The Foundations of Classical Ballet Technique · The Foundations of Classical Ballet Technique ... to fall through the centre of the structure. All ... gluteus maximus, or buttocks,

©The Royal Ballet School 2014

The Foundations of Classical Ballet Technique

Classical ballet technique is built on a number of principles. These principles are the foundation of

the technique and mastering these principles is integral to developing a sound technical basis for

the dancer. The foundations are:

• Posture (Alignment)

• Turn-out

• Weight Distribution (Stance)

• Placement

• Lengthening and Counter-pull

These foundations are all inter-related, therefore

it is necessary to recognise that adjustments to

one will affect the others.

Photo: Patrick Baldwin

1


Posture

Posture is the dancers’ stance. It is the foundation element of all classical ballet technique. It is how the

dancer stands in an aligned manner to facilitate all movement. Posture is the integration of all parts of the

body, the head, torso, arms and legs, into a cohesive whole for when the dancer moves through space or

holds a pose.

The key to good posture is the correct alignment of the spine. The shoulders, hips and feet are placed in a

line on top of each other and so a vertical line can be drawn from the head down to the feet.

Correct posture is like stacking building blocks in a vertical line over their base, the legs and feet. If dancers

get it right it is easy to maintain their stance, if they get it wrong then it becomes difficult to maintain stability.

To build a strong and stable brick wall the bricks have to be stacked correctly one on top of the other. If they

are not, the wall becomes weak and falls down. So too must all parts of the dancers body be correctly stacked

in order to make a strong and stable foundation.

This balanced position, with the shoulder girdle hanging

easily on top of the rib cage, causes the line of gravity –

the imaginary line that exactly bisects the weight of the

body – to fall through the centre of the structure. All

parts, on either side of the line, balance each other.

Viewed from the front or the back, the line bisects the

body into two symmetrical halves. Viewed from the side

when the dancer is standing with parallel feet, the line

passes from the top of the head to a point just behind the

ear, and on through the centre of the shoulder, rib cage,

pelvis and hip joint, continuing down through the knee

joint and into the foot, in front of the ankle. This same line

of gravity applies when the dancer is turned out in fifth

position.

Figure 2.

The body is dissected into two symmetrical halves

Figure 3.

The line of gravity from just

behind the ears to the balls of the feet

Figure 1.

Components of the body are stacked to ensure stability

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The curves of the spine function as shock absorbers and are very important to the

dancer. However to allow the greatest mobility, the spine needs to be elongated so

that the space between each vertebra is increased, therefore the curves are

lessened but not fully eliminated.

The lengthening of the spine has some important results:

1. It makes the spine stronger and less vulnerable to injury as the discs

between the vertebra can absorb impact effectively.

2. The centre of gravity is raised, making for more speed and mobility, and the

lengthened muscles of the back enhance its flexibility.

It is important to ensure that students understand that this lengthening comes from

the back because thinking of it from the front can cause the ribs to flare out

and the weight to go behind the centre of gravity. Figure 4.

The naturally curved spine

and the elongated spine.

3


To do this correctly it should be felt as lifting or lengthening of

the whole spine including a feeling of elongation through the

neck. Both sides of the waistline lengthen away from the legs.

Dancers can imagine that each vertebra is separating. The

shoulders can now hang from the shoulder girdle and the ribs

slope naturally from their attachments to the spine, allowing

the diaphragm to control the breath without impediment. The

abdominal muscles are also engaged and the rib cage expands

outward to the side, thus allowing for proper breathing.

The elongated spine contributes significantly to the correct

posture of the dancer allowing the pelvis to be correctly aligned

giving the dancer the freedom to move. Without this

lengthening the dancer is slumped and the pelvis is likely to be

tucked under.

The Pelvis

The pelvis determines the correct alignment of the rest of the body as it is in the link between the lower and

upper halves of the body. Any displacement in the pelvic area affects the spinal column and therefore the

alignment of the whole structure.

Figure 5.

The effect of the spine on posture

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As the spine and the pelvis are integrated they affect the alignment of each other. Whilst the lengthened

spine allows the pelvis to be correctly placed, the placement of the pelvis also directly affects the curve of

the lumbar spine, which in turn affects the curves of the other spinal areas.

The pelvis also affects the position of the femur in the hip socket, which then

has a bearing upon the knees, ankles and feet. So the position of the pelvis is

of key importance as it affects the function of the entire body.

When the pelvis is correctly centred, the hip bones are lifted in front, while at

the back the sacrum is directed strongly downward. The buttocks are held high

on the legs, while the lumbar spine remains elongated. This helps to maintain

the correct line of gravity.

This position allows the abdominal muscles and buttocks to engage. The

buttocks are not gripped but are engaged as are the top of the hamstrings, just

under the buttocks. The correct position of the pelvis frees the hip joint, which

permits full access to turn-out.

The image of the pelvis as a bowl or bucket that must remain level so that water

does not spill from the container is a very useful one for dancers.

The position of the pelvis is described from the top so

that if the top tilts forward this is an anterior tilt

(arching the spine) or if it tilts backwards a posterior

tilt (tucking under).

Anterior Tilt

The forward tilted pelvis is usually accompanied by flaccid abdominal muscles and

results in a hollow back (in anatomical terms, lordosis). It causes an increase in the

thoracic curve, which results in a protruding rib cage and impaired breathing. The

vertical line of gravity is disturbed so that the weight is no longer transferred

through the centre of the hip joint. This places the lower back under stress, and

extensions of the leg in all directions are diminished.

Figure 6.

Neutral Pelvis

Figure 7.

Anterior (forward) tilt

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Posterior Tilt

The tucked or backwardly tilted pelvis is even more of a problem and often

occurs when students work their turn-out muscles incorrectly resulting in a

gripping of the buttocks. This causes a curve in the lumbar spine in the opposite

direction which in turn causes the other curves to flatten excessively, reducing

the spine’s flexibility and capacity for shock absorption. Again, the vertical line

of gravity is disturbed. The ligaments are strained, and the muscles of the thigh

are overworked in the endeavour to prevent the knees from flexing. The

results are often overall body tension, bulky thighs, and because they are

always engaged, large buttock muscles.

Turn out

The founder of The Royal Ballet, Ninette de Valois said:

‘The “turn-out” is an absolute necessity if the dancer aims at the perfection of a purely classical line…It

is…important to maintain the natural relationship of the parts to the whole leg when drawing the line of

dance.’

In other words, classical ballet is based on turn-out and without it, the technique cannot exist and it must be

correctly applied to achieve the desired results.

Far from being just an aesthetic concept, turn-out

has a very functional role. It makes a big

contribution to the stability, range of motion,

mobility and strength of the dancer, as well as to

the elongated shape of the muscles. However

turn-out must be facilitated correctly.

The rotation of the thigh bone in the hip socket is

not a position but is a movement that occurs from

the top of the leg and must be learned and

practiced. To turn-out, the whole leg rotates as

one from the top of the leg in the hip joint,

maintaining the relationship of each part of the

leg, i.e. the knee, ankle and foot.

Figure 8.

Posterior (backward) tilt

Photo: Johan Persson

6


The movement of turn-out is achieved by

engaging the six deep rotators of the hip

joint in conjunction with the adductors. The

six deep rotators join the top of the leg to

the pelvis. The muscles are deep inside the

gluteus maximus, or buttocks, and their

function is to turn-out the leg. Although the

gluteus maximus is often contracted when

turning out, its role can be greatly

exaggerated. If allowed, the gluteus

maximus will stop the deep rotators

working correctly. Since it is much harder

to feel the deep muscles at work, it is easy

to ignore their function and to rely on

superficial muscles where the contraction

can be more easily felt. A main problem

with contracting any muscle beyond its

functional need is that it grows with use and we do not want dancers with large buttocks. The muscles

running down the inside of the thigh (when standing with parallel feet) are the adductors. The principle

function of the adductors is to draw the legs toward each other, however in classical ballet we additionally

use these muscles as outward rotators. They work in conjunction with the hamstrings which draw the back

of the legs together, for example in first position. If the hamstrings are insufficiently engaged the adductors

will serve as inward rotators and change the alignment of the pelvis so the relationship between these

muscles is vital for the maintenance of good posture and turn-out.

The degree of rotation in the hip joint will determine the degree of turn-out in the feet, so turn-out is not

and must not be achieved by forcing the rotation from the feet. If dancers force their turn-out from the feet

it causes injuries and reduces the functional aspect of turn-out. Also, as soon as the dancer tries to move, the

turn-out disappears. Incorrect use of turn-out causes distortions throughout the whole body, affecting,

among other things, the placement of weight, the tilt of the pelvis, and the curves of the spine. It is especially

dangerous for the knees. So, the alignment of the foot and ankle in all positions is extremely important.

Rolling in of the feet is a very common problem for young dancers as they try to gain more turn-out in the

legs, frequently leading to chronic injuries (see weight distribution below).

It must also be remembered that turn-out happens in both legs and must be maintained equally.

Concentrating on the turn-out in the gesturing leg without engaging turn-out in the standing leg will not

increase, strengthen, or stabilise the overall turn-out. Similarly turning out the gesturing leg at the expense

of the standing leg will compromise the stability of the dancer.

Figure 9.

The ligaments in the pelvis

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The Functional Aspect of Rotation

Figure 10.

A turned out leg

Figure 11.

A parallel leg

(Note the restricted movement when lifting the leg à la seconde)

8


Weight Distribution

The weight of the body is distributed on three points of the foot – under

the first and fifth metatarsals and just in front of the heel.

Whilst each of these three points are in contact with the floor, the

weight of the body is directed more towards the front onto the balls of

the feet. This makes the rise onto demi and full pointe possible and

allows the dancer to move quickly and accurately. However the line of

gravity should not be altered so while the weight is more towards the

balls of the feet the heels must maintain contact with the floor.

Correctly placing the feet flat on the

floor stops them from rolling in

(pronation) or out (supination). A

problem frequently associated with

over turning out the feet is that it

causes them to pronate.

When rising on to demi-pointe the weight stays on the ball of the

foot and is evenly distributed on the five toes.

Figure 12.

Weight distribution on the

whole (or flat) foot

Figure 13.

The pronated and supinated foot

Figure 14.

On the demi-pointe the weight stays on

the 1st and 5th metatarsal and is

distributed on the five toes

9


Placement

Placement is the relationship of each part of the body to the next, in positions and in movement, and the

resulting distribution of body weight.

In her book The Principles of Classical Dance (p.18) Joan Lawson has listed four rules for mastering placement:

1. Each part of the body must be kept in natural relationship to the others and to the centre line of balance.

2. An arm or leg should never be allowed to over- or under-cross the centre line of the body.

3. The head, the heaviest part of the body, must always lead the movement. The foot or feet must always

follow the head. The head never follows the feet. In other words, the head always anticipates the line of

movement and the direction to be taken.

4. The arms must never fall behind the shoulders. If they do, the weight will be too far back.

The early years of training are vital as they establish the placement upon which the mature dancer will rely.

Correct

Shoulders and

hips over the

ball of the

foot

Incorrect

Sitting into the

hip, weight on

the heel

Figure 15.

Placement à la seconde

Incorrect

Weight between

the feet

Figure 16.

Placement devant

Correct

Shoulders and

hips over the ball

of the foot,

lengthened spine

Incorrect

Anterior tilt of

the pelvis

(Spinal lordosis)

Incorrect

Posterior tilt of

the pelvis

(Tucked)

10


Lengthening and Counter Pull

Once correct posture, turn-out, weight distribution and placement has been established the dancer must

lengthen or elongate the body in all directions from the centre.

The body’s weight descends through the standing leg into the ground to establish stability and at the same

time is lifted up out of the ground through lengthening the spine. A sense of breadth is achieved by

lengthening the body sideways in opposite directions. These types of counter-pull develop a sense of

expansion of the body that gives the classical dancer the poise that is the hallmark of the technique.

Figure 17.

Directional Lengthening of the body

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Teaching Tasks

The tasks below are designed to assist teachers in developing personal practice, there is no right or wrong

and many teachers will revisit these or similar basic tasks and refine them on a regular basis. When teaching,

it is important to remember that every teacher is unique and should therefore develop their own way of

imparting information. One should also be mindful that the use of language, imagery and props may need to

be adjusted depending on the age and experience of the students so the material presented is meaningful to

them.

Task 1

Design a verbal checklist for senior students to assist them in establishing good posture.

Refine the checklist to make it suitable for a younger child.

Discussion points:

What changes (if any) were made for the different age group and why was this appropriate?

How could this process be adapted to incorporate different teaching styles?

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Task 2

A Chinese Proverb says:

Tell me and I'll forget;

Show me and I may remember;

Involve me and I'll understand.

Give 5 examples of how you may involve your students in the teaching of posture, turn-out, weight

distribution, placement, and lengthening and counter pull.

1.

2.

3.

4.

5.

Discussion Points:

What proportion of the examples above are visual (seeing and reading), auditory (listening and

speaking) or kinaesthetic (touching and doing)? Is it necessary to include a variety of experiences and

if so why?

Were questions asked during the process either by the student or the teacher? Was this appropriate

and if so why?

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The Foundations of Classical Ballet Technique · The Foundations of Classical Ballet Technique ... to fall through the centre of the structure. All ... gluteus maximus, or buttocks,