²ÝÝ®ÊÓƵÃâ·Ñ°æapp

Learn the basics of Ballet, a type of performance dance that originated during the Italian Renaissance in the fifteenth century, developed into a concert dance form in France and Russia, and has since become a widespread and highly technical form of dance with its own vocabulary.

In some societies, people dance mostly for religious reasons. They want to appeal to their god, to ward off evil, to pray for rain, to have a good harvest. In other societies, people dance mostly for their own amusement-by themselves or with others. In some places, dance is an art that people perform to entertain others. 

When people dance to entertain others, the dances are almost always planned. Dancers usually perform in groups called companies. There are different kinds of dance companies, such as ballet, folk, modern, and jazz. Each has its own distinctive approach to selecting, creating, and performing new works. Wherever it occurs and whatever form it takes, dance is one of the most powerful and interesting ways humans express themselves. 

Classical ballet is: 

• Built on a specific set of body positions and movements designed to make the dancer appear graceful and elegant. 
• Characterized by "turn-out." Ballet dancers rotate their legs outward from their hips to allow a greater range of movement. 
• Gravity-defying. Dancing on the tips of their toes (en pointe), female dancers appear weightless. Men lift their female partners high in the air as if they were as light as feathers. Both perform leaps and jumps with soft, quiet landings. 

Classical ballet requires years of training to develop the technique, strength, and flexibility necessary to make the dancing appear effortless. 

Ballet as we know it evolved from lavish court dances held in France, especially during the reign of Louis XIV, who ruled from 1643 to 1715. 

These court dances were based on the patterns and steps of peasant folk dances, but they were much more elaborate. They incorporated the manners and grace of the aristocracy, who were well trained in how to move and behave in "proper" ways. Their erect posture, turned-out legs, and deliberate, elegant arm and hand positions influenced what was to become ballet. 

As a young man, King Louis XIV enjoyed performing in these elaborate entertainments (called ballet de cour, or court ballet). Over the years, however, as the dances became more complicated and difficult to perform, he preferred to watch them. The king moved the dances from ballrooms into theaters so everyone could see them better, and under Louis' patronage, the first school to train professional ballet dancers was established. That's why, to this day, all ballet vocabulary is in French. 

Later, Italian and French dancers and choreographers moved to Russia and influenced the development of ballet there. French choreographer, Marius Petipa, worked in Russia for many years and helped it to become the center of ballet. Many ballets that are still popular today were choreographed there. 

Ballet became popular in the United States during the 20th century in large part due to the talents and vision of George Balanchine, a Russian-born dancer and choreographer who became an American. He created an enormous body of work that made ballet an American phenomenon. 

Today, more than 350 years after ballet was created, it is performed throughout the world by scores of ballet companies. Ballet remains a vital art form that still has the power to fascinate audiences. 

Dances performed for audiences are almost always choreographed, or made up by one person, just as a composer makes up a piece of music. 

Choreographers invent dances that are made up of sequences of steps and gestures called phrases. Phrases make up a dance the same way that words are put together to form a sentence. 

Choreographers imagine how dancers can move to music, alone and with others. Then they work with dancers to make what they have imagined become real. These ballets may be passed from a performer to the next generation of dancers within companies. While dance companies perform some dances over a long period of time, new dances are continually being choreographed. 

Usually, choreographers are dancers as well. But choreographers must know about many things besides dancing. They must understand music, sets, lighting, costumes, and make-up. Their vision for the ballet guides everything seen on stage. 

Ballet companies often employ their own choreographers to create new ballets and to re-create old ones. Some ballets from the 1800s are still performed today, but are re-staged with new choreography, scenery, and costumes. 

Ballet companies include many professional dancers. Each is assigned a company rank. 

Most dancers in a ballet company are in the corps de ballet (pronounced KOR duh ba-LAY). They dance together in groups that must perfectly synchronize their movements. This is where new members of the company begin their careers and learn the company's repertory (all the ballets a company performs). 

Soloists are dancers who have graduated from the corps de ballet, but generally are not yet ready to take on principal roles. They dance in solos (dances for one dancer), which give them a chance to demonstrate their abilities. 

Principal dancers are the most skilled dancers in a ballet company who assume the leading roles. 

Members of the corps de ballet and soloists do not automatically progress to the next level. Their change in status depends on their development and the company's needs. Other dancers sometimes enter the company at the level of soloist or principal. 

Many ballet companies have ballet schools and the best graduates may be invited to join the company as apprentices or full members. Apprenticeships are trial periods during which dancers learn the repertory and perform with the company. Apprenticeships allow the artistic director an opportunity to determine whether a dancer is qualified to become a company member. 

A dancer's contract with a company usually comes up for renewal each year. 

To keep their bodies in proper shape and to develop as performers, ballet dancers take class every day throughout their careers. 

Ballet class begins with strengthening and stretching exercises at the barre (a wooden rail). Next, dancers go to the center of the studio, where they practice combinations of steps that progress from slow, controlled movements to small jumps and turns. By the last part of the class, dancers are fully warmed up which allows them to practice longer combinations of movements across the floor that include larger jumps and more difficult turns. Throughout class, the ballet master demonstrates combinations of movements and provides coaching for the dancers on their execution of steps. All movements are performed to music, usually played by a pianist. 

In specialized classes, male dancers work on jumps, leaps, and turns. The female dancers do pointe work, done in special shoes that allow them to stand on the tips of their toes. Later, the men and women work together in partnering class. In traditional partnering, the male dancer provides support to the female dancer to allow her to sustain balances and execute steps she could not perform alone. 

During performance weeks, classes are followed by up to five hours of rehearsal. After a dinner break, the dancers perform. When there are no performances, rehearsals may continue into the evening. Given the grueling training and performance schedules, ballet dancers must be careful to avoid injury. 

Ballet dancers are supreme athletes. Their training rivals that of other professional athletes. Appreciating the dancers' strength, flexibility, and control, some football coaches require that their players take ballet class. 

When you go to the ballet, you will most likely see one of two types of ballets: 

Some ballets tell a story. Many story ballets tell timeless tales of young lovers, family conflicts, or magical spells. 

Other ballets are "plotless" or without a story. These may convey a mood or idea (theme ballets) or may focus on pure movement (abstract ballets). 

Story ballets usually are divided into several sections or acts. The entire ballet requires two or more hours to perform. Thus, the program will include only one ballet. 

Most plotless ballets (theme and abstract ballets) are shorter and are created as one powerful act. Two or more of these ballets are usually included in the program. 

Ballet companies have many different ballets in their repertory. Some are performed over many years. Others are new and are created for a particular company. 

Whatever type of ballet you see, watch for clues to its meaning in the move-ments, gestures and pantomime, choice of music, costumes, make-up, lighting, and sets. 

Kennedy Center Education Digital Learning

Eric Friedman 
Director, Digital Learning

Kenny Neal 
Manager, Digital Education Resources

Tiffany A. Bryant 
Manager, Operations and Audience Engagement

JoDee Scissors 
Content Specialist, Digital Learning

Connect with us!

Generous support for educational programs at the Kennedy Center is provided by the U.S. Department of Education.

Gifts and grants to educational programs at the Kennedy Center are provided by The Paul M. Angell Family Foundation; Bank of America; Capital One; The Morris and Gwendolyn Cafritz Foundation; Carnegie Corporation of New York; The Ednah Root Foundation; Harman Family Foundation; William R. Kenan, Jr. Charitable Trust; the Kimsey Endowment; The Kiplinger Foundation; Laird Norton Family Foundation; Lois and Richard England Family Foundation; Dr. Gary Mather and Ms. Christina Co Mather; The Markow Totevy Foundation; Dr. Gerald and Paula McNichols Foundation; The Morningstar Foundation; Myra and Leura Younker Endowment Fund; The Irene Pollin Audience Development and Community Engagement Initiatives;

Prince Charitable Trusts; Dr. Deborah Rose and Dr. Jan A. J. Stolwijk; Rosemary Kennedy Education Fund; The Embassy of the United Arab Emirates; The Victory Foundation; The Volgenau Foundation; Volkswagen Group of America; Jackie Washington; GRoW @ Annenberg and Gregory Annenberg Weingarten and Family; Wells Fargo; and generous contributors to the Abe Fortas Memorial Fund and by a major gift to the fund from the late Carolyn E. Agger, widow of Abe Fortas. Additional support is provided by the National Committee for the Performing Arts..

The content of these programs may have been developed under a grant from the U.S. Department of Education but does not necessarily represent the policy of the U.S. Department of Education. You should not assume endorsement by the federal government.