Finding the dancer within

Ballet: a Brief Definition

If you were to ask six people for a definition of the word 'ballet', it is quite likely that you would be given different answers. To one person, ballet may mean enchantment, to another mystery, while to a third - and probably to a fourth, fifth, and sixth - it may mean simly dancing. After all, we refer to 'ballet-dancing' almost as if it is a single for-syllable word, as if it is ballet itself. Well, ballet is not just dancing, in much the same way as opera is not just singing.

It is dancing+drama+music+decor. All the great ballets have been made up of this components in just about equal parts, although many choreographers in recent years have followed the example of George Balanchine and done without purely decorative decor - that is, they have dressed the dancers in simple leotards and the stage in a plain cyclorama and drapes.

Balanchine and many other choreographers - the Dutchma Hans van Manen and the American Jerome Robbins, for example - belive that dancing in ballet is pre-eminent. What Balanchine in particular strives to do is to make his dancers - predominantly female dancers - into receptive instruments so that beautiful body movements can result from dancers' realisation of the music which accompanies them. To Balanchine, music and dancing cannot be separated.

The prime function of a ballet as we customarily know it - that is, ballet as opposed to avant-garde dance - is either to tell a story, put accross a point of view, or express a feeling or 'moodpicture'.

The way to the ballet school

Russian Classical Ballet Academy has been founded to bring to the children, young adults, and adults an opportunity to study ballet in the method of A.Vaganova to become a professional classical dancer.


In our ballet school, which located in Toronto (North York) we want to share our strength, desire and enlightment to help students gain an amazing time and experience in developing themselves in a world of dancing ballet art.


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