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Balanchine technique

The Balanchine technique is a method of ballet training and performance style developed by Russian-American choreographer George Balanchine (1904–1983), characterized by extreme speed, deep pliés, extended lines, and athletic precision that prioritize dynamic musicality over static poses.^[1]^[2] Pioneered through Balanchine's instruction at the School of American Ballet, which he co-founded in 1934, the technique incorporates unconventional elements such as asymmetrical arm positions, en dehors pirouettes, and quick transitions to create fluid, expansive movement phrases.^[3]^[4] This approach diverges from European classical methods like Vaganova by emphasizing fitness, attack, and neoclassical abstraction, enabling dancers to execute rapid, high-energy choreography with apparent effortlessness.^[1]^[5] Balanchine's technique became integral to the New York City Ballet, which he established in 1948 and led until his death, shaping American ballet's identity through ballets like Agon and Serenade that demand versatility and speed.^[6] Its influence persists in institutions training dancers for professional companies, fostering agility and interpretive depth, though some traditionalists have questioned aspects like jumping mechanics for potential safety risks.^[3] The method's core principles—line, speed, and musical responsiveness—continue to distinguish Balanchine-trained performers in neoclassical repertoires worldwide.^[2]^[1]

Historical Development

Balanchine's Early Influences and Training

George Balanchine, born Georgi Balanchivadze on January 22, 1904, in St. Petersburg, Russia, entered the ballet section of the Imperial Theater School (now the Vaganova Ballet Academy) in 1913 at age nine as a day student, transitioning to a boarding student the following year.^[7] His training emphasized the classical Russian technique rooted in the Marius Petipa era, with precursors to the later systematized Vaganova method through rigorous daily classes focusing on alignment, turnout, and port de bras.^[8] Under teachers such as Pavel Gerdt, a premier danseur of the Maryinsky Theatre who instructed generations in refined classical partnering and elevation, Balanchine developed a foundation in precise execution and musical responsiveness.^[9] He made his debut in 1915 as Cupid in Petipa's The Sleeping Beauty at the Maryinsky Theatre, an experience that solidified his commitment to ballet amid the disruptions of World War I and the Russian Revolution.^[7] Graduating with honors in 1921, Balanchine joined the Maryinsky Ballet company, where he began choreographing student works as early as 1919, including La Nuit in 1920 to music by Anton Rubinstein, which experimented with concise, atmospheric movement over traditional narrative.^[8] These initial pieces drew from Michel Fokine's contemporaneous reforms at the Imperial institutions, which critiqued Petipa's formalism by advocating for dance that expressed character and emotion through integrated mime and plastique rather than isolated virtuosity.^[8] Fokine's influence, observed through school productions and Maryinsky stagings like Les Sylphides (1909), encouraged Balanchine toward modernism within classical bounds, prioritizing fluidity and psychological depth.^[8] In 1924, Balanchine departed the Soviet Union with a touring ensemble including dancers Tamara Geva and Alexandra Danilova, reaching Europe where Sergei Diaghilev recruited him in Paris as ballet master and choreographer for the Ballets Russes.^[7] From 1925 to 1929, amid Diaghilev's fusion of ballet with avant-garde composers, artists, and designers, Balanchine produced nine ballets that shifted from romantic expressivism toward abstraction, including Barabau (1925, Vittorio Rieti), Le Chant du Rossignol (1925 revision, Igor Stravinsky), and Apollon Musagète (1928, Stravinsky).^[7] Apollon, with its streamlined choreography evoking Greek ideals through pure lines, brisk tempi, and minimal props, exemplified this neoclassical pivot, reducing mime in favor of direct musical embodiment and geometric formations.^[7] His final Ballets Russes work, Le Fils Prodigue (1929, Sergei Prokofiev), retained biblical narrative but emphasized dramatic clarity through athletic partnering and spatial dynamics, presaging Balanchine's later emphasis on form over story.^[7] The company's dissolution upon Diaghilev's death in August 1929 marked the end of this formative European phase, during which Balanchine's exposure to Stravinsky's rhythmic innovations honed his instinct for syncopated phrasing and speed.^[9]

Establishment and Evolution in the United States

George Balanchine arrived in New York City in October 1933 at the invitation of arts patron Lincoln Kirstein, who sought to create a distinctly American ballet tradition free from reliance on European repertory and imported performers.^[10] ^[8] With financial backing from Edward M.M. Warburg, Balanchine established the School of American Ballet (SAB), which commenced classes on January 2, 1934, focusing on cultivating native dancers capable of embodying a neoclassical style emphasizing athleticism, speed, and musical responsiveness rather than romantic-era mime and narrative conventions.^[11] ^[6] The SAB served as the foundational institution for Balanchine's method in the U.S., producing performers adapted to his vision of plotless, abstract works that prioritized choreographic innovation over imported European aesthetics.^[12] In 1948, Balanchine and Kirstein launched the New York City Ballet (NYCB) at New York City's Center for Music and Drama, with its inaugural performance on October 11 featuring ballets like Symphony in C, which exemplified the technique's demands for precise, fleet-footed execution and deep musical phrasing.^[9] ^[13] NYCB became the principal platform for evolving the Balanchine technique, enabling choreographic experimentation that diverged from traditional ballet's emphasis on pantomime and drama toward pure movement and structural abstraction.^[14] From the 1940s through the 1970s, Balanchine advanced the technique via key works staged by NYCB, including revisions to Apollo (originally premiered in 1928 for Diaghilev's Ballets Russes, adapted post-1951 to suit American-trained dancers with streamlined neoclassicism) and the premiere of Agon in 1957, which integrated twelve-tone music with explosive dynamics, angular partnering, and unprecedented velocity to redefine ballet's expressive possibilities.^[15] ^[6] These creations institutionalized the technique's core attributes—rapid transitions, elongated lines, and rhythmic acuity—fostering a performance idiom tailored to the physicality of U.S. dancers and the demands of modern symphonic scores, thereby solidifying its institutional presence through SAB and NYCB.^[12]

Key Milestones in Institutionalization

The School of American Ballet (SAB), established by George Balanchine on January 2, 1934, formalized the institutional training ground for the Balanchine technique through its progressively structured syllabus, which refines classical ballet principles under his influence and serves as the core curriculum for dancer development.^[16]^[17] Documentation efforts further supported transmission, including the 1977 publication of Repertory in Review: 40 Years of the New York City Ballet by Nancy Reynolds, which compiled historical notes on the company's works dating back to the 1940s and provided a reference for preserving Balanchine's stylistic and choreographic intent beyond oral tradition.^[7] Balanchine's death on April 30, 1983, marked a pivotal transition, with Peter Martins appointed as his successor at the New York City Ballet (NYCB), initially as co-ballet master in chief alongside John Taras, to maintain the technique's execution and repertory integrity within the institution.^[18] Suzanne Farrell, a principal muse and frequent collaborator, contributed to staging Balanchine ballets, reinforcing continuity despite later tensions in leadership dynamics.^[19] Post-1983, the technique's institutional reach extended to regional ensembles via licensing and dedicated programs; notably, the Atlanta Ballet featured Balanchine's Emeralds and Prodigal Son in its 2025-26 season opener, "Balanchine & Peck," performed September 12-14, 2025, at the Cobb Energy Performing Arts Centre, exemplifying structured adoption outside NYCB.^[20]^[21]

Technical Characteristics

Fundamental Principles of Movement

The Balanchine technique prioritizes speed, attack, and precision as core drivers of movement, demanding dancers execute transitions with rapid dynamics and unyielding sharpness to reveal the inherent efficiency of ballistic motion in ballet.^[1]^[22] This biomechanical focus favors direct, economical pathways over layered ornamentation, ensuring each step's clarity amplifies the physics of momentum and counterbalance without extraneous holds or flourishes.^[23] Music serves as the causal foundation for phrasing, with dancers conditioned to mirror the score's rhythmic structure—internalizing accents, syncopations, and tempi to propel action organically rather than imposing external storytelling or emotional overlays.^[24]^[23] Balanchine viewed the score not as accompaniment but as the generative force, requiring performers to anticipate and embody musical cues with anticipatory precision, often arriving at or fractionally ahead of the beat for heightened impetus.^[25] Neoclassical reductionism underpins the approach by distilling movement to abstract geometric essentials, eschewing Romantic-era mime and narrative gestures in favor of stark spatial configurations that emphasize line, proportion, and void in both solo and partnered work.^[26]^[27] Partnering exemplifies this through unsupported balances and linear extensions that prioritize architectural harmony and kinetic interdependence over dramatic support or illustrative poses.^[28]

Distinctive Stylistic Elements

Balanchine technique features arabesques with an open hip orientation toward the audience, creating an illusion of heightened extension and a more athletic line compared to traditional closed-hip positions.^[4]^[29] This positioning emphasizes dynamic reach and visual impact in performance. Quick footwork, coupled with explosive jumps like jetés en tournant, supports high-velocity phrasing that synchronizes precisely with musical accents, demanding rapid transitions and sustained elevation.^[30]^[31] Arm lines in Balanchine style prioritize extended linearity from shoulder to fingertip, facilitating speed in port de bras with less emphasis on rounded fluidity and more on sharp, continuous extensions, often incorporating subtle wrist breaks for stylistic punctuation.^[32] These elements enable performers to convey momentum and precision in abstract choreography. In leotard ballets, such as those set to Stravinsky scores, female dancers portray luminous muses through ethereal pointe work and expansive spatial coverage, while male dancers offer dynamic structural support via lifts and geometric partnering, eschewing dramatic facial expressions or narrative dominance.^[33]^[34] This delineation underscores Balanchine's vision of ballet as woman-centric poetry in motion, with men enhancing rather than overshadowing the central feminine expression.^[33]

Comparisons to Other Ballet Methods

The Balanchine technique contrasts with the Vaganova method primarily in its prioritization of velocity and sharpness over épaulement and fluid port de bras. Vaganova training employs slower musical tempos to cultivate sustained coordination between the upper and lower body, fostering elongated lines and a sense of seamless flow derived from its synthesis of French clarity, Italian precision, and Russian expressiveness.^[35] In contrast, Balanchine emphasizes rapid tendus, jetés, and extensions executed at faster paces, often with wider stances and open hips to elongate the silhouette against modern stage lighting, which trains dancers for explosive dynamics rather than gradual build-up.^[5] This causal shift results in practitioners developing more athletic, muscular physiques optimized for high-speed partnering and allegro sequences, as opposed to the lithe, elongated forms typical in Vaganova-trained dancers.^[36] Compared to the Cecchetti method, Balanchine reduces focus on mime, adagio sustainment, and weekly cyclic exercises designed for balanced development of flexibility, strength, and endurance. Cecchetti's structured daily routines stress precise footwork, hip alignment, and prolonged balances to build foundational control, using slower tempos that allow for meticulous correction of alignment.^[35] Balanchine, however, accelerates phrasing to mirror Stravinsky-esque rhythms, employing less rigid port de bras and freer arm lines, which enhances adaptability to asymmetrical choreography but may limit training in extended lyrical phrases.^[37] These differences manifest in performance outcomes: Cecchetti fosters clarity in classical narratives through sustained poise, while Balanchine's approach yields superior rhythmic attack, enabling dancers to navigate polyrhythms with heightened precision.^[38] Empirical observations from training analyses indicate that Balanchine-trained dancers excel in musical synchronization due to choreography that maps pitch patterns and rhythmic motifs directly onto movement, often exceeding the tempo demands of traditional methods.^[39] However, the velocity-oriented drills correlate with elevated demands on lower extremities, contributing to patterns of overuse injuries observed in professional cohorts prioritizing speed over gradual progression, though direct comparative injury metrics across methods remain limited.^[25]

Pedagogy and Instruction

Balanchine's Teaching Approach

Balanchine's classes at the School of American Ballet followed a structured progression beginning with daily barre work centered on foundational exercises like pliés, tendus, and frappés, which emphasized maximal turnout from the hips and a crisp, forceful attack to build dynamic energy and precision.^[40]^[41] This phase prioritized anatomical efficiency over aesthetic exaggeration, using repetitive corrections derived from direct observation of each dancer's mechanical response to ensure turnout engaged the rotators without compensatory strain.^[40] Center exercises then shifted focus to adagio, allegro, and petit allegro combinations, incorporating improvisational responses to musical cues to foster instinctive phrasing and adaptability rather than memorized sequences.^[42] Live piano accompaniment was standard, enabling real-time synchronization of movement to rhythmic and dynamic shifts, which reinforced a causal understanding of how sound drives kinetic impulse over isolated step execution.^[43] Balanchine provided terse, immediate verbal feedback—often demonstrative or corrective without explanation—evaluating based on empirical outcomes like speed, clarity, and musical alignment, eschewing gradual hand-holding in favor of self-reliant refinement through trial.^[44] Central to this pedagogy was Balanchine's assertion that "ballet is woman," interpreting the form as an exaltation of female physicality wherein men served supportive roles, thus directing intensive scrutiny toward women's extensions, balances, and velocity to achieve virtuosic lightness and speed.^[45]^[46] Corrections were merit-driven and unyielding, predicated on observable capability rather than potential or effort alone, compelling dancers to internalize adjustments via repetition and intrinsic motivation.^[47] This approach, grounded in Balanchine's firsthand assessment of biomechanical limits and artistic efficacy, cultivated performers attuned to performance demands over classroom perfection.^[48]

Codification in The Balanchine Essays

The Balanchine Essays comprise a series of ten instructional videos produced by The George Balanchine Foundation starting in 1995, demonstrating key aspects of Balanchine's classical ballet technique through exercises led by former New York City Ballet principals Suki Schorer and Merrill Ashley. These videos cover foundational elements such as barre work (in two parts), passé and attitude, arabesque, port de bras and épaulement, and pointe-specific movements like pas de bourrée, providing step-by-step breakdowns of progressions from barre to center work, including components of adage and allegro.^[49]^[50] The essays prioritize exacting corrections derived from Balanchine's direct coaching, such as maintaining square hip alignment during grand battement to facilitate uncompromised leg extension while preventing torso distortion or undue lower-back stress, thereby standardizing the technique's biomechanical precision for replicable execution. Schorer and Ashley, drawing on their decades of performance under Balanchine, articulate these details verbally and visually to distinguish his preferences—emphasizing fluidity, speed, and elongation—from broader classical norms.^[51]^[52] Produced after Balanchine's death on April 30, 1983, the essays function as authoritative archival tools for technique preservation, totaling over nine hours of content used systematically at the School of American Ballet (SAB) and its affiliates to calibrate training consistency and fidelity to Balanchine's stylistic imperatives. This codification enables instructors to transmit verifiable metrics for alignment, turnout, and dynamic phrasing without reliance on oral tradition alone, mitigating interpretive drift in post-founder pedagogy.^[49]^[53]

Cultural and Artistic Impact

Revolutionizing American Ballet

George Balanchine, in collaboration with Lincoln Kirstein, founded the School of American Ballet (SAB) on January 2, 1934, establishing the first institution dedicated to training native American dancers in classical ballet technique rather than importing performers from European companies.^[9] This initiative marked a pivotal shift from reliance on touring European ensembles, such as the Ballets Russes, to cultivating homegrown talent capable of sustaining a national ballet tradition. By 1935, SAB students formed the core of the American Ballet, a touring company that performed domestically and laid the groundwork for independent American institutions.^[9] The New York City Ballet (NYCB), evolving from the Ballet Society in 1946 and officially established on October 11, 1948, at New York's City Center, further institutionalized this model, with SAB serving as its primary academy.^[9] Balanchine's choreography, exemplified by Serenade—premiered on June 9, 1934, as his first original ballet created in the United States—introduced an abstract, neoclassical style set to Tchaikovsky's Serenade for Strings, emphasizing speed, precision, and musicality over narrative or romantic excess.^[54] This work, initially a workshop piece for SAB students, became a cornerstone of NYCB's repertory and helped popularize ballet by rendering it more accessible to American audiences unaccustomed to European conventions, moving beyond elite patronage toward broader public engagement through its innovative, plotless form.^[54] By the 1950s, NYCB's resident status at City Center and premieres of landmark ballets like The Nutcracker (1954) and Agon (1957) solidified New York City's position as the epicenter of American ballet, fostering institutional stability and attracting sustained domestic support.^[9] NYCB's expansion in the 1950s, including regular seasons and national tours, contributed to ballet's economic viability in the U.S. by increasing performance frequency and audience reach, aligning with a broader dance boom that expanded national viewership starting in the late 1950s.^[55] Balanchine's prolific output—over 465 works by the end of his career—underpinned this growth, enabling NYCB to transition from a fledgling ensemble to a permanent company that demonstrated ballet's potential for self-sustained funding through ticket sales and philanthropy, independent of opera house attachments.^[9] This institutional momentum, driven by Balanchine's technique-centric approach, verifiably elevated American ballet from marginal import to a culturally dominant art form centered in New York.^[56]

Global Dissemination and Adaptations

The Balanchine technique spread internationally primarily through the global performance of his ballets by major companies and the tours of the New York City Ballet (NYCB), which feature his choreography. Companies such as the Mariinsky Ballet in Russia and the Paris Opéra Ballet in France have integrated works like Jewels into their repertory, necessitating training in Balanchine's distinctive elements, including rapid tempos and elongated lines.^[57]^[58] Similarly, the Royal Ballet in the United Kingdom has staged pieces such as Duo Concertant, originally premiered by NYCB in 1972.^[59] These adoptions often involve collaboration with Balanchine Foundation repetiteurs to ensure stylistic fidelity.^[57] Adaptations outside the United States typically retain core technical demands, such as speed and musicality, while incorporating local training influences; for instance, Russian companies blend Balanchine execution with Vaganova method's emphasis on épaulement and port de bras.^[60]^[57] The Suzanne Farrell Ballet, focused on Balanchine's oeuvre, has conducted international tours since 2001, staging authentic versions in venues across Europe and Asia, thereby exporting the technique directly.^[61] NYCB's ongoing international tours, including to Europe, further disseminate the style, with guest artists from global companies performing in Balanchine repertory during centennial events.^[62]^[63] By the 2020s, Balanchine's influence is evident in the regular inclusion of his 75 surviving ballets in non-American companies' seasons, reflecting sustained demand and adaptation to diverse cultural contexts without altering fundamental principles.^[64] For example, international collaborations like the 2018 City Center tribute involved eight companies, including European and Russian ensembles, performing Balanchine works side-by-side with NYCB.^[65] This proliferation underscores the technique's universality, as dancers trained in it are sought by companies worldwide for their versatility.^[66]

Enduring Legacy in Performances

The New York City Ballet maintains annual programs dedicated to Balanchine's choreography, such as the Fall 2025 All Balanchine I and II, featuring works like Donizetti Variations and Episodes, performed across multiple dates from September 16 to October 3.^[67]^[68] These programs unite ballets spanning decades of Balanchine's career, demonstrating the technique's capacity to adapt to successive generations of dancers through its emphasis on speed, precision, and musicality.^[69] Contemporary reviews of these performances highlight the enduring technical demands and aesthetic coherence, with dancers executing intricate footwork and dynamic phrasing that preserve Balanchine's neoclassical innovations while accommodating modern interpretations.^[70] Balanchine's technique informs the hybrid works of resident choreographers at NYCB, notably Justin Peck, whose creations build on foundational elements like rapid footwork and off-balance partnering derived from Balanchine training.^[71] Peck explicitly harnesses Balanchine's stylistic fundamentals, integrating them into contemporary ballets that blend neoclassical propulsion with reversed body mechanics and heightened musical responsiveness.^[72] This evolution is evident in Peck's repertory, performed alongside Balanchine classics, where dancers apply versatile training to sustain high-velocity sequences across diverse choreographic vocabularies.^[73] Balanchine-trained companies, including NYCB and affiliates like Miami City Ballet, dominate the roster of the largest U.S. ballet ensembles, comprising over 15% of professional dancers in major organizations and enabling sustained performance viability through adaptable skill sets.^[74]^[75] His ballets form a core repertory worldwide, with ongoing stagings underscoring the technique's empirical resilience in professional contexts, as seen in consistent programming that withstands cast rotations and stylistic updates without compromising execution.^[76]

Criticisms and Controversies

Aesthetic and Technical Objections

Advocates of traditional ballet schools, such as the Russian Vaganova method, have contended that the Balanchine technique's emphasis on extreme speed and streamlined precision sacrifices the lyrical depth and emotional expressiveness central to classical ballet's narrative traditions.^[60] This critique stems from Balanchine's neoclassical innovations, which accelerate choreographic phrasing to amplify sharpness but diverge from the slower, more fluid tempos favored in Vaganova training for building sustained port de bras and épaulement.^[35] For instance, in 1989, the Kirov Ballet's performances of Balanchine works revealed challenges in meeting demands for rapid clarity and abstraction, contrasting with their ingrained focus on dramatic phrasing and musical rubato derived from 19th-century Imperial Russian repertory.^[77] The pursuit of such virtuosity has drawn objections for fostering a mechanical execution, where technical feats overshadow interpretive nuance and organic flow.^[78] Traditional perspectives highlight how Balanchine's abstraction—eschewing elaborate storytelling for pure movement—can render performances detached, prioritizing geometric efficiency over the humanistic warmth of romantic-era ballets like those of Petipa.^[79] This is reflected in comparative repertory practices: Balanchine works experience slower retention in romantic-focused companies, such as those adhering to Vaganova or Cecchetti syllabi, versus neoclassical ensembles optimized for his stylistic velocity, with performance data showing a 21% decline in staging across broader companies since 1988 but persistent dominance in speed-adapted troupes.^[80] The Balanchine technique's emphasis on speed, precise footwork, and partnering demands lean, elongated physiques to optimize lift mechanics and rapid movement, as lighter body mass reduces strain on male partners and enhances airborne illusions.^[81] This aesthetic preference, articulated by Balanchine in directives to dancers about maintaining low weight, has been associated with elevated risks of disordered eating in ballet populations.^[82] Studies indicate that female ballet dancers exhibit higher prevalence of eating disorders compared to non-dancers, with rates of anorexia nervosa at 1.8%, bulimia nervosa at 2.7%, and unspecified eating disorders at 9.5% among non-elite practitioners, often linked to body dissatisfaction and competitive pressures rather than inherent malice in the method.^[83] Empirical data attributes these patterns to low energy availability from caloric restriction, which causally impairs bone mineral density (BMD) via mechanisms like primary amenorrhea and inadequate nutrient intake, increasing osteoporosis susceptibility.^[84] ^[85] Critics have contested the technique's gender dynamics, wherein Balanchine famously declared "ballet is woman," positioning female dancers as aesthetic focal points elevated by male partners whose roles prioritize support over virtuosic display.^[86] This framework, defended as an extension of classical ballet's reverence for the female form as a symbol of ethereal grace, draws objections for reinforcing objectification by subordinating women's agency to visual idealization.^[87] However, the method's meritocratic structure—favoring technical proficiency over identity-based accommodations—has enabled breakthroughs by dancers defying narrow body norms, countering claims of exclusionary rigidity with evidence of sustained excellence amid rigorous standards.^[88] Longitudinal reviews confirm that while thinness correlates with axial skeleton vulnerabilities like spinal osteopenia, peripheral BMD adaptations from weight-bearing elements provide partial physiological offsets, underscoring the technique's biomechanical imperatives over sociocultural fiat.^[89]

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[PDF] Balanchine The Teacher Fundamentals That Shaped Th
His classes often included a mixture of barre work, center exercises, and improvisational elements designed to develop strength, coordination, and creativity.
[43]
The Balanchine Method - Studio R Ballet
May 1, 2021 · The Balanchine method is easily recognizable for many different reasons. One of its most notorious characteristics is its arabesque with an open hip.
[44]
Balanchine Teaching | The New Yorker
Jan 11, 2017 · Joan Acocella on “Balanchine Teaching,” which shows the choreographer George Balanchine at work at the School of American Ballet.Missing: feedback | Show results with:feedback
[45]
Balanchine Said | The New Yorker
Jan 18, 2009 · “Ballet is Woman” is pure Balanchine. “There are no mothers-in-law in ballet” is his pronouncement upon relationships that cannot be ...
[46]
Balanchine: Making & Being Don Quixote | Jennifer Homans
Jun 4, 2015 · “Ballet is woman,” he famously said. “Everything a man does he does for his ideal woman. You live only one life and you believe in something ...<|separator|>
[47]
Susan Pilarre Explains 5 Balanchine Essential Elements
Feb 18, 2020 · Pilarre shares how the specifics that Balanchine insisted upon in class contribute to the strength, beauty and musicality that define his style.
[48]
'In Balanchine's Classroom' Review: Teaching the Ineffable
Sep 16, 2021 · The documentary “In Balanchine's Classroom” pairs archival footage from Balanchine's studio with present-day interviews with the dancers who attended.
[49]
2012 | 03 - The George Balanchine Foundation is pleased to ...
The George Balanchine Foundation has helped to ... The Balanchine Essays," ten videos exploring Balanchine's approach to classical ballet technique.
[50]
archives.nypl.org -- Suki Schorer Balanchine Essays materials
In 1995 she produced the Balanchine Essays along with dancer Merrill Ashley. The Essays are a series of educational videos detailing Balanchine's approach to ...<|separator|>
[51]
The Balanchine Essays: The Barre - Part 1 - Alexander Street Video
Jan 1, 1998 · Drawing upon their experience as principal dancers with George Balanchine's New York City Ballet, Suki Schorer and Merrill Ashley provide a ...
[52]
Learn From Balanchine - Pointe Magazine
Nov 28, 2001 · With over nine hours of content, The Balanchine Essays give dancers a visual description of his technique, showcased by former New York City ...
[53]
https://digitalcollections.nypl.org/items/a26e16ff-935e-4580-9224-a0ead3c90fc5
[54]
Serenade - George Balanchine Trust
Serenade is a milestone in the history of dance. It is the first original ballet Balanchine created in America and is one of the signature works of New York ...
[55]
Stages, Streets, and Screens: The Geography of NYC Dance in the ...
Oct 22, 2020 · Beginning in the late 1950s and accelerating through the early 1970s, the dance boom greatly expanded national audiences and international ...Missing: attendance | Show results with:attendance<|separator|>
[56]
https://www.vanityfair.com/culture/1998/12/george-balanchine-new-york-city-ballet-history
[57]
Preserving Balanchine's Ballet Legacy, 30 Years Later - NPR
Jul 27, 2013 · Now Russia's major ballet companies regularly perform Balanchine's work, as do most ballet troupes. But they're starting to learn it from a ...
[58]
Three Companies, Three Facets of Balanchine's 'Jewels' - The New ...
Jul 13, 2017 · Three Companies, Three Facets of Balanchine's 'Jewels' · 'Emeralds': A Subtle Elegance · 'Rubies': Power and Glamour · 'Diamonds': A Lost World.Missing: examples | Show results with:examples
[59]
Duo Concertant - Royal Ballet and Opera Collections
George Balanchine · Igor Stravinsky · Duo Concertant for violin and piano (1939) · Ballet in one act · 22 June 1972, New York City Ballet, New York State Theater, ...
[60]
Worldwide ballet - Vaganova method and Balanchine style
However different the Vaganova and Balanchine technique may seem at some point, they both derive from the same source and serve the same purpose: to build ...
[61]
Suzanne Farrell Ballet Company
Since 2001, The Suzanne Farrell Ballet has since performed annually at the Kennedy Center in Washington, D.C. and has toured both nationally and internationally ...
[62]
On Tour - New York City Ballet
New York City Ballet embarks on national and international tours with the full Company and Orchestra, as well as via NYCB MOVES, our dynamic touring arm.
[63]
New York City Ballet Chronology
New York City Ballet possesses a rich and distinguished heritage. The Company's repertory, largely created by George Balanchine, Jerome Robbins and Peter ...
[64]
George Balanchine: A Legacy in Motion - The Sentinel
Apr 10, 2025 · Balanchine choreographed a collection of revolutionary ballets in his time, 75 of which are still performed today across the globe. The main ...
[65]
Eight Companies Join Forces to Celebrate Balanchine at New York ...
Oct 25, 2018 · City Center is bringing together eight companies—American Ballet Theatre, The Joffrey Ballet, Mariinsky Ballet, Miami City Ballet, NYCB, Paris ...
[66]
What companies hire Balanchine-trained dancers, even if ... - Reddit
Feb 19, 2025 · Many companies will hire a Balanchine trained dancer if you are adaptable. Having training at SAB or PNB on a resume is always well regarded.What companies and summer programs are Balanchine? : r/BALLETTell me more about the Balanchine training : r/BALLET - RedditMore results from www.reddit.com
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All Balanchine I | New York City Ballet
Uniting three ballets NYCB Founder George Balanchine created across some 30 years, this program reveals the breadth of his classical mastery.
[68]
All Balanchine II | New York City Ballet
Two ballets Balanchine created in tribute to the culture of his adopted country, the United States, bookend this program.
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Fall 2025 | New York City Ballet
OnStage Fall 2025 · All Balanchine I. SEPT 16, 18, 19, 20 eve, 23, 24, 28. Donizetti Variations · All Balanchine II. SEPT 17, 20 mat, 21, 27 mat & eve, OCT 3.All Balanchine II · All Balanchine I · Winter 2026 · Contemporary Choreography I
[70]
Savoring the glories of a timeless all-Balanchine program with NYCB
Sep 20, 2025 · Savoring the glories of a timeless all-Balanchine program with NYCB ; Megan Fairchild and Anthony Huxley in George Balanchine's Square Dance. © ...
[71]
Miami City Ballet is influenced by Balanchine and Justin Peck
Mar 14, 2018 · “Fast footwork is a key point to Balanchine choreography,” Lauren says. “And Justin's choreography has fast footwork but it also has off balance ...
[72]
Justin Peck in 2016 interview about his own 2015 “Rodeo
Sep 1, 2024 · I harness a lot of the Balanchine style, technique, and fundamentals, and use them to my advantage. I love the emphasis that he placed on ...
[73]
What Makes Choreographer Justin Peck's Dances Distinct - Vulture
Jan 19, 2023 · Where Balanchine's ballets are propulsive, “Justin rewinds the body, so we're going almost in reverse,” says Delgado. “But when you watch him ...
[74]
Balanchine - In the Dancer's Studio
At the highest end, we have NYCB, supporting 93 dancers with annual expenses around $92 million – just shy of $1 million per dancer. Alvin Ailey American Dance ...
[75]
The Largest Ballet & Classically Based Companies 2024
This is Dance Data Project's® sixth annual study of the Largest U.S. Ballet and Classically Based Companies. Following the precedent of previous reports, ...
[76]
Balanchine's Lasting Influence on New York City Ballet
Sep 11, 2023 · Balanchine didn't think his ballets would last. But many have become classics, the cornerstone of repertory not just at City Ballet but around the world.
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BALLET REVIEW : Balanchine Theme, Kirov Variations
Aug 28, 1989 · Balanchine's special demands for speed, clarity, discipline, precision, musicality and abstraction represented a severe test. Some passed it ...
[78]
The Body as Machine | History Today
Dec 12, 2022 · George Balanchine, founder of the New York City Ballet (NYCB), pursued pure abstraction in his choreography, emphasising the physical virtuosity of his dancers.
[79]
The Struggle to Save Ballet From Itself | The New Republic
Apr 19, 2023 · According to a study by Dance Data Project, men choreographed 80 percent of the work performed by America's 50 largest companies from 2018 to ...
[80]
Balanchine's Choreographic Legacy
This paper quantifies the status of George Balanchine's choreographic legacy: how often his ballets are performed, how many companies perform his ballets,
[81]
Bone mineral density in professional ballet dancers - ScienceDirect
We studied the effect of physical training on the bone mineral content and soft tissue composition in 42 professional ballet dancers (17 men and 25 women).
[82]
'You're very fat up here': was dance god George Balanchine a ...
May 1, 2023 · He was a trail-blazing genius who electrified US ballet. But he was also a dictatorial grudge-bearer who married four of his dancers.
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Eating disorders and body image disturbances among ballet ...
Non-elite ballet dancers reported the highest prevalence of eating disorders (anorexia nervosa 1.8%; bulimia nervosa 2.7%; eating disorders not otherwise ...Missing: technique | Show results with:technique
[84]
Bone Mineral Density in Active and Retired Ballet Dancers
We concluded that factors such as primary amenorrhea, low body weight, low energy intake, low calcium intake, and eating disorders can all lead to low BMD in ...
[85]
Bone Density and Amenorrhea in Ballet Dancers Are Related to a ...
The purpose of this study was to investigate the relationship of chronic dieting and resting metabolic rate (RMR) to amenorrhea and bone density.Missing: thinness | Show results with:thinness
[86]
Lecture | Ballet is woman?!?
Ballet is a woman” is a phrase by George Balanchine that has gone down in dance history ... Lecture | Ballet is woman?!? Universiteit van Amsterdam en Nationale ...
[87]
Pas de Deux: Sexism and the Gender Binary in Ballet | Arts
Feb 9, 2021 · Classical ballet contains extremely strict gender roles, with men and women performing different types of movements and dancing very different roles.
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[PDF] Exploring the Stereotypes of Gender and Sexuality in Ballet and its ...
Apr 24, 2024 · For men, the majority of roles are limited to strong princes, played by cis-gender men who fit the model of hegemonic masculinity. Research.
[89]
Bone health in female ballet dancers: a review - ResearchGate
Jan 9, 2016 · (1) observed that compared with age-matched women, professional ballet dancers exhibited higher BMD at impact sites and lower BMD at nonimpact ...