l o f the desireable q u a lit ie s I have already c ite d , provided i t s p rin c ip les are followed w ith care and a tte n tio n . But, as in a l l walks o f education teachers vary. I t is not enough to have the necessary th e o re tica l and p ra c tica l knowledge, one must know how to impart i t and possess the experience and taste to adapt i t when the student fa l ls short o f the required standard physique."

Although The Cecchetti Method o f C lassical B a lle t had i ts

o r ig in s in London, England, the popu la rity o f th is system has

caused i t to spread throughout the world. I t is not unusual to

f in d th is method p ro fess io na lly taught in the sm allest o f c i t ie s .

1ib id .


CHAPTER IV

THE ROYAL ACADEMY OF DANCE

The Royal Academy o f Dance is an examining body concerned w ith

creating in te rn a tio n a l standards o f b a lle t tra in in g so th a t a high

standard o f teaching may be ensured and maintained. To achieve

th is end, the Academy has developed graded s y lla b i fo r students

in add ition to methods o f in s tru c tio n and examination. I t is not

a s ty le o f dance, but ra the r a systematic approach to the study o f

b a l le t .1 The Royal Academy o f Dance is a comprehensive method o f

teaching which encompasses the best o f the Russian, Danish, French

and I ta lia n schools.

The Royal Academy o f Dance was founded in London, England, in

1920, by P. J. S. Richardson, E. Espinosa and Dame Adeline Genee.

I t was then known as the Association o f Operatic Dancing o f Great

B r ita in . A small committee was formed o f representatives o f the

Russian, French and I ta lia n schools. P h y llis Bedells represented

the obscure English school. The f i r s t examination was devised from

th e ir knowledge.2

In 1936, the Association was granted a Royal Charter and

subsequently became The Royal Academy o f Dance. The Academy's

^ o e l , op. c i t . , p. 30.

2Gordon, Kathleen, "Footprin ts in the Sands o f Times." Dancing Times, LVII (August 1965), p. 570.

25


26

f i r s t P resident, Dame Adeline Genee, resigned in 1954. She was

succeeded by Dame Margot Fonteyn, the curren t President, who

continues to p a rtic ip a te a c tiv e ly in the Academy's w ork.1

A teacher o f the R.A.D. method can have her tra in in g from any

system. I t is what the teacher is teaching the students tha t is

the concern o f the Academy. As a member o f the R.A.D., the teacher

should not shy away from other organ izations. Knowledge may be

gained by combining the strengths o f the R.A.D. and a system where

set s y lla b i goals are not e s ta b lished .2

The Royal Academy o f Dance provides Teacher Tra in ing Courses.3

The need fo r an academic tra in in g course fo r teachers was recognized

by the R.A.D. in 1939. However, the war prevented any action being

taken u n t i l years la te r . In 1946, the Teacher's Tra in ing Course

was founded by Kathleen Gordon, d ire c to r o f The Royal Academy a t

th a t time. Miss Gordon4 speaks o f those beginnings as,

" In the ea rly days everyone was hard up, everyone quarre lled and according to present day standards th e ir work was in c re d ib ly bad. But they were in d iv id u a ls w ith a g i f t o f laughter and v is io n . On th e ir arched backs, knock knees and cramped arms was b u i l t an e d if ic e o f grand design."

1Jo e l, op. c i t . , p. 31.

2ib id .

3__________ , "Teacher T ra in ing Programs." Dance Magazine,IL (November 1976), p. 107.

^Gordon, op. c i t . , p. 571.


During the 1960's the course was expanded ra p id ly under the

d ire c tio n o f L i l ia n Chariesworth and Keith Lenter. They la id the

foundations fo r the approach th a t is c u rre n tly enforced. Entrants

are accepted by au d ition and in te rv iew where they are evaluated on

th e ir a b i l i t y and p o te n tia l as teachers. The student must be at

le a s t seventeen years o f age and must hold a R.A.D. Elementary

C e r t if ic a te . This course extends over a period o f three years.

Students complete required courses during the f i r s t two years and

during the th ird year the student has a choice o f three subjects

out o f s i x . 1

Students spend approximately fo u r hours in dance classes and

two hours in lectu res and seminars each day. In the th ird year,

students are assigned to a school a t which they complete th e ir

requirement fo r p rac tice teaching. In order to s a t is fa c to r i ly

complete th is course, students must pass w ritte n and/or ora l exam

ina tions in the fo llo w in g areas: the teaching o f the R.A.D.

sy llabus, anatomy and physiology, dance h is to ry , fo lk dance,

choreography fo r ch ild ren and educational theory. In a d d itio n , the

student must a tta in the Intermediate C e rt if ic a te o f the R.A.D. before

graduation. The curriculum leading to the Teacher Tra in ing Course

diploma also includes labanota tion , costuming, movement ana lys is ,

repe rto ry , music and composition, modern dance, jazz and ballroom.

^ p . c i t .


28

To achieve permission to use the le t te rs L.R.A.D. (L ice n tia te Royal

Academy o f Dance) the student who has passed the course must apply

to the Executive Committee. These in s truc to rs are now q u a lif ie d by

The Royal Academy o f Dance to teach w ith in the system.1

The a c t iv it ie s o f the Academy are concerned w ith both the

professional and amateur dancer. The professional a c t iv it ie s deal

w ith young people who are se rious ly studying b a lle t w ith dance

career ob jectives as a dancer, teacher, or choreographer. These

students who are se rious ly tra in in g , work w ith in the framework o f

the courses o f study ou tlined in the R.A.D. sy llabus. This in turn

w i l l prepare them fo r examination. The Major Examinations are

d iv ided in to fou r stages o f graded c la s s if ic a t io n : Elementary,

In term ediate, Advanced and Solo Seal. Separate s y lla b i are studied

by boys and g i r ls . There is also a s im ila r series o f teacher

exam inations.2

Another aspect o f the Academy's professional a c t iv it ie s is the

R.A.D. Production Club. This club gives students th e ir f i r s t

opportun ity to show th e ir choreographic work in a theatre . John

Cranko, Robert Helpmann, Meriel Evans and F e lic ity Gray choreographed

th e ir f i r s t b a lle ts fo r the Production C lub.3

^ ‘b id .

2Reid, Helen Wicks, "An American Teacher Views The Royal Academy o f Dancing." Dance Magazine, XXXIV (December 1960), p. 64.

3__________ , "Teacher Tra in ing Programs." Dance Magazine,L (January 1977), p. 105.


The R.A.D. course fo r Retired Professionals is designed fo r

the professional dancer who has given up h is performing career.

The syllabus is geared fo r those who wish to channel the experience

and s k i l l gained through performing in to the teaching o f dance.

These pa rtic ip a n ts study dance h is to ry , n o ta tio n , music and business,

in add ition to the b a lle t s y lla b i. Candidates must now pass a

complete set o f c h ild re n 's and professional s y lla b i. These s y lla b i

may be o f the R.A.D. system or The Cecchetti Method o f C lassical

B a lle t. This course is a s ix month in tens ive program where the

student works in the stud io from 10:30 a.m. to 4:30 p.m. d a ily and

practices teaching from 5:00 p.m. to 6:00 p.m. Oral and p ra c tica l

examinations in c lass ica l b a lle t are given as well as ora l and

w ritte n exams in anatomy and dance h is to ry which must be s a t is fa c to r ily

completed to receive the course dip lom a.1

The amateur a c t iv it ie s o f the Academy are concerned w ith

ch ild ren and young people who study b a lle t but have no in te n tio n o f

making i t th e ir profession. "B a lle t in Education" is designed fo r

ch ild ren who study dance once or tw ice a week w ith a loca l dance

teacher. This syllabus has been c a re fu lly designed to give the

c h ild a basic vocabulary o f steps and to make use o f them in simple

dances. The required technique and the dances taught are system ati

c a lly b u i l t up from a primary class (ages s ix to seven) through grades

1ib i d .


30

one to f iv e (ages fourteen to s ix te e n ). These grades are based

according to a b i l i t y as w ell as age. Dancing is a m u ltiface ted

a r t , c lose ly linked to music and drama. For th is reason, "B a lle t

in Education" includes a musical analysis and in te rp re ta t io n and

studies in mime. In th is sy llabus , the system is c le a r ly defined

and the grading is uniform throughout the w o rld .1

There ex is ts a separate syllabus fo r boys ca lled "Dancing

fo r Junior Boys".2 This syllabus encompasses ages nine to th ir te e n

and is taught in some general education schools as w ell as b a lle t

s tud ios. This syllabus has been e ffe c t iv e in developing concen

t ra t io n , coordination o f thought and movement, quickness o f response

and improvement in sporting a c t iv i t ie s .3

"B a lle t in Further Education" is a syllabus devised fo r

teenagers and young working people who wish to continue in th e ir

study o f b a l le t .4

Another amateur a c t iv i ty o f the Academy is the R.A.D. program

o f b a lle t tra in in g designed espec ia lly fo r a th le tes . In 1954, the

Whip and Carrot Club (the B r it is h high jumpers club o f the Amateur

A th le tic s Association) approached the Academy fo r advice. A fte r

Claude Newman o f the Academy presented the Club w ith a lec tu re

^ p . c i t .

2loc . c i t . , p. 65.

3ibid.4ib id .


31

demonstration, a discussion was held between leading a th le tes o f

the A.A.A. and leading dancers o f the R.A.D. As a re s u lt , in 1955,

a committee o f a th le tes and dancers was formed to provide a series

o f b a lle t ic exercises fo r a th le te s . This is now a p a rt o f the

R.A.D. s y lla b u s .1

Margot Fonteyn,3 President o f The Royal Academy o f Dance,

speaks o f the Academy in th is manner,

" I t was because my Mother cared about b a lle t and wanted me to study th a t she took me, when I was s ix , to study w ith ateacher who had her s tud io a t the very corner o f the s tre e tin Ealing where we then liv e d . This lady (Grace Bosutow) happened to be a R.A.D. teacher - a member o f The Royal Academy o f Dancing - and, since my Mother arranged fo r me to have a weekly p r iva te c lass , a t which she sa t in , as w ell as the Saturday morning group class - Mother was very w ell aware o f what I was lea rn ing .

In my own case, I was e ig h t when my fa th e r 's work as an engineer o f the China Organization o f the B ritish-Am erican Tobacco Company took us - my parents, my b ro ther and me - to the O rien t. For s ix years we liv e d in China - T ie n ts in ,Hong Kong and Shanghai. (We went by way o f the U .S ., and I even went to school fo r a short w hile in L o u is v il le , Kentucky.) Mother, determined th a t I go on w ith my b a lle t study, took me to every b a lle t teacher she could f in d during those China years. And she yanked me out o f each school a f te r ju s t one or two lessons. I f the teacher perm itted me to m t weighton the insides o f my arches o r to s i t back in p lie o r k ickw ith an uneven h ip , Mother knew immediately th is was not the kind o f co rrec t tra in in g I should be having. Eventua lly , and fo r tu n a te ly , she found w e ll- tra in e d Russian teachers w ith whom I was perm itted to study. But ju s t the same, when

^ o e l , op. c i t . , p. 52.

2Browne, Louise, "The Royal Academy o f Dancing." DanceMagazine, XL (December 1966), p. 68.


32Mother wanted to know how w ell I was doing, she brought me back to London, when I was twelve, to be tested by a R.A.D. examiner. I was fourteen when we returned to London permanently. And a t f i f te e n I was a t the Sadler's Wells School, where, o f course, I continued to take my R.A.D. exams.

But i f there hadn 't been a way to measure my aptitude and tra in in g during those years, I fee l qu ite sure I would not be a dancer today. And qu ite possib ly those ea rly years o f e r ra t ic tra in in g have been the reason fo r a l l my weaknesses as a dancer. My fe e t are s t i l l not very good, you know."

The Royal Academy o f Dance began in London, England and has

now expanded i t headquarters to include Europe as w e ll as the

United States. This method is recognized as a respected form o f

b a lle t tra in in g wherever i t is taught.


CHAPTER V

SUMMARY AND EVALUATION

There are many advantages to studying w ith in any o f the

s p e c if ic methods o f c la ss ica l b a lle t . The system i t s e l f provides

graded classes which allows ch ild ren to properly begin w ith the

most elementary aspects o f technique and progress to the professional

leve l o f dancing. As the student gains s treng th , the system

provides more d i f f i c u l t ports de bras, adage, and enchainments

which may reveal his ta le n t and allow him to be passed on fo r

fu r th e r tra in in g .

The fa c t th a t the dancers o f a p a r t ic u la r school tend to move

s im ila r i ly can be considered a strength or a weakness. I t proves

to be an obvious asset to corps de b a lle t members, while to achieve

solo status the dancer must develop and show an ind iv id ua l s ty le .1

B a lle t technique must be a means to an end, not an end in

i t s e l f . Technique is needed in order to have a vocabulary o f

movement. I t w i l l help the student acquire the ease o f execution

and possible v ir tu o s ity . The u ltim a te goal in acquiring technical

s k i l ls is not to pass technica l examinations imposed by a method

but to acquire a s k i l l so great th a t the audience is unaware o f the

technica l s k i l ls but only o f grace and beauty. "To make a fe tis h

^ e r r y , op. c i t . , p. 136.

33


o f technica l ru les and impose them r ig id ly is to misunderstand

completely the purpose o f technique.1,1

The two systems which th is study deals w ith are The Cecchetti

Method o f C lassical B a lle t and The Royal Academy o f Dance. These

two methods can be evaluated in terms o f th e ir strengths and

lim ita t io n s by the check-1 ist which appears on the fo llo w ing page.

The Cecchetti Method o f C lassical B a lle t is an exce llen t

approach to the teaching o f c la ss ica l b a l le t .2 The c h ie f strength

o f The Cecchetti Method is i t s s c ie n t i f ic approach to b a lle t

technique and i t s a b i l i t y to b u ild strength and co n tro l. The most

im portant aspect in the ea rly stages o f b a lle t tra in in g is the

co rrec t alignment o f the body, re fe rred to as "placem ent".3

Without proper placement, balance and ease o f execution are impossible

The Cecchetti Method is a completely balanced and analyzed system

o f theory and execution in regard to the tra in in g o f c lass ica l

b a lle t .

However, i t is important to remember tha t although Enrico

Ceccheu*1' h im se lf was an insp ired master, he is no longer w ith us

to elaborate on h is p r in c ip le s o f teaching. They have been passed

on by h is former pupils and through various te x t books.

^ a ra , T ha lia , "Cecchetti I s n 't Everyth inq." Dance Maqazine, XXVII (August 1953), p. 36.

2Beaumont, op. c i t . , p. 1.

3loc . c i t . , p. 37.


Reproduced

with perm

ission of the

copyright ow

ner. Further

reproduction prohibited

without

permission.

A COMPARISON OF THE CECCHETTI METHOD OF CLASSICAL BALLET AND THE ROYAL ACADEMY OF DANCE

Clieck-List

The Cecch e tt i Method of C lassical B a lle t

Purpose: To achieve high standards o f teachingc lassica l b a lle t; to create an in ternational standard o f b a lle t.

Method: Based on the teaching p rinc ip les o f oneman, Enrico Cecchetti.

Organization: Specific sy lla b i divided in to gradesw ith respect to physical development o f the ch ild and degree o f technical d if f ic u l t y .

Tra in ing: Trains dancer's body from beginning toadvanced stages, s t r ic t schedule o f routine combinations, spec ific exercises each day.

Examinations: Separate examinations fo r students(fou r ch ild ren 's grades, three professional grades) and teachers (divided same as student's grades, however, teachers need pass only student grade fo r the grade which they are taking the teacher's examination, not the e n tire set o f student's grades)

Career: Directed toward the student who wishes topursue dance as a career.

Teacher Training: Workshops fo r updating c e r t if ic a t io n .

Governance o f Examinations: The Cecchetti Council; committees: East Coast, South East, Ohio, Pennsylvania,Western Michigan, Mid West, South West, Northern and Southern C a lifo rn ia .

The Royal Academy o f Dance

Purpose: Same

Method: Encompasses the Russian, Danish, French,and Ita lia n schools.

Organization: Same

Train ing: Trains dancer's body from beginningto advanced stages, some "se t" combinations, others le f t to d iscre tion o f In s truc to r; tones the body o f the re tire d professional, once-a- week dancer and the a th le te .

Examinations: Separate examinations fo r students (Elementary, Intermediate, Advanced, Solo Seal) and teachers (set fo rth by the Teacher Training Course, teacher must f i r s t pass Intermediate student's syllabus)

Career: Provides fo r the student who wishes topursue dance as a career, the once-a-week student, re tire d professionals, a th le tes , choregraphers.

Teacher Tra in ing: Three year Teacher Training Course.

Governance o f Examinations: Controlled by President and board o f examiners.

OJcn

36

Realizing th a t no p u p il, no m atter how close he is to the master

is ever a carbon copy, we understand th a t what the teacher is

presenting is h is in te rp re ta tio n o f what the master ta u g h t.1

Some pupils never a tta in a real understanding o r knowledge o f the

master's teachings; others achieve a greate r v ir tu o s ity in the a r t .

I t can never be the same th ing because i t is colored by a d if fe re n t

understanding, fe e lin g , and v iew po in t.2 Therefore, the students

o f C ecchetti's fo llow ers might not receive the o r ig in a l concept

o f C ecchetti's technique but a v a r ia tio n . This is a d e fin ite

l im ita t io n as the system provides only viewpoints o f C ecchetti's

actual teachings.

Although Cecchetti has recorded some o f his p r in c ip le s o f

teaching, a te x t can only set fo r th a concept o f b a lle t movement.

I t cannot bring fo r th the fe e lin g behind the movement or the s ty le

w ith which the movement is intended to be performed. I f the teacher

attempts to s t r i c t l y fo llo w the system "to the le t te r " he becomes

bond by ce rta in imposed ru les and believes any devia tion is wrong.

Using w ritte n m ateria l as a prime source, i t is d i f f i c u l t to re a lize

the master's true in te n tio n . "For what is im portant in teaching

b a lle t technique is not to have memorized a series o f set exercises

but to understand the p r in c ip le s o f body placement and the functiona l

1op. c i t . , p. 36.

2ib id .


exercises, and to know th e ir purpose and v a lu e ."1 Therefore, the

teacher can ju s t ly teach an exercise set by someone else or can

compose one o f h is own. I f these exercises are taught w ithout the

basic understanding o f the p rin c ip le s o f b a lle t i t makes fo r

r ig id i t y o f movement and a lack o f f lu id i t y and spontaneity o f

movement.2

In comparison, a strength o f The Royal Academy o f Dance is tha t

i t is not based on the teachings o f a p a rtic u la r in d iv id u a l. To

some degree, i t has tr ie d to encompass the Russian, Danish, French

and I ta l ia n schools. However, i t takes on i t s own national

c h a ra c te r is tic s . According to Beaumont, a l im ita t io n o f th is system

is th a t the English are more reserved and less emotional and th a t

th e ir dancers re f le c t these t r a i t s . 3

The Royal Academy o f Dance is also an exce llen t teaching method.

I t provides the student w ith a systematic approach to the study o f

b a lle t . In a d d itio n , i t focuses on the "once-a-week" dancer, the

a th le te and the re t ire d professional as w ell as the serious minded

b a lle t student and teacher. Although The Cecchetti Method provides

exce llen t tra in in g fo r the serious minded dance student and teacher

i t makes no provisions fo r the "once-a-week" dancer, the a th le te

o r the re t ire d p ro fess iona l.

1i b id .

2ibid.3lo c . c i t . , p. 37.

'♦Joel, op. c i t . , p. 31.


38

The Royal Academy o f Dance has been c r i t ic iz e d fo r making a

god o f m e d io c rity .1 Margot Fonteyn,2 the Academy's President

s ta te s ,

" I t ' s qu ite possible th a t there are students who are not very g if te d , but through d iligence w i l l pass our examinations - but a t le a s t ta le n t w i l l not s l ip through our f in g e rs ."

This statement could also be made about The Cecchetti Method o f

C lassical B a lle t in which the d i l ig e n t student may pass the exam

ina tions through sheer determ ination and not have the innate

a b i l i t y to become a professional dancer. But, ju s t as in The

Royal Academy o f Dance, the value in any method used is th a t the

ta lented dancer w i l l be recognized.

Both systems can be commended fo r th e ir e f fo r t in keeping

th e ir s y lla b i up-to-date w ith respect to the curren t s ty le o f

b a lle t technique. B a lle t is an ever growing a r t w ith an ever

changing s ty le .3 The Cecchetti Method Council has recently

revised the s y lla b i and The Royal Academy keeps a close eye on

b a lle t technique throughout the world in order to keep s y lla b i

curren t.

However, each system has i t s own basic theories and practices

through which proper technique is best achieved. The more advanced

student w i l l lea rn , through a re a liz a tio n and understanding o f his

h 'b id .

2ib id .

3ib id .


39

own technical a b i l i t ie s , what methods are the best fo r him.

Butsova1 comments,

"C ecchetti's work wasn't good fo r every student. Personally, i t was bad fo r me a t th a t time. Everything was p lie u n t il you thought you'd d ie . I t was good fo r Pavlova, who did not have a s o ft natura l p l i£ ; but fo r me i t overstretched my knees, and my good jump began to disappear."

The use o f a structured method in the teaching o f c lass ica l

b a lle t is a valuable con tribu tion in the f ie ld o f dance education.2

The in s tru c to rs o f both The Cecchetti Method o f C lassical B a lle t

and The Royal Academy o f Dance attend Teacher Tra in ing Courses

and re fresher courses th a t are provided by the system. Ins tructo rs

are taught in these tra in in g courses to teach w ith in the spec ified

sy llabus. They are kept up-to-date w ith the changes o f the system

through re fresher courses sponsored by the ind iv id ua l councils.

Ins truc to rs who teach w ith in The Cecchetti Method o f C lassical

B a lle t o r The Royal Academy o f Dance have great fa ith and pride in

th e ir systems. Jane Caryl M i l le r ,3 one o f the Council's leaders

s ta te s , " I f we d id n 't believe i t was a good system we w ouldn 't have

stayed w ith i t a l l these years." Ruth Carney,4 a member o f the

Cecchetti Council says, "The Cecchetti system is valuable in i ts

bu tsova , op. c i t . , p. 68.

2 i b i d.

in te rv ie w w ith Jane Caryl M il le r , January 23, 1979.

^In terv iew w ith Ruth Carney, January 23, 1979.


tra in in g o f C h ild ren ." Elaine K e lle r, 1 the executive secretary

o f the U.S. Branch o f The Royal Academy o f Dance be lieves, " I t

is d i f f i c u l t to know i t s p o s s ib il i t ie s w ithout being a member o f

the Academy." Margot Fonteyn,2 s t i l l an active member o f the

Academy speaks o f The Royal Academy o f Dance in th is way, " I f in d

the R.A.D. a s o lid and s a tis fy in g s tru c tu re , f le x ib le to the

demands o f time and p lace."

In summary, the serious student's choice should be based upon

the degree o f va ria tio n he hopes to fin d w ith in the actual exercises

o f the system. I f he prefers a s t r i c t and regimented s y lla b i

The Cecchetti Method is best su ited fo r him. I f he needs a more

loosely structured system The Royal Academy o f Dance w i l l best

s u it his needs. I f the student desires to learn the technique o f

a master th a t has been passed down from h is d is c ip le s , The

Cecchetti Method is the system th a t w i l l serve th is purpose.

However, i f the student is not contemplating dance as a career,

is a re tire d professional or is an a th le te he should re a lize th a t

The Royal Academy o f Dance has special programs fo r h is special

in te re s ts . The Cecchetti Method makes no provisions fo r these

students. Therefore, i f a serious student chooses e ith e r The

Cecchetti Method o f C lassical B a lle t or The Royal Academy o f Dance,

a fte r carefu l research, he can be assured th a t the method chosen

1Interview w ith Elaine K e lle r, January 30, 1979.

2Joe l, op. c i t . , 31.


41

w i l l provide him w ith exce llen t tra in in g .

In conclusion, studying w ith in a s p e c if ic method can be a

valuable too l to the dancer w ith asp ira tions o f a professional

performing career i f he combines i t w ith a knowledge o f a l l types

o f tra in in g . I t is believed th a t to l im i t oneself to any one o f

the methods and to say th a t " th is and th is only is correc t o r good"

is a mistake on the pa rt o f both the teacher and the s tu d e n t.1

The dancer o f today must be very strong te c h n ic a lly . Professional

competition is keen and the dancer must be v e rs a tile in s ty le and

movement. The dancer must also have a quick mind to pick up

whatever is demanded o f him by the choreographer. The dancer and

teacher must understand the basic p rin c ip le s o f b a lle t technique

regardless o f the tra in in g method or the school o f thought.

Therefore, i f a student decides to t ra in w ith in The Cecchetti

Method o f C lassical B a lle t o r The Royal Academy o f Dance, he must

re a lize th a t there are other methods and he must in te l l ig e n t ly

use the best elements o f the chosen system and blend i t w ith other

aspects o f tra in in g . When a dancer studies a va rie ty o f methods

and sty les he w i l l achieve a knowledge o f the science o f technique

and an understanding o f beauty o f lin e and freedom o f movement.2

I t is a t th is po in t th a t the dancer w i l l re a lize the scope o f b a lle t

xMara, op. c i t . , p. 37.

2ibid.


42

technique. He w i l l b u ild an appreciation fo r i t s tra in in g and

re a lize the f u l l p o te n tia l o f studying w ith in a method geared to

his special needs.


APPENDIX

Following are copies o f the cover le t te rs received from the

Cecchetti Council and the London headquarters o f The Royal Academy

o f Dance. A cover le t te r was not included w ith the inform ation

received from the New Jersey headquarters o f The Royal Academy o f

Dance.

43


PRESIDENT Dame M argo t Fonteyn de Arias D 8E

C H A IR M A N OF EXECUTIVE C O M M ITTE E Ivo r G uest. M A.

PATRONHER M AJES TY TH EQ UEEN

The Royal Academy o f DancingThe College

44

48 Vicarage Crescent SW11 3LT 01 -223 0091 Telegrams Radancing London SW11PRINCIPAL Valerie Taylor

Miss B. Ruemenapp, 6th February, 1979.1116 Summit,Kalamazoo,Michigan 49007.

Dear Miss Ruemenapp,

I enclose the information that you require for your Masters thesis on the Royal Academy of Dancing. I hope that you will find sufficient material here for your purpose.

Perhaps you may need further help in which case please do not hesitate to contact me again.

Yours sincerely,

Valerie Taylor, ARAD. Principal

VT/hh


P re s id e n t /N a t io n a l P r in c ip a l JANE CARYL MILLER

770 G re cn h ills D rive A n n A rb o r, M ich igan 46105

F irs t V ic e -P re s id e n t/ S c h o la rsh ip C h a irm a n ENID RICARDEAU

3203 B idd !cW yando tte , M ich igan 48192

S econd V ic e -P re s id e n t M ic h ig a n R e g is tra r MARY ELLEN COOPER

22705 E dgew ood D rive St. C la ir Shores, M ich igan 48080

T h ird V ic e -P re s id e n t V IR C IL IN E SIM MONS

1128 East M ich igan Lansing, M ich igan 48912

F o u rth V ic e -P re s id e n t ROSE MARIE FLOYD

327 Eost Porker M ad ison H eights, M ich igan 4807*

• T re a s u re r /C o o rd in a to r M SU SYLVIA HAMER

1742 W estridge A nn A rb o r, M ich igan 48105

R e c o rd in g S e c re ta ry KAY BLISS

20 C hestnut, A p t. 603 W yo n d o tte , M ich igan 48192

C o rre s p o n d in g S e c re ta ry BETTY BANDYK

1900 BeaverD e arborn , M ich igan 48128

Past P re s id e n t MARJORIE HASSARD

17725 M onde 'so n Rood D e tro it, M ich ig a n 48203

C o n fe re n c e P r in c ip a l JEAN G LORIA NEWELL

35904 Lyndon L ivon ia , M ich igan 48154

N a t io n * ! R e g is tra r E aste rn U .S .A .SUZANNE GRAY

3882 Kenmore Berkley, M ich igan 48072

N a tio n a l R e g is tra r W e s te rn U .S .A .L IN D A BUTLER

1964 D e tro itD e arborn , M ich igan 48124

M e m b e rs h ip KATHLEEN TENNISW O OD

19355 M cKinnon Roseville , M ich igan 43066

G e n e ra ! B o a rd C h a irm a n A M Y COOPER IN G H A M

961 W est A u bu rn Rochester, M ich igan 48063

E le c tiv e B o a rd M e m b e rs P u b lic ityROSE M ARIE GREGOR

34690 V e rsa illes Farm ing ton , M ich igan 48024

ESTELLA M O N TILLO 110 S p roa tD e tro it, M ich igan 48201

N a tio n a l J u n io r Branch NORETTA DUNWORTH

2323 M onroe B lvd.D earborn , M ich igan 48124

A s s is ta n t R e g is tra r LEONA LUCAS

23250 W ilso n D e arborn , M ich ig a n 48128

L ib ra r ia nELEANOR BROWN

9508 Stephenson Road O nsted , M ich ig a n 49265

A d v is o r y B o a rd JACK W . B1CKLE

W ind so r, O n to r lo , Canada CHULA M ORROW

L ib e rty , M a in e

H o n o ra ry M e m b e rs MARGARET BROOKS

W orren , M ich igan MARGARET CRASKE

N e w Y o rk , N e w Y ork W IL L IA M DOLLAR

F lo u rto w n , Pennsylvan ia RITA EMMERSON

M inn is Bay, England KATHLEEN FORBES

N e w Y o rk , N e w Y ork MARGARET MARSH

D ro itw ich . England MARY SKEAPING

London, Eng land PEGGY V A N PRAAGH

M e lbo u rn e , A u s tra lia LAURA W ILS O N

London, Eng land

Cecchetti Council of America 45

C-(_ c‘ ' / l

n £


BIBLIOGRAPHY

Books

Anderson, Jack, Dance. New York: Newsweek Books, 1974.

Beaumont, C ry i l , A Manual o f the Theory and Practice o f C lassical Theatrica l Dancing. London: Crossroads P ub lica tions, 1922.

Grant, G a il, Technical Manual and D ic tionary o f C lassical B a lle t . New York: Dover P ub lica tions, In c . , 1950.

Guest, Iv o r , The Dancers Heritage. Maryland: Penguin Books, In c .,1962.

Kerensky, Oleg, The World o f B a lle t . New York: Coward-McCann,In c . , 1970.

K irs te in , L inco ln , Dance, A Short H istory o f C lassic Theatrica l Dancing, New York: Dance Horizons, 1935.

Krausj Richard, H istory o f Dance. New Jersey: P re n tice -H a ll,In c ., 1969.

Racster, Olga, The Master o f the Russian B a lle t . New York:E. P. Dutton and Company, 1923.

Renya, Ferdinando, A Concise H is tory o f B a lle t . New York:Grosset and Dunlap, 1964.

Sore11, W alter, The Dance Through the Ages. New York: Grossetand Dunlap, 1967.

Terry , W alter, The B a lle t Companion. New York: Dodd, Mead andCompany, 1968.

Periodicals

Bedells, P h y ll is , "Why Those Fa ilu res? ", The Dancing Times, XXXV (November, 1945), 68-69.

Butsova, H ilda , "C ecchetti." Dance Maqazine, XLIV (November 1972). 67-69.

46


Browne, Louise, "The Royal Academy o f Dancing." Dance Magazine,XL (December 1966), 60-66.

Freeman, Frank, "Dancers and Teachers." The Dancing Times, LXVI (May 1976), 412-413.

Grant, Freda, "For the "Grades." The Dancing Times, XXX (DecemberT O A f \ \ 1 7 7t j 9 i I CC •

Gordon, Kathleen, "Foo tp rin ts in the Sands o f Time." The Dancing Times, L V III (August 1968), 570-571.

Joe l, Lydia, "Tested and Found Not Wanting." Dance Magazine, X L III (Ju ly 1969), 30-31.

Mara. T ha lia . "Cecchetti I s n 't Everyth ing." Dance Magazine,XXVII (August 1953), 36-37.

Wicks, Helen Reid, "An American Teacher Views the Royal Academy o f Dancing." Dance Magazine, XL (December 1960), 40.

, "Meet The Cecchetti Council o f America." Dance Magazine, XLII (October 1968), 74-75.

__________, "Teacher Tra in ing Programs: The Royal Academy o fDancing." Dance Magazine, LI (January 1977), 105.

__________, "Teacher Tra in ing Programs: The Royal Academy o fDancing." Dance Magazine, L (November 1976), 107.

, "B a lle t fo r A th le te s ." The Dancing Times, LI(November 1961), 119.

, "R.A.D. Production C lub." The Dancing Times, XXXVI [JuTy 1946), 516, 517.

__________, "The Cecchetti Society: A Dancing Times Supplement."The Dancing Times, XL (June 1959), 639.

Encyclopedias

"C ecchetti, E nrico ." Encyclopedia Americana, VI 1977.

Pamphlets

__________, Cecchetti Council o f America. Inform ation Pamphlet,Michigan, 1978.


Interviews

Interview w ith Jane Caryl M il le r , January 23, 1979.

In terview w ith Ruth Carney, January 23, 1979.

Interview w ith Elaine K e lle r , January 30, 1979.


Documents

A Comparative Analysis of Two Methods of Teaching: The