The Cecchetti Method of Classical Ballet

Theory and Technique

Cyril W. Beaumont, Stanislas Idzikowski, Stanislas Idzikowski

• Publisher: Dover Publications
• Year: 2012
• Print ISBN: 9780486431772
• eBook ISBN: 9780486122915
• Topic: Media & Performing Arts
• Subtopic: Dance

This dance classic presents a complete beginning course in classical ballet. The founder of this method, Enrico Cecchetti (1850–1928), performed and taught in Russia and with Diaghilev's troupe. By elaborating on a logical progression of exercises, Cecchetti provided dance with an unprecedented unity — balancing the adagio and allegro, re-establishing the notion of "legato," strengthening the arabesque, and developing the exercise of the pliés. Cyril W. Beaumont, a distinguished writer on ballet, has codified Cecchetti's program of study with the assistance of one of Cecchetti's star pupils, Stanislas Idzikowski, and with the approval of Cecchetti himself.
The first chapter defines and illustrates the basic theory of the positions, body movements, and technical terms. Detailed chapters of exercises include "Exercises at the Bar," "Port de Bras," "Centre Practice," "Adagio," and "Allegro." Each exercise appears with a numbered series of instructions, and a table of daily exercises for the week is provided. The text is accompanied by 109 line illustrations, showing positions and movements of the body in detail and offering ballet lovers a perfect guide to the basics of classical ballet.

BOOK TWO

PRACTICE

PART I

EXERCICES À LA BARRE

(EXERCISES AT THE BAR.)

These are a group of exercises in which the pupil derives assistance in the support of his body and the maintenance of his equilibrium by clasping a bar with one hand. Generally the bar is of wood, and is fixed to the walls of the practice-room in a horizontal position at a distance of about three feet six inches from the floor. In some schools there are two or three such bars set horizontally at different distances from the floor, in order to accommodate the varying heights of the pupils.

The Exercises at the Bar can be simple or varied to an infinite degree. In general, they include the following movements, which are mentioned in their order of execution :—

1. Pliés in the Five Positions of the Feet.
2. Grands Battements
   à la Quatrième devant en l’air.
   à la Seconde en l’air.
   à la Quatrième derrière en l’air.
3. Battements Tendus.
4. Battements Dégagés.
5. Ronds de Jambe à Terre en dehors et en dedans.
6. Battements Frappés sur le cou-de-pied.
7. Petits Battements sur le cou-de-pied.
8. Battements Relevés.
9. Ronds de Jambe en l’air en dehors et en dedans.

Of what use are these exercises? Pliés perfect the equilibrium and render the joints and muscles soft and pliable. If you were to pass to the execution of grands battements without first executing pliés, your muscles would be stiff and hard, so that the sudden stretching of the leg would produce a strain, and perhaps even cause you still more serious injury.

Grands Battements serve to make the hips free and easy.

Battements Tendus serve to stretch and strengthen the muscles, to force the insteps well outwards, and to enable you to slide out and return your foot in the same straight line.

Battements Dégagés serve to render the insteps supple, to strengthen the toes, and to strengthen and render elastic the muscles so that you may attain a good élévation, that is, the power to jump high in the air.

Ronds de Jambe à Terre serve to enable you to turn your leg well outwards, to keep the point of the toe well back and the heel well forwards.

Battements Frappés sur le cou-de pied serve to strengthen the insteps, to strengthen the toes, and to strengthen and render the muscles elastic, so that you may attain a good élévation.

Petits Battements sur le cou-de-pied serve to render facile and brilliant your entrechats and those movements comprised in batterie.

Battements Relevés serve to render the insteps supple.

Ronds de Jambe en l’air serve to make the knees easy and supple.

Thus, having explained the individual use of each exercise, it will be seen that the Exercices à la Barre and Exercices au Milieu—which is the same series of exercises performed without the aid of the bar—are to the dancer what scales and arpeggios are to the musician. The professional musician devotes every day one, two, or more hours to the practising of scales and arpeggios. You must practise your exercises in the same manner, but take care that you execute them conscientiously and with precision, for it is these qualities which ennoble your labours and at the same time fit you to dance with ease and grace. Remember always that it is of far greater importance to execute ten movements correctly than to execute a hundred in a careless or slovenly manner.

Do not hurry through the first exercises under the false impression that any mistakes may be corrected later. It is far easier at first to execute a movement properly, than to attempt to correct it later, when the muscles have become accustomed to lax and careless movements.

It will be noticed that we have carefully avoided stating how many times an exercise should be performed. In many schools there exists a curriculum, followed to the letter, by which every day the members of the class perform so many of ...

Table of contents

• Title Page
• Dedication
• Copyright Page
• A MM. C. W. BEAUMONT ET S. IDZIKOWSKI.
• Table of Contents
• PREFACE TO THE FIRST EDITION
• PREFACE TO THE SECOND EDITION
• BOOK ONE - THEORY
• BOOK TWO - PRACTICE
• CONCLUSION.
• INDEX