ARTIST OR ATHLETE
The Ballet Dancer: Athlete or Artist
In this article we will look at what it means to be a dance artist. Many teachers and dancers have regarded the word "athletics" in connection with being a ballet dancer to be somewhat unsavory. Though many believe that a dancer must exercise as much as any athlete, to refer to a dancer as an athlete can unsettle both dancers and teachers. Even the International Ballet Competitions can put off dance artists and educators, believing that it is demeaning to participate as dancers in what appears to be an Olympic-type event. There has been many an arguments concerning whether ballet is more athletic or artistic.
The largest portion of training and performance is spent focusing on technique. Technique can encompass many aspects of dance. There are artistic techniques used to develop the emotional and psychological talents of the dancer, and musicality as a technique to develop understanding of rhythm. But the building block that all other technical training relies on is the physical technique of movement.
Historically, early instructional methods in the balletic arts did not support utilizing the full energy of the body. The traditional lessons of the French school cultivated stylized movements that represented grace and softness. The movements were largely decorative without much assistance to support the body, and emphasized the well turned out foot, limpid arms and stylized poses. Classes were tranquil and evenly measured which did not support or explore the possibilities of the body's virtuosity.
The Italians took ballet towards a more vigorous form of movement that, though exciting as a spectacle, came close to utilizing feats normally reserved for the circus. The Russians, early in their balletic development, had absorbed much of the French school and looked on the "new" Italian method as being without poetry and artistic content.
When Enrico Cecchetti worked for the Imperial Russian school the Italian method gained more prestige. The new Russian dancers took advantage of the Italian school's firm upper body work that gave reliable aplomb of movement, dynamic strength of the legs and feet, and virtuosic turns. Also, Cecchetti was one of the first to employ a method that included well planned classes. All this led the new emerging Russian school to combine the best of the Russian temperament, French grace and softness, and dynamics of the Italian school into a cohesive system.
Vaganova began the early development of the "science" of ballet with strict attention to the strengthening of the body as an athlete, tempered by subtlety in movement and expression. As the Russian method progressed under these guidelines it was soon noticed that a new form of training was emerging. One which "looked" athletic, but also attempted to tone down the athletic-ness with grace and charm.
In the latter half of this century, with athletics gaining world wide and enthusiastic response, ballet began to develop its own distinctive athleticism. Teachers and dancers both realized that if they did not keep up with the trend of athletic virtuosity, they would not hold the audiences who were becoming more sophisticated in the appreciation of what the body could do.
In the above paragraphs I am attempting to demonstrate, in a very concise narrative, the transition ballet has made since its inception as a formal art form in regards to its physical parameters. It began as a highly stylized form of movement without much direction or application. Then, as the art form grew in appreciation, leaders of the movement developed a vigorous, cohesive structure to train future artists. During this century, with new forms of media such as film and video, dance has been able to be observed by a wide audience; an audience who is also exposed to great athletes and athletic events.
As we move into the next century the balletic arts are still in a transitory position. It has been dissected by scientific approaches, twisted and shaped by new and innovative choreography, and delivered to the masses through live performances, film and video. As people develop their sophistication in connection to physical performances, such as sports and the arts, the line that divides the two can disappear. Even in the early 1920's, Vaganova's exploration and expansion of the physicality of ballet drew criticism such as, "athletic gymnastics", "mechanical" dance and "acrobatic" dance. It is in this arena teachers and dancers find themselves. The dancer may ask... "Who am I? An athlete or an artist?" The teacher may ask... "When does the art in dance stop and become sport? Is there such a thing as too much athleticism in dance?"
These questions, and other similar concerns dancers and teachers have, are important because it is impossible to separate these two aspects of this unique performing art.
How would you, as a dancer and/or teacher, know when you are reaching the edge of the distinction between the two? What guide lines, whether consciously or unconsciously, do you adhere to when you are training or training others in regards to physical and artistic technique?