Histories the Cecchetti classical Faculty

Established in 1904 the Imperial Society of Teachers Our mission is to educate the public in the art of of Dancing (ISTD) is one of the world’s oldest and dancing in all its forms, to promote the knowledge most influential examination boards. Ever since of dance, to provide up-to-date techniques, and to its inception the ISTD has developed new styles and maintain and improve teaching standards across the dance genres, and today with 12 faculties, no other globe. The ISTD is always moving with the times to dance examination board has the breadth of genres keep pace with the latest developments in dance. that the ISTD offers. We regularly update our syllabi and introduce new faculties to respond to changes in the world of dance.

he Cecchetti Faculty able to work with today’s directors across a Above left: with has a rich heritage and history. spectrum of ballet and Maestro Cecchetti was one of the most companies. T Above: A lithograph by R. Schwabe of important influences on the foundations of Maestro Enrico Cecchetti (donated modern classical ballet training. He evolved a Enrico Cecchetti (1850–1928) to the ISTD by Mrs Jane Box-Grainger method of training in the 19th century that is Cecchetti was born in Italy in 1850. At the in memory of her Mother, June as relevant today as it was when first created. height of his career as a dancer he migrated Hampshire) His influence on has been far- to St Petersburg, where he joined the Imperial reaching and resulted in the creation of The and created the virtuoso role of Cecchetti Society and the Cecchetti Ballet The Bluebird and the mime role of Carabosse Faculty of the ISTD. The Cecchetti principles in the premiere of The Sleeping Beauty in 1890. of training continue to produce outstanding Cecchetti also taught the Class of Perfection in artistic and technically accomplished dancers, the school and worked with many Mariinsky

www.istd.org | © Copyright ISTD 2014 All Rights Reserved Page 1 Above: Maestro Enrico Cecchetti dancers, including Pavlova, Karsavina and left a great imprint on the English School and Nijinsky. In 1909 he joined Diaghilev’s was my exclusive teacher for four years. The Above right: Cyril Beaumont Russes as a teacher and mime artist and important aspects of his teaching will remain travelled with the company to France and a part of the academic tradition of our English . His pupils included , ballet”.2 , and Leonide When Cecchetti retired from his studio in Massine. In 1918 he opened a school of dancing London his work was handed down through his in London, at 160 Shaftesbury Avenue. disciple, Margaret Craske, to a whole generation Cecchetti trained under Lepri, a pupil of of British artists. Many of these were to spread the great Carlo Blasis who had codified the his method abroad where it has become technique of classical ballet in 1820. Blasis’ an integral part of the work of many major ideas were developed further by Cecchetti companies and schools all over the world. Most who grouped the vocabulary into six sets notable amongst Rambert and Craske’s many of exercises, one for each day of the week. famous pupils, and the most important link This work was recorded and published in through them to Cecchetti, was Sir Frederick 1922 by Cyril Beaumont, assisted by Stanislas Ashton. He wrote: “If I had my way, I would Idzikowski and Enrico Cecchetti himself. always insist that all dancers should daily do Further volumes were compiled by Margaret the wonderful Cecchetti port de bras, especially Craske and Derra de Moroda. In 1923 he beginners. It inculcates a wonderful feeling returned to Italy and accepted the post of for line and correct positioning and the use Director of the Ballet School in La Scala, . of head movement and épaulement, which, if He died there in 1928. correctly absorbed, will be of incalculable use throughout a dancer’s career”.3 British ballet and Cecchetti Cecchetti’s influence on British ballet has The Cecchetti Society and the Cecchetti been far reaching. Ninette de Valois and Marie Faculty of the ISTD Rambert, the two architects of 20th century It was at the instigation of Cyril Beaumont, British ballet, both studied extensively with writer, ballet historian and critic, that the Cecchetti. Rambert called him “the greatest Cecchetti Society was founded in 1922, to ballet-master of his time”1 and Ninette de preserve and promote the work of ‘the Valois wrote in her memoir “Maestro Cecchetti Maestro’. The first committee comprised such www.istd.org | © Copyright ISTD 2014 All Rights Reserved Page 2 luminaries as Cyril Beaumont, Margaret Craske, In the 90 years that Cecchetti classical Jane Forrester, Molly Lake, Derra de Moroda, ballet has been affiliated to the ISTD it has Marie Rambert and Ninette de Valois. Maestro evolved and expanded and now provides a Cecchetti was President and Madame Cecchetti very wide range of training and performance was Vice President. In 1923 when Cecchetti opportunities for children, students and moved back to Italy, Cyril Beaumont was teachers. With nationally and internationally elected Chairman of the Cecchetti Society, a recognised ISTD examinations and post he held until his death in 1976. In 1924 the qualifications, Cecchetti classical ballet is now Cecchetti Society was incorporated with the taught across Europe and beyond. Branches of ‘Imperial Society of Dance Teachers’ (now, the the Cecchetti Society have also been formed ISTD). Following Cyril Beaumont, the position throughout the world and flourish in Australia, of Chairman has been held by: Diana Barker South Africa, Canada, Italy and the USA. 1976–1990; Mary Jane Duckworth 1990–1999; Together with the UK, these countries are the Linda Pilkington 1999–2005 and Elisabeth founder members of Cecchetti International Swan 2005–date. Classical Ballet (CICB), working together to The chairmen along with their vice promote the . chairmen, committee members and secretaries Building on this rich legacy the purpose of have made an outstanding contribution, Cecchetti classical ballet today is: ‘Recreational, leading the Faculty, promoting the work of the Vocational, Professional – a Training for the Society and protecting the Cecchetti heritage, Future’. To find out more about Cecchetti whilst also responding to the changing face Classical Ballet go to www.cecchetti.co.uk. of dance. Many members of the Cecchetti Catherine Hutchon Society have served on the Faculty committees over the years, offering their time on a voluntary basis and giving invaluable support References 1 to the Society through their experience and Rambert, M. (1972) Quicksilver: Autobiography London: St Martin’s Press, p103 expertise. 2 de Valois, N. (1957) Come Dance with Me: A Memoir The Cecchetti Society is also very honoured 1898–1956, London: Hamish Hamilton, p62 to have the support of a number of esteemed 3 Glasstone, R. (1996) ‘The Influence of Cecchetti on patrons. The current Society patrons are Dame Ashton’s Work’ in Jordan, S. & Grau, A. (eds) (1996) DBE, David Bintley CBE, Lesley Following Sir Fred’s Steps: Ashton’s Legacy, London: Dance Collier CBE and Kevin O’Hare. Books Ltd, p8

Above: The current patrons of the Cecchetti Classical Ballet Faculty, from top to bottom: Dame Monica Mason DBE, David Bintley CBE, Kevin O’Hare and Lesley Collier CBE

Photos by Geoff Wheatley David Bintley photo by Richard Battye

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