Interview Questions for Classical Ballet

The five basic positions of classical ballet are fundamental to all subsequent movements. They are defined by the placement of the feet and legs, establishing a foundation of turnout, alignment, and grace.

• First Position: Heels touching, feet turned out to the maximum possible extent. Think of it like a wide, straight line formed by your legs.
• Second Position: Feet turned out to their maximum, separated by the distance of approximately one leg-length. Imagine a wide ‘V’ shape with your legs.
• Third Position: One foot placed directly in front of the other, with the heel of the front foot touching the arch of the back foot. The turnout remains consistent.
• Fourth Position: One foot placed in front of the other, with a distance of about half a leg-length between the heels. Again, maximum turnout is crucial.
• Fifth Position: One foot placed directly in front of the other, with the heel of the front foot touching the big toe of the back foot. This position is often used for elegant balances and turns.

These positions, seemingly simple, are the building blocks of countless steps and combinations. Mastering them requires strength, flexibility, and a deep understanding of proper alignment.

While all three – French, Italian, and Russian – schools of ballet share a common foundation, distinct styles and approaches have evolved.

• French School: Known for its elegance, grace, and emphasis on refined port de bras (carriage of the arms). It often incorporates a lighter, more ethereal quality with a focus on line and fluidity. Think of the delicate artistry found in works by Marius Petipa.
• Italian School: Characterized by its brilliance, speed, and breathtaking virtuosity. Italian dancers are frequently recognized for their exceptional jumps and leaps, combined with a strong emphasis on dramatic flair. The famous Cecchetti method is a prime example of the Italian approach.
• Russian School: Renowned for its powerful, dramatic style and impeccable technique. Russian ballet emphasizes strong extensions, sharp turns, and a commanding stage presence. Think of the grandeur of classical ballets like Swan Lake and The Sleeping Beauty, often associated with the Vaganova method.

Though distinct, the schools are not mutually exclusive. Many contemporary dancers and teachers draw upon the strengths of all three, creating a rich and diverse landscape of ballet training.

The fouetté turn, a challenging and visually stunning movement, requires a precise combination of technique and strength. Key elements include:

• Spotting: A crucial element for maintaining balance and preventing dizziness. Dancers fixate on a single point in the distance, rotating their heads sharply with each turn.
• Turnout: Maximum turnout from the hips is essential for stability and rotational power. The legs must remain fully turned out throughout the entire turn.
• Controlled Whip-like Action: The working leg should extend fully to the side before whipping around in a controlled motion to create momentum. This ‘whip’ is the core of the fouetté’s distinctive character.
• Core Engagement: A strong core is vital for stability and to control the rotation. The dancer’s center must be engaged throughout the sequence.
• Foot Placement: Precision and lightness are important. The landing should be smooth and silent.

The fouetté turn is a testament to a dancer’s precision, strength, and control.

Musicality is the heart and soul of a successful ballet performance. It’s not simply about matching the steps to the music; it’s about expressing the music through movement, shaping phrases with the body, and conveying the emotional essence of the score.

A dancer who truly understands musicality will:

• Interpret the Dynamics: They’ll adjust their energy and movement to reflect the subtle shifts in volume, tempo, and mood.
• Emphasize Rhythmic Precision: They’ll accurately match the steps to the musical accents and beats.
• Convey Emotional Nuances: They’ll use their movements to express the emotions contained within the music, whether it be joy, sorrow, or longing.
• Understand the Phrasing: They’ll shape their steps to correspond to musical phrases and structure their movement to the music’s architecture.

Without musicality, even the most technically proficient performance can lack depth and emotional connection.

Correcting a dancer’s turnout is a process that requires patience, understanding, and a tailored approach. It’s not merely about forcing the legs into a particular position; it’s about developing flexibility and strength in the hip joints and surrounding muscles.

Corrective exercises could include:

• Targeted Stretching: Focusing on stretches that increase hip external rotation, such as butterfly stretches, pigeon poses, and various hip flexor stretches.
• Strength Training: Building strength in the muscles that support turnout, including gluteus medius and minimus, and the external rotators of the hip. Exercises like side leg lifts, clamshells, and turnout exercises with resistance bands can be beneficial.
• Alignment Focus: Ensuring that the turnout originates from the hips, not just the knees or feet, which can lead to injuries. Proper alignment promotes safe and effective turnout.
• Use of Barre Work: Using the barre for support while practicing turnout exercises aids in controlling the movement and preventing compensatory movements.
• Progressive Training: Gradually increasing the range of motion and the duration of turnout exercises to avoid strain or injury. Pushing too hard, too fast can be detrimental.

Remember, turnout development takes time and dedication. Proper guidance from a qualified teacher is crucial to prevent injury and ensure proper technique.

The grand jeté, a spectacular jump, requires a combination of explosive power, precise technique, and elegant artistry. Proper technique involves several key steps:

• Preparation: The dancer begins with a strong preparatory step, often a deep demi-plié, building momentum for the jump.
• Relevé and Extension: A powerful releve is essential, extending the legs fully through a strong développé à la seconde, simultaneously reaching upwards with the torso.
• Jump: A forceful jump propelling the dancer high into the air, the legs extending to a 180-degree split during flight. A strong vertical lift is prioritized over horizontal distance.
• Landing: The dancer lands softly and gracefully, usually in a controlled fifth position.
• Spotting: As with any turning jump, spotting ensures balance and control, avoiding dizziness.
• Posture and Carriage: Maintaining a strong posture and elegant carriage of the arms throughout the jump emphasizes the beauty of this movement.

The grand jeté is a breathtaking demonstration of technical mastery and physical prowess. It’s a hallmark of classical ballet, demanding strength, flexibility, and impeccable timing.

Teaching ballet to different age groups presents unique challenges and requires adaptable teaching methods. Here’s a breakdown:

• Children (Ages 3-7): Focus is on developing fundamental movement skills, coordination, and a love for dance. Teaching methods should be playful, creative, and age-appropriate, incorporating games and imaginative activities. Emphasis should be on building body awareness and basic ballet positions without pushing advanced techniques.
• Pre-teens/Teens (Ages 8-17): This age group is capable of more complex technique and choreography. Teaching methods should blend discipline with encouragement, fostering independence and self-motivation. Advanced steps and corrections are introduced, along with a greater focus on musicality and performance aspects. Proper technique and injury prevention are critical.
• Adults (18+): Adult students have diverse backgrounds and levels of experience. The class should foster a supportive and inclusive environment. Modifications may be needed to address individual limitations and fitness levels. Emphasis is often placed on building strength, flexibility, and posture, along with the enjoyment of the art form.

Successful ballet instruction demands flexibility and sensitivity to individual needs and capabilities, regardless of the age group.

Adapting my teaching style to different learning styles is crucial for effective ballet instruction. I believe in a multi-faceted approach, recognizing that students learn through various channels – visual, auditory, kinesthetic, and even through social interaction.

For visual learners, I use a lot of demonstrations, mirrors, and visual aids like diagrams showing correct posture or foot placement. I might also use videos of renowned dancers executing specific movements. For auditory learners, clear and concise verbal instructions are key. I explain the mechanics of each movement and offer verbal cues to aid their understanding and coordination. For kinesthetic learners, hands-on adjustments and individual attention are paramount. I guide them physically through the movement, correcting posture and alignment. I’ll often use imagery to help them understand the feeling of the movement. For example, for a graceful arabesque, I might ask them to imagine their leg extending like a swan’s neck.

Finally, I recognize the importance of social learning. Group work, where students can observe and learn from each other, is an integral part of my classes. Peer learning can foster a supportive and encouraging environment and helps develop a sense of team spirit.

Ballet, with its demanding physicality, unfortunately carries a risk of injury. Some of the most common injuries include:

• Ankle sprains: These are incredibly common, often resulting from the many turns and jumps. Proper warm-up and strengthening exercises are crucial for prevention.
• Stress fractures: Repetitive stress on bones, particularly in the feet and legs, can lead to stress fractures. Adequate rest and recovery are essential.
• Muscle strains and tears: Overuse or improper technique can result in strains or tears in muscles like hamstrings, quads, and calf muscles. Progressive training and proper stretching routines minimize this risk.
• Tendinitis: Inflammation of tendons, often in the feet, ankles, and knees, is prevalent. Strengthening and flexibility exercises, along with avoiding overtraining, are key preventative measures.

Prevention relies heavily on a holistic approach:

• Proper warm-up: Thorough warm-up, including cardio and dynamic stretching, prepares muscles and joints for the rigorous demands of ballet.
• Correct technique: Emphasizing precise technique reduces strain on the body. A skilled instructor plays a vital role in correcting and refining technique.
• Strengthening and conditioning: A strong core and supporting muscles provide stability and prevent injury.
• Adequate rest and recovery: Overtraining is a significant contributor to injuries. Prioritizing rest and proper nutrition facilitates muscle repair.
• Proper footwear: Well-fitting and supportive pointe shoes (for those who use them) are also crucial.

Maintaining discipline and motivation in a ballet class requires a balance of structure, encouragement, and fostering a positive learning environment. I start by setting clear expectations and providing consistent feedback. I believe in positive reinforcement, praising effort and improvement as much as achieving technical perfection. This creates a supportive atmosphere where students feel comfortable taking risks and pushing their boundaries.

I also use a variety of teaching methods to keep classes engaging. I incorporate different exercises, music styles, and choreography to prevent monotony. I set achievable goals for students, allowing them to experience a sense of accomplishment as they progress. Regularly reviewing progress and providing constructive criticism enhances their confidence and motivation.

Furthermore, I encourage a sense of camaraderie among students. Pair work and group activities help them learn from each other and build a supportive community. Celebrating achievements both individually and collectively reinforces the positive learning environment and motivates students to continue to work hard.

The ‘spot’ in pirouettes is a crucial technique that ensures a controlled and balanced rotation. It involves focusing your gaze on a single point in space throughout the entire turn. This fixed point of focus acts as an anchor, helping to stabilize the head and maintain balance during the rotation.

Imagine trying to spin on ice without looking at anything – you’d likely feel dizzy and lose your balance. The ‘spot’ functions similarly, providing a visual reference that helps the dancer maintain orientation and avoid dizziness. As the dancer rotates, they must continue to ‘spot’ the fixed point, quickly shifting their gaze as the body turns to maintain the focus. This act of quickly and precisely shifting your gaze is called ‘spotting’ and is practiced extensively to develop this crucial skill. Proper spotting also prevents nausea and allows for a controlled and elegant pirouette.

Both pliés and cou-de-pieds are fundamental ballet movements, but they differ significantly in their execution and purpose:

A plié is a bending of the knees. It’s a foundational movement, used to warm up muscles, prepare for jumps, and add fluidity to movements. There are two basic types: demi-plié (a half bend) and grand plié (a full bend). In a demi-plié, the dancer bends the knees slightly, keeping their heels on the floor (unless otherwise specified). In a grand plié, the dancer bends fully, often bringing the heels off the floor.

A cou-de-pied involves bringing the foot to the ankle of the supporting leg. It’s usually performed with one leg straight or bent, offering a resting point during longer sequences or transitions. It can be done in various ways: cou-de-pied devant (foot to the front), cou-de-pied derrière (foot to the back), and cou-de-pied à la seconde (foot to the side).

Essentially, a plié focuses on the knee bending, acting as a preparatory movement, whilst a cou-de-pied focuses on the placement of the foot against the supporting leg, often used as a position in more complex choreography.

Anatomical considerations are paramount in ballet. Dancers need to understand their bodies to execute movements safely and effectively. Key areas of focus include:

• Flexibility and range of motion: Ballet requires extensive flexibility in joints like hips, ankles, and back. Understanding joint structures and ligaments is crucial for achieving and maintaining flexibility without injury.
• Muscular strength and endurance: Dancers need strong core muscles for balance and stability, as well as strong leg and back muscles for powerful jumps and turns. Understanding muscle groups and their functions helps dancers target specific muscle development.
• Posture and alignment: Correct posture is essential for preventing injuries and optimizing performance. Understanding spinal alignment and the interplay of various muscle groups is key.
• Foot and ankle health: The feet and ankles bear significant stress in ballet. Understanding the anatomy of these areas helps dancers maintain foot health and prevent injuries like plantar fasciitis or ankle sprains.
• Bone density: Maintaining optimal bone health is important for preventing stress fractures and other bone-related injuries. Adequate nutrition and weight-bearing exercise play a vital role.

A dancer’s understanding of these anatomical considerations enhances their ability to prevent injury, improve technique and achieve their full potential.

Assessing a dancer’s technique during an audition involves a thorough and systematic evaluation of several key areas:

• Alignment and Posture: I look for correct posture – an upright carriage, engaged core, and proper placement of the head, shoulders, and hips.
• Flexibility and Range of Motion: I assess their flexibility and range of motion through movements like grand pliés, arabesques, and extensions. The quality and control of these movements are crucial.
• Turns and Jumps: Their execution of turns (pirouettes, fouetté turns etc.) and jumps (grand jeté, sissone etc.) are closely examined. I look for precision, height, and control in jumps and clear rotation and balance in turns.
• Footwork and Technique: I assess the precision and neatness of their footwork, including the correct placement of the feet, turnout, and pointe work (if applicable).
• Musicality and Expression: Ballet is not just about technical precision; it’s also an art form. I assess their ability to convey emotion and interpret the music through movement. This includes phrasing, dynamics, and overall artistry.
• Strength and Stamina: A dancer’s overall strength, stamina, and resilience are also evaluated.

The assessment is holistic. I’m looking for the overall quality, control, and artistry, not just isolated skills. I aim to gauge their potential and suitability for the specific role or company.

Adagio, meaning ‘at ease’ in Italian, is a slow, sustained section of a ballet, often a pas de deux (dance for two), showcasing fluidity, balance, and control. The steps used are highly varied, depending on the choreographer’s style and the dancers’ abilities. However, some common elements include:

• Port de bras: Elegant arm movements, crucial for shaping the line of the body and adding expression. These can range from simple, flowing gestures to intricate sequences requiring precise placement and control.
• Balancés: Rocking steps, often performed on demi-pointe or pointe, that demonstrate balance and control. They involve a gentle rocking motion, shifting weight smoothly from one leg to the other.
• Arabesques: A pose where one leg is extended straight behind the body, showcasing balance and line. There are many variations of arabesques, including arabesque penchée (leaning arabesque) and arabesque développé (arabesque developed from a preparatory position).
• Adagios in attitude: Similar to arabesques, but with the extended leg bent at the knee. This adds a different dynamic and visual interest.
• Lifts and supported poses: A hallmark of many adagios, particularly pas de deux, where one dancer is supported by the other, requiring trust, strength, and impeccable timing. These can range from simple lifts to complex aerial maneuvers.
• Turns and rotations: Slow, controlled turns, often incorporating the port de bras, demonstrating exquisite balance and precision. These can be performed en dehors (outward) or en dedans (inward).

A classic example of an adagio can be found in the ‘Swan Lake’ pas de deux, with its flowing arabesques and intricate lifts that showcase the dancers’ elegance and virtuosity.

Throughout my career, I’ve had the privilege of working with a variety of choreography styles, ranging from the classical elegance of Petipa and Marius to the more modern and expressive styles of Balanchine and Forsythe. Each style presents unique challenges and opportunities. Working with classical styles requires a deep understanding of the traditional vocabulary, meticulous attention to detail, and a strong foundation in technique. With modern choreography, the focus often shifts toward storytelling, improvisation, and exploring new movements and possibilities outside the traditional framework. For example, I’ve worked on productions that fused classical ballet with contemporary dance, creating a hybrid form that was both technically demanding and artistically rewarding. The experience of adapting my approach to suit different choreographic styles has broadened my understanding of movement and artistry, honing my adaptability and creativity.

Conflict within a dance company is inevitable, given the high-pressure environment and the intensely collaborative nature of the art form. My approach to handling these conflicts is based on open communication, empathy, and a focus on solutions. I believe in addressing issues directly and privately, creating a safe space for dancers to express their concerns. I encourage active listening, aiming to understand the perspectives of all involved parties. If a situation involves a breach of company policy or ethical misconduct, I would handle it according to established procedures. In many cases, conflict arises from artistic differences or miscommunication. Facilitation of respectful dialogue, ensuring all feel heard, and exploring mutually acceptable solutions is key. A strong emphasis on teamwork and professional respect is fundamental in fostering a positive environment where conflict can be constructively resolved.

Creating a supportive and encouraging learning environment is paramount for fostering growth and artistic excellence. I believe this involves several key elements: Firstly, establishing clear expectations and providing constructive feedback. This means offering tailored guidance, both positive reinforcement and honest critique, always delivered respectfully and focused on improvement. Secondly, creating a space where dancers feel comfortable taking risks and expressing themselves creatively. This encourages experimentation and allows for individual artistic voices to flourish. Thirdly, building a strong sense of community and camaraderie amongst dancers. Group classes and team-building exercises can help foster collaboration and mutual support. Finally, a focus on celebrating individual and collective achievements boosts morale and motivates further development. For instance, I frequently incorporate peer teaching into my classes, empowering experienced dancers to mentor their colleagues and strengthening the sense of community.

My approach to choreography is deeply rooted in storytelling. I begin with a concept or a narrative that I want to convey. This could be inspired by literature, music, visual art, or personal experiences. I then develop a vocabulary of movement that complements and expresses this narrative. The creative process involves a constant interplay between intuition and technical precision. I will often start by improvising with dancers, allowing their individual creativity to inform the movement. I then refine these improvised sequences into structured phrases, considering the musicality, the flow of energy, and the emotional impact of each section. Throughout the process, I remain open to experimentation and collaboration, always aiming to create work that is both emotionally resonant and technically challenging. The process is iterative, involving revisions and adjustments as I work with dancers and refine the narrative.

Understanding the historical context of ballet is absolutely crucial for informed performance. It provides a deeper understanding of the evolution of the art form and helps dancers interpret and portray the intended meaning of the choreography. For example, the choreography of Marius Petipa in the late 19th century reflects the stylistic conventions and aesthetic values of that era. To perform his works authentically, dancers must have an understanding of the historical context, appreciating the nuances of the movement and style. Furthermore, studying the evolution of pointe technique, costume design, and theatrical conventions over time allows for greater appreciation of the artistic choices made by choreographers and dancers throughout history. Without a historical understanding, the performance risks losing its depth and authenticity, becoming mere imitation instead of an embodiment of the historical style and intended artistic expression.

Pointe shoes are a crucial tool for female ballet dancers, and various styles cater to individual needs and the demands of different roles. The key differences usually lie in the box shape, shank strength, and overall stiffness. Some common types include:

• Soft pointe shoes: These are generally used by younger dancers or those with a lower body weight, offering greater flexibility and support in early pointe work. They have a less rigid box and shank.
• Medium pointe shoes: These are the most commonly used style, offering a balance of flexibility and support. The box offers a good balance between firmness and give, making them suitable for a wide range of dancers and styles.
• Hard pointe shoes: These are preferred by experienced dancers with stronger feet and legs who need greater stability and support for more demanding choreography, often involving complex jumps and turns. They possess a firmer box and shank.
• Narrow/Wide box: The shape of the box will influence the fit and feel of the shoe, providing customized support based on the dancer’s foot shape and arch.

The choice of pointe shoe is a very personal one, influenced by factors such as foot shape, body weight, and the demands of the specific role. Experienced dancers often work with a shoe fitter to select the ideal style and brand for their feet.

Managing the physical and mental demands of a professional ballet career requires a holistic approach, encompassing physical conditioning, injury prevention, mental resilience, and mindful self-care. It’s a demanding career, akin to an elite athlete’s training regimen, but with an added layer of artistic expression and emotional investment.

• Physical Conditioning: A rigorous daily schedule is crucial, incorporating elements like strength training, flexibility exercises (Pilates, yoga), and targeted conditioning for specific muscle groups used in ballet technique. This prevents injuries and optimizes performance.

• Injury Prevention: Regular visits to physiotherapists, osteopaths, and sports massage therapists are essential for addressing minor aches and pains before they escalate into significant injuries. Proper warm-up and cool-down routines are also non-negotiable.

• Mental Resilience: Ballet demands immense discipline, self-belief, and the ability to handle criticism constructively. Mental fortitude is crucial to overcome setbacks, maintain focus during long rehearsals, and manage performance anxiety. Techniques like mindfulness and meditation can be invaluable tools.

• Mindful Self-Care: Prioritizing sufficient sleep, a balanced diet, and time for relaxation is vital. Burnout is a real threat, and self-care practices prevent it. This might involve activities outside ballet to refresh and recharge, such as spending time in nature or pursuing hobbies.

Ensuring dancer safety is paramount. It’s a collaborative effort requiring stringent protocols and proactive measures across rehearsals and performances. Negligence in this area can have devastating consequences.

• Safe Rehearsal Environment: Well-maintained studios, appropriate flooring, and sufficient space for dancers to move freely are crucial. Clear instructions and supervision by experienced staff are necessary, particularly during challenging sequences.

• Spotting and Partnering Techniques: Proper partnering and spotting techniques are rigorously taught and practiced to minimize the risk of falls or collisions. Dancers are taught to communicate effectively with partners and support staff.

• Pre-performance Checks: Before each performance, a thorough check of the stage, costumes, and props is conducted to identify and address any potential hazards. Adequate lighting and sound are also verified.

• First Aid and Emergency Procedures: A well-defined emergency action plan, including readily available first aid equipment and trained personnel, is essential. Dancers should be aware of these protocols and know where to find help.

• Open Communication: Creating a safe space for dancers to openly communicate any concerns regarding their physical or mental wellbeing is vital. This fosters a supportive and trusting environment where issues can be addressed promptly.

Effective communication with dancers is built on clear, concise instruction, respectful feedback, and active listening. It’s a blend of technical precision and empathetic understanding, recognizing that each dancer is an individual with unique strengths and weaknesses.

• Clear and Precise Instructions: Using precise terminology, demonstrating movements correctly, and ensuring all instructions are understood is crucial. This can involve breaking down complex steps into smaller, manageable components.

• Constructive Feedback: Offering feedback that is specific, actionable, and focuses on improvement rather than criticism is vital. Positive reinforcement is equally important in building confidence and motivation.

• Active Listening: Providing a safe space for dancers to voice concerns, ask questions, and seek clarification is crucial. Active listening shows respect and fosters a collaborative environment.

• Individualized Approach: Recognizing that each dancer learns differently requires adapting communication styles to their individual needs. Some dancers respond well to visual demonstrations, while others benefit more from verbal explanations or kinesthetic learning.

• Open Dialogue: Regular one-on-one conversations can help address individual challenges, goals, and concerns. This allows for a deeper understanding of the dancer’s progress and helps foster a strong mentor-mentee relationship.

My experience with ballet notation systems, primarily Benesh and Laban, has been extensive. These systems are crucial for documenting choreography, preserving artistic heritage, and facilitating learning and teaching across time and geographical locations.

• Benesh Notation: This system uses a unique combination of symbols and a five-line stave to represent movement, providing a precise and comprehensive record of choreography. It’s remarkably detailed, capable of capturing nuances of style and interpretation.

• Labanotation (or Kinetography Laban): This system uses a more abstract set of symbols to represent movement, focusing on the body’s position and pathways. It is often considered less detailed than Benesh but is suitable for a broader range of movement styles beyond ballet.

• Practical Applications: I’ve used both systems for archiving and reconstructing ballets, teaching new productions, and preparing for revivals of classic works. They are indispensable tools for any serious ballet company or institution.

• Challenges: Learning to read and write in these systems requires significant time and dedicated study. While extremely effective, they possess a steep learning curve. Interpreting nuances of style and expression sometimes requires more than just reading the notation; a holistic understanding of the choreographer’s intention is necessary.

Assessing and improving a dancer’s artistry and expression involves a multifaceted approach, combining technical evaluation with a deep understanding of the art form. It’s about nurturing both the physical skill and the emotional depth of performance.

• Technical Assessment: This involves evaluating the dancer’s proficiency in fundamental ballet techniques – such as posture, alignment, turnout, and execution of steps – and identifying areas for improvement. Regular classes and focused training sessions address these aspects.

• Expressive Qualities: Assessing artistry involves evaluating a dancer’s ability to communicate emotion, character, and narrative through movement. Factors such as musicality, phrasing, dynamics, and facial expression play crucial roles. This requires observation of both technical execution and the emotional resonance conveyed.

• Role-Specific Coaching: Understanding the specific demands of a role and guiding the dancer to embody the character fully is crucial. This might involve exploring character motivations, relationships, and emotional arc.

• Feedback and Mentorship: Providing constructive feedback and guidance through individualized coaching is vital for growth. This involves fostering self-awareness, encouraging experimentation, and helping dancers find their unique artistic voice.

• Performance Observation: Observing dancers in rehearsal and performance settings allows for the identification of both strengths and areas that require further development. This provides a basis for more effective and targeted feedback and coaching.

The role of a ballet master/mistress is multifaceted and crucial to the success of a ballet company. They serve as guardians of the artistic integrity of the repertoire, mentors for dancers, and vital links between the choreographer and the company.

• Maintaining Artistic Standards: Ballet masters/mistresses are responsible for maintaining the stylistic accuracy and artistic integrity of existing choreography. This includes teaching existing ballets to new dancers and ensuring the style remains consistent across generations.

• Coaching and Mentorship: They provide individual coaching and mentoring to dancers, helping them refine technique, interpret roles effectively, and develop their artistic expression. This involves addressing both technical and expressive aspects of performance.

• Rehearsal Supervision: They supervise rehearsals, correcting technical flaws, ensuring stylistic consistency, and providing creative input. This requires detailed knowledge of ballet technique and choreography.

• Collaboration with Choreographers: Ballet masters/mistresses frequently collaborate with choreographers, both during the creation of new works and in mounting existing productions. They translate the choreographer’s vision into the execution of the dance by the company’s dancers.

• Passing on Knowledge: A crucial aspect is the passing on of knowledge, tradition, and style to new generations of dancers and répétiteurs. They act as custodians of the company’s heritage.