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Biomechanical Perspectives on Classical Ballet Technique and Implications for Teaching Practice

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BIOMECHANICAL PERSPECTIVES ON CLASSICAL BALLET TECHNIQUE AND IMPLICATIONS FOR TEACHING PRACTICE Rachel Evelyn Ward A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy School of Risk and Safety Sciences Faculty of Science University of New South Wales Sydney, Australia September 2012 P)..EASE TYPE THI; UNIVERSITY OF NEW SOUTH WALES l',toslsiOI!.isurtatlun Sheet SuuumtL! or Fanuly name Wa1d Otht;H name/3: ElJolyn Abbrevootion for de~ree a• _given In the UniVersity calendar PhD Sohoor. Stlloot ol Rls~ &nd Safety Sciences Faculty. FaO<Jity of Science TIUB! Biometllanfcal poll!pediVas On classical ballet techniqUe and Implications for teac~ tng practice Abstract 350 words maximum: (PLEASE TYPE) Classical ballet ls an 1111 foun wen known I(U 115: vury dllittnct ilnd precise movement styla. A review of retsvant. lltetature led (o lt'le tde'nlifitatlOn oJ four fundamental blornechanlcal pn'nelple& of class.lcal ballet tedmlqll« '"al!gnm:en,•; •platement", 1utnoul"'-, .ond "extellstorf . The capacity to ex•cuta technique cor(ectJy 45 a rundame:nt~l pretequ!"ite for a SiJCGe$$ful career-as a professional clnSsical ballal aa"~'· Given thiS. 111e avenlgC<J )Ctncmauc aata flom pfofc:ss1r.ma1 Oal!et danccw; pttrtiJttrlmg core ballet -slepa provide-& a practfcsl blo,.,echanlcal ban~l't'lill'tl' of ' correct' lochnlquo_ Ti'oroo-dlmoMional (30) IUII-I)ody motion analysis Of 14 b3llet steps ms osoo to eompme the J>CffOI1ll3hC<! ul p1uftr.~sionat classiCal ball•l da"''""' (N•12} wltll that ol non-profess>anaf baUel dance IS (Na lA}, snd 10 invesVgato the '"""' of agreement between practical execut1on of the steps Willi ll'le lfleoretlcaf kfeals. Profess1onal danwrs did demonstrate ku12mat1c vau~b!es 1elal1ng to "turnou1·· and ·extension· in lll)reomonl wltn O>• lhooroUcal pnnclpl"". howavor some de•laUo~s bel\llee~ praclica and !Mol)' were o\lseM!d In the orea• of "olignmcnl' " and "pletceiJU.:Ut'" ih1s reiiult 11as nHphcellun~ lo1 thu teachmg mulhoOs c:une11Uy used m c:lsss1cal ballet ~nstructJon, Having eslsblltihed lfte praf:1tcal kinematic pnnclplos of ' correl:1' l'ia$slcal l)allet tetllnlque, the aeeuraey of qualllatlve analysis ot ·correcl' and ~lnwnect• ballet ttochnque wa~ IUW!Illgah~d with respt:ct to 'experienc·e· In classical ballet lnstrudJon_ Teachers• qualitative re.spon.lut·$ ware. compared lo qu-an~tatlve data oblaincd rrorr·, 30 mc>l!on oua\ySts. A fJ0$1Uve rt:le~Uonstup bt:twettn yeuf3' ot teaching eJ(penence and aCcuracy of qvahl~llvo aMiys.iS Wa$ damo!ll'l'llt~d. however eV_M the mosl Olq)erlenced leatllers only ttehlel/ed modero1e aCC<Jracy Improvement In acoul<lcy witt\ tm:reasiny tlxpeuonce appear'cd to .be SlOVI, anel pl~1eauW aft~r l O years These obS~tvallons ar~ ithpOttanllf\ 1Vtms ol ttevetopfng ctmiculs and ~eaching programs- ror dance teachers. Glven lha relatively low accuracy ol qualltalfve analy$!$ demonstroted by e~perle nced !~tilers. a quantllallve assessment 1001 was developed In which data tram mdtVJdUal dancerS' were compared to the practical ·gold 'Standard ~ of techntque. as de.monsuated by protessronal ballet dancers Anatyse• were conducted to detetmlne the minimum number ana opptoprlate combination of ballet steps for mctusion ln tne assessment tool that wovld mO$! afficl~ntly enabfo 111• evaluation ol dancers againsT Ihe four fUndamonta1 prfni:llll•• of classical ballellochnlqua Oeclaratlon rotaUng to dlsposiHon of project lltasllldissertaUon I heceby grant to the Umvers1ty ol New South Wsles or its agents the nght to arch1ve and to make avallable- my thesra or dtssertation ln Whole or in pan In Ihe University llb13ries ln all ronn• of media, naw or horo ahBI known, stiblecl to ti'os proVftions of !lie Copynght Act 1968, I reL11n 1111proport y r1ghl$: such-as patent rtghls. 1niSO feHJjn lhe right to use In f'uture works (~ucfl as an}~es or books) :01! or part of this thesiS or dlssertnti(m I also autnorlse University Mlcrofolms 10 trse ihe 3SO wort;! <Jbstr<~<;l of my lhe~lsln Olsseri•lion Ahstra~ International (I his ill applicable to docloral the•" only) . ............ ;trdv.:.. C .... /1/tk.f~. ... ~~.--..- .. .-- . I z./ ? (z_".'.~ Signature Wllness ~·;t~ The University ~ecognlsas lhallhete may be •~ceptlonal clraJmstances requiring rostrlctloOll on COPYif19 or condttions on use Requests for raslnctlon for a p'enod of up to 2 YftiU$ must be mad~ 111 wrilutg. Requt!sls fo1-a longer petiod crrcSttlction may b(! considered In oxccptwnal cltC1imstanees- and ra urre the a oval ol Uus Oean of Graduate RaseJJrch. FOR OF ACE USE ONLY Date or completion of requirements for Award: THIS S~EET IS iO 8E GLIJEO TO TfiE' INSIDE FRONT COVER OF THE THESIS COPYRIGHT STATEMENT 'I hereby grant the Universi\Y of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or part in the University libraries in all forms of media, now or here after known. subject to the provisions of the Copyright Act 1968 , I retain all proprJ etary ri9hts. such as patent rights I also retain the right to use in ruture worlts (such as articles or books) all or part ·of this thesl s or dissertatiOn. I also authOrise University Microfilms to use the 350 Word abstract of my ltlesis ln Dissertation Abstract l ntema~onal (this Is applicable lo doctoral theses only) I hal/e either used no subst.anlial portions of copyri.gtit material In my thesis or I have obtained permission to use copyr[ght material; where perrnis~iOri has ~ol been granted I t)ave applied/will apply for a partial restriction of !he digital copy of my thesls or dlssertatlon.' Signed ...... ... .. £.r/..~.:R. ( .... /1/.~.... ................ .. I z.j ?/ ~vl'l.- Da te ····· ~ ··· ··· · ··"·· · · .. ~ ... H •• :::.~ •• ~ . ............................. ,"~,, ••• ,_. AUTHENTICIT Y STATEMENT 'I certify thai the Library deposit digttal copy is a direct equivalent of the !mal offlorally approved verslon of my thesis. No emendation of content has occurred and 11 there are any mmor variations In formatting, they are the result of the conversion to digital format.' Signed ... .. ... &.~4./....... o/..C?.e:::. ....................... .. 1 Pate ......... ...... Cl./.~ .1..~~!.. "!-:-. .. , ................. ................... ORIGINALITY STATEMENT 'I hereby declare that this submission is my own work and lO the best of my knowledge II contains no materials previously published or written by another persun. or substantial proportions of matenal which have been accepted for the award of any other degree or diploma at I.JI\ISW or any other educational institution, eJ<cepl where due acknowledgement Is rnaoe hi the thesis Any contribution rnade to the fesearch by others, with whom I have worked at UNSW or elsewl1ere, Is explicitly acknowledged in tlie Ulesis I alsc.> declare !hat the Intellectual content of this thesis Is the product of rny own woril. e.x·cept to the exHmt !hat assistance from others In the projecfs design and conception or 1o styl'e, presentation anl'.t llngulsUc el(presston Is acknowledged: Signed ./?r!vt.K ......iz~~ ..... ..... oate ......... J.?:-./.'1./. ?:~t.?-:: ...... ..................... tl Acknowledgements ACKNOWLEDGEMENTS There are many people who contributed to the completion of this project. To each of them I am extremely grateful. Thank you to my supervisors Associate Professor Andrew McIntosh and Dr John Mullins. Andrew, I sincerely thank you for guiding and assisting me to completion of this project. You have been a constant source of support and encouragement, often amidst times of uncertainty about the future of the equipment, the laboratory, and the school. Thank you for helping me stay focused on the task at hand during these difficult and distracting times. My gratitude to you also extends beyond completion of this project. Your mentorship during the years prior to commencement of his project was invaluable. You laid the foundations for my academic career, instilling me with confidence, motivation, enjoyment and appreciation of biomechanics, and the necessary skills for a rewarding future. I am grateful for the interest you have always shown towards my passion for dance, and for your constant belief in my abilities. John, your input to this project has been truly invaluable and is deeply appreciated. Thank you for bringing your expert perspectives on dance education to the project, and for ensuring that the project’s relevance and practical application remained a priority. Thank you for many interesting and thought provoking conversations, and for your constant availability and accessibility. I have enjoyed working with you, and I sincerely respect and value the supervision you have provided. To my esteemed friend and colleague, Ms Kim Traynor, thank you for sharing your immense understanding of classical ballet with me and with this project. I am grateful for your unceasing interest, encouragement, and enthusiasm. You are a source of great inspiration for me and for the hundreds of ballet students who have the privilege of your tutelage. The knowledge and skill you bring to the dance teaching profession are unsurpassed. I hope many students will continue to experience your brilliance. iii Acknowledgements I also extend heartfelt thanks to all the dancers and dance teachers who volunteered to participate in this project. I appreciate your time and interest, and share in your commitment to and passion for dance. To Patrick, thank you for your unwavering love and support during these past few years. I am truly grateful for the steadfast encouragement, the delicious meals, and the comic relief, all provided at exactly the right moment. Thank you for riding out the difficult times with me, and for your incredible loyalty and patience. Finally, to my “darling” mum Lynne, to whom I owe everything. You have provided me with so many opportunities, and for this I am eternally grateful. Thank you for making it possible for me to pursue and fulfil my dance ambitions, and for also inspiring me towards academic achievement.
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  • Romantic Ballet

    Romantic Ballet

    ROMANTIC BALLET FANNY ELLSLER, 1810 - 1884 SHE ARRIVED ON SCENE IN 1834, VIENNESE BY BIRTH, AND WAS A PASSIONATE DANCER. A RIVALRY BETWEEN TAGLIONI AND HER ENSUED. THE DIRECTOR OF THE PARIS OPERA DELIBERATELY INTRODUCED AND PROMOTED ELLSLER TO COMPETE WITH TAGLIONI. IT WAS GOOD BUSINESS TO PROMOTE RIVALRY. CLAQUES, OR PAID GROUPS WHO APPLAUDED FOR A PARTICULAR PERFORMER, CAME INTO VOGUE. ELLSLER’S MOST FAMOUS DANCE - LA CACHUCHA - A SPANISH CHARACTER NUMBER. IT BECAME AN OVERNIGHT CRAZE. FANNY ELLSLER TAGLIONI VS ELLSLER THE DIFFERENCE BETWEEN TALGIONI AND ELLSLER: A. TAGLIONI REPRESENTED SPIRITUALITY 1. NOT MUCH ACTING ABILITY B. ELLSLER EXPRESSED PHYSICAL PASSION 1. CONSIDERABLE ACTING ABILITY THE RIVALRY BETWEEN THE TWO DID NOT CONFINE ITSELF TO WORDS. THERE WAS ACTUAL PHYSICAL VIOLENCE IN THE AUDIENCE! GISELLE THE BALLET, GISELLE, PREMIERED AT THE PARIS OPERA IN JUNE 1841 WITH CARLOTTA GRISI AND LUCIEN PETIPA. GISELLE IS A ROMANTIC CLASSIC. GISELLE WAS DEVELOPED THROUGH THE PROCESS OF COLLABORATION. GISELLE HAS REMAINED IN THE REPERTORY OF COMPANIES ALL OVER THE WORLD SINCE ITS PREMIERE WHILE LA SYLPHIDE FADED AWAY AFTER A FEW YEARS. ONE OF THE MOST POPULAR BALLETS EVER CREATED, GISELLE STICKS CLOSE TO ITS PREMIER IN MUSIC AND CHOREOGRAPHIC OUTLINE. IT DEMANDS THE HIGHEST LEVEL OF TECHNICAL SKILL FROM THE BALLERINA. GISELLE COLLABORATORS THEOPHILE GAUTIER 1811-1872 A POET AND JOURNALIST HAD A DOUBLE INSPIRATION - A BOOK BY HEINRICH HEINE ABOUT GERMAN LITERATURE AND FOLK LEGENDS AND A POEM BY VICTOR HUGO-AND PLANNED A BALLET. VERNOY DE SAINTS-GEORGES, A THEATRICAL WRITER, WROTE THE SCENARIO. ADOLPH ADAM - COMPOSER. THE SCORE CONTAINS MELODIC THEMES OR LEITMOTIFS WHICH ADVANCE THE STORY AND ARE SUITABLE TO THE CHARACTERS.