Basics of the Classical Ballet Technique at Home

1. Intro: hi, everyone, and welcome to the basics of the classical ballet technique course my name is and they Gonsalves and I've been dancing ballet since I was four. As a student, I took all the exams from Royal Comey of Bones from three Primary to advance to. I have been a teacher for five years, teaching classical ballet, creative dance, floor bar and progressing ballet technique. This course is ideal for those who want to learn the basics of classical ballet as it explores the four essential teams for those want to start dancing posture, turnout positions and our positions. The course also explores the basic structure of a class developing exercises for warmer bar for the Brock jumps and cool down on stretching. This course is aimed at people with little or no experience in ballet. Want to have a more in depth knowledge of the basics of classical ballet technique? It is also aimed that people in general intend to improve their daily posture as a final project. I suggest you record yourself doing the exercises. I can't wait to receive your tedious I can give you my feet back in order for you to improve. Let's talk to the Bush class 2. Posture: let's start with the posture. In order to perform the movement of the class correctly and safely, we must first study one of the most important things for Bali. The correct posture. This poster is only achieved when we control our spine, so let's do an exercise to discover our neutral posture in looking at your body from the side. It should be able to draw an imaginary line from the middle of the here down to the ankle bone without any deviation. It is called the plumb Blind. You should be able to secure these alignment with legs, parallel or turned out. We'll cover the turnout team in the second cost. Let's do a little exercising. In order to discover our natural lineman, begin by standing with your legs together and enter new shoulder. Now create a lifted quality through your spine and gently engaged the lower abdominal and visualize the plumb blind by. Engage your lower abdominal and lengthening your spine. You. Why reaching your natural alignment As you inhale? Live to reaps. Release your abdominals and gently rocked the front of your palace forward, arching the lower bag and moving into an interior tilt off the pelvis. noticed the tightness in the upper lower back and loses bliss in your abdominals. This is not a secure position to Death Valley as you begin to excel, reverse to tilt and tighten the abdominals tried to frighten lower bag and engage the glorious Maximus. Notice out the front off the hips titles, and now the front of the chest drops. It is a common mistakes, and those who try toe appropriate the posture, and it is very armed for fourth correct execution of the movements. Now return toe the near throw protection. He's realizing the plumb blind and gently leaf things through your waist. Engage your abdominals and don't over use your glorious. There must be a balance between the abdominals in front. Point up on the spinal muscles in the back, pulling down to create a lightning feeling in spine and to keep the palace in the neutral position. You should also keep in mind that in classical ballet we always keep our pelvis quick, which means that they need toe. Both be facing in the same direction and one should not be higher than the other. The squareness is controlled by the public abdominal muscles on either side of the waste. This is the poster that you should maintain throughout the class, as it will allow you to move. It is and gracefully last but not least, toe ever current posture. You have to control your weight placement. The body weight should be distributed to four feet on the front of the heels rather than the back off the heels. You can imagine a triangle in your feet with 2/3 off the weight being on the toes and 1/3 off the weight on the front off the heels. This creates a more alert position with the muscle, strongly activated toehold ballots, and we'll allow you to execute all the movements more easily. Now let's move on for the turnout. 3. Turnout: now let's stacked turnout class classical ballet did sergeants in the courts of Europe, where the turned out foot and leg was considered elegant and stylish. From there, the technique crew using like turned out from the hip joint for increased range of movement , The technocracy today stretches the physic tweets maximum with its ice sanction and the fighting chumps do yourself. Turnout is fundamental, but unless to control the pale with a weight placement is pulling in the store, and we discussed it still topics in the previous class it will embolus the body. The external rotation off the heap is controlled by the glorious maxims. The main seat muscle. The small rotator is which are the deepest muscles in the Gloria areas, and the doctors are the inner time muscles wants. The pelvis is balance. These muscles off the inner tie are activated. Strongly pressing the ties together were taking them forward and flattening the tired of front. With this action, the rest of the leg rotates on the foot, resulting to turn out that corresponds with that of the heap. Now let's talk about the most important muscles for turnout. The deep lateral over taters, the six lighter rotator muscles are buried in the Degory ALS and a lateral rotate, or turned out to like related to the pelvis. It is often difficult for dances. Toe Isolate contraction of this muscle group, so we will do an exercise to learn how to use the deep. Six. Roll up onto the side of your body, full both knees so that two feet are directly under the pelvis. And then these are in front of the body sec. That alignment off the pelvis and this pine are neutral and that you create a small space in the debates. Now maintaining neutral pelvis. Retake the top leg fully out by lifting the need toward vertical keeping the fit together and hip squares like the action off a clam opening and bring it back down. Notice that you don't have to tire nor clinch the glorious toe. Activate the deep lateral rotator is group when your leg turns out your tip. Six. Rotator czar engaged and you should keep this feeling in mind as you will need this for the rest of the class. This was the 10 outclass. Now let's move on for the feet. Positions 4. Feet Positions: the basic positions off the feet are formed with legs turned out equally from each joints. You will have to use the deeper taters as you learned that the previous class on the body weight equally distributed over to defeat. There are five basic feet positions first position across position, where the dancers stands with fit together so that hills are touching. Second position. An open position. Why did answer stance with the feet approximately shoulder width apart. Third position. A close position where the dancer stands with fit together with one foot in front of the other, so that to heal up the front foot displaced that the middle of the back foot fourth position. An open position where the densest stands with one foot placed in front of the fifth position and the other behind. The space between the feet is approximately. The length off. The day's is foot fifth position, a close position where the dancer stands with feet together with one foot in front of the other so that he'll off the front foot, displacing line with the big toe joint on the back foot. In all positions, you should try to keep equal turnout with your legs and feet. Remember that your turnout doesn't need to be perfect. It's more important that you can send safely and confidently image position so you can use them for more difficult steps. Try to keep both off your feet evenly. Flight on the floor You shouldn't be rolling your feet are ankles to stand in a basic palette position. Unless you're in the please try to think of your like, squeezing together and down into the floor so you can pull up with your upper body. Now that you have learned the feet, Position likes move one with the armed positions. 5. Arm Positions: in order to correctly place the arms, we have to have this couple of food engaged to do so. The tracks expire needs to be well placed on the shoulders. L directly over the batteries. The shoulder blades are held flight against the chest wall and held down by the lotus McGourty muscles. We spend the back giving it support from the lumber spine upwards, a strong basis created from which the arms can move freely. Did your palabra and tension free expressive arms and the ants results from a strong correctly place back and shoulders in. Opposition's off the arms. The ends followed line of the arms and the fingers are soft. Group. The center finger continues the curve off the inner arm, and the sum is in line with the index and middle fingers. So the basic positions off the arms are first position, a position in which both hands curved form a Noval shape in front of the body so that little pinchers are slightly above the waistline. The fingers do not touch but have the tips pointing towards each other. Your hand should be slightly tilted, so the inside of your hand is facing towards your face. A good way to imagine and work on the sly killed off the hands is to imagine holding the mirror. If your hand is stilted right, you'd be able to look down and see your face reflecting back. Chill. Your helpers should be lifted so they are held ire than your hands. Ah, well placed first position shall not have the arms parlor will for but angle down slightly . Saw the enter in the middle of your torso. Second position. A position in which the arms are held to the side and are just in front of the body. They are slightly curved and sloped, gently dropped downwards from the shoulder to the tips of the fingers. First position, a position in which Warner Means is in first and the other is in second. All the same rules still apply, So remember to try to keep your hands below your elbows with a slight tilt off the ends. Now it's skip to the fifth position. We will then go back to the fourth, and we will understand why fifth position is when both arms curve overhead, Formanova shape and our health slyly in front of the body with the hand shows within vision make sure both harms our paint slightly, so they look seamless around the elbow. Your hand should extend to complete the curving shape made by our arm and inside of your hands should be facing towards your face, just like in first position four. Position is when you have worn Army fifth and the other in second position. And that's why we start with 1/5 position because the fourth is a combination off the second and the fifth. Besides the five basic compositions, we will talk about two more that are very used in Bali. Papa Ah, low position in which both harms Kirk down toe form a noble shape in front of and slightly away from the body rabbis. The same was the first position. Bettina lower position. Let me second a position in which the arms are slightly carved off way between Papa and second with the palms facing each other. Here are some good tips you can try to think about when doing the basic positions off the arm in ballet class. Any time one or both of your arms are above your head, trying out to lead your shoulders all their arms from your bag without overly tense in your arms. Always remember, if your shoulders are at the top, your elbows will be in the middle and your aunt will be at the bottom. When you're making your shape, try not to be too tense or to relax in your hands. They should be Justus nicely. Place does your arms. Now that we have finished the classical ballet technique theory, let's move on to the exercises. 6. Warm Up: So let's start with the warm up. The warmer prepares the body in mind to safely meet the challenges off a class rehearsal or performance or Warmack. Generally consistent off three sections. A gentle pulse racing section, a joint mobilizing section and a muscle lengthening section. The Pulse Racing section aims to increase cardio respiratory and metabolic rates, increasing muscle temperature. The joint mobilizing section consists off gently, moving very trying through the range of emotions, increasing the ability of Chinese to absorb shock. The Muscle Inning section prepares the muscles for the demands to come through the use of dynamic stretching. So let's set the exercise. You start toe walk on this pot, then you can Maher string. Praise your heart rate, then protect your head, one ankle and the other to mobilize your joints and then go now to stretch your back on the back of your life, one foot to the back and then the other to stretch the cuffs. Light smoke on this no to it warning and the other. Now let's go down right now that you have warmed up, let's talk. Tovar 7. Barre: For this class, you will need something that simulates the bolivar. You can use a share or the kitchen countertop. Now let's see out to place your hand on the bar rather than thinking of old in the bar. Think of naturally placing your hand on top of it as tension free. It's possible. Also, you want to actively think of not using or relying on the bar to accomplish any steps. Just think of it as an aside or accessory to the natural progression of a ballet class, not a necessity to the West step. Relax your hand naturally over the bar with your thumb close to your fingers. This helps insure you weren't relying or gripping total bar for bolus. Now we'll take a look at our improper hand on a ballot bar. Books. You're placing your hand wrong. Give your thumb is on the bottom off the bar rather than calls by your fingers. You feel a lot of tension in your hand. Your wrist is too far under or over the bar. Looking meant now that you're practicing a natural intention free place tend on the bar. Where do you actually place it in relation to your body. Ideally, you should place your hand slightly in front of you. Just if you did a possible right to second position with your arms and you place the hanta weight winds up, it's likely the right spot. It definitely shall not be directly to your side, as you would likely have to bang your harm way too much and stand too close to the Bartow accumulate disposition. 8. Pliés: the first exercise off the bar is please, a pre A's of end of the knees, and he's one of the most important movements in classical Valley. It's the start and end of every jumpy quit and issues between steps to look more foot on to protect the dancer from injury. To make a good clear, you need knee alignment toe avants, shrink to the body, the knee joint. Show the line with the middle off the food. When the knees are bent, don't roll over. Keep your heels down. If you go as far down as you can go without lifting your heels, you will properly stretch the muscles in your car. Now let's set the exercise. Start in first position off the feet and in brother on the introduction. Do a basic part brought to second place your hand on the bar and do a proper. Then you do a pre year. Tow them a second on Go up. Remember to keep your knees over your toes and to resist. On the way up, your tent will rise, going up on the Demi Pointe, going down and opening to second. Repeat in second play here up we you that up. Rise on doubt and then close in third position off the feet. Repeating third play here and up, please. And up. Rise and down. Go back to first. We will do. Rise your arm up to 50. Take the bar arm 2 50 open to second and finish in cover 1st 2nd place handlebar cover vehicle down, down rise. Pull up. Pull down Open to second. Repeating cycle town Right down. Closing the re ceased on the way up. Rice. Go down. Go back to first. Rising them to fifth. Take that off the bar. Omen to second on clothes. Let's repeat to the left. 9. Battements Tendus: Let's go to the second exercise off the bar. But Mountain Dew A but not on you is the opening and closing off a stretch like attack, bringing all the foot and leg muscles into play throughout the movement. Both legs are outward, rotated and remain fully stretch. When doing about mount on you, you have to adjust your weight. So think about lifting upward and onto the sporting way so that the working Lincoln be released with an outward sliding action off the foot. You must feel that the movement is activated by the heel and can continue through the metatarsals, engaging the calf muscles until the ankle tolls I fully stretch. The closing movement requires strong use off the inner ties, muscles and the back of the leg, enabling the working like to reverse the sliding action off the foot. Starting first position. I'm Papa. You do three but won't on Beautiful one on close and two and close three on close plea on stretch. Repeat in second. Transfer your weight on, rotate your leg from the heap, clear and stretch on. Repeat to the back. Remember, then work when working your leg on the back. You have to lend him your spine The year I'm stretched Repeating second, three times. Three years. And as you stretch, bring your harm toe brother, transfer your weight. Takes full of your legs on stretch to second. Use your and stretch to wait on a stretch. Last second. Yeah, on finish And now left side way. 10. Grand Battements: Let's till the last exercise off the bar. Combat No, from that moment is a strong throwing action off the working leg. The movement is a shift by three years off floor, As in badminton, you followed by a light flight off the leg, then returns to continue it control and close back to third. Start with your feet in third position and your arm in Papa. On the introduction, your arm goes first and then second. Now you do a background onto the wrong thinking about all the things we talk about on the previous exercise and keeping your hips square. Lift your leg, maintaining your turnout, then lower and close back to third repeated told you up, down and close. Now let's do it faster. You go up and down without stopping on the battle mountain you. But remember to use the floor on the way out and on the way it rise. Turn to the bar and lower toe first, now repeating second. Keeping in mind that to keep your hips square, you might have to move your leg slightly forward, doing a diagonal down on clothes that won't you up, down and close, then faster up and town rice Turn around. Go down to third and to Papa. I'm first and second, don't you down three people up. Close. Faster up. Uh, now rise to the bar. First position down close. Do now. Close. Faster now, uh, down lives. Let's repeat to the left way. Now that we've finished the bar, you can step away to the center toe. 11. Port de Bras: Palabra means movement off the arms to do a correct pot, brah, you must remember the class positions off the arms where we talked about the proper placement of the arms and how they should look like. Now let's a T exercise starting first position with your arms. Improper. Breathe on the introduction doing at the Mexican and and co pecked proper. Then you do a basic part of rock that consists in a continuous movement in which the arms are lifted up, toe first position and opened out to second and lower toe proper. Then repeat, but stopping second toe. Do 1/3 position video right arm, open to second. Repeat with your left arm open to second and lower both arms to cover Toto a full Parker. There is a continuous movement upto fifth that opens to second and goes down toe proper. Then repeat from the top despite being about the arms. A proper pot, brah also includes the movement off the head. That should follow the arms. Greet can first open to second. Pete. Uh, right. I'm took third open. Repeat the left blood school up to 50. Oh, down And repeat, - now that we have finished pot obra, let's go toe jumps 12. Jumps: light. Still, the chumps a jump starts and finishes, always with a pretty it with the hills firmly on the ground is the pressure generated by the use off the all fit on the floor that propels the body into the year at a high of the chump, the knees in steps and tolls are fully stretched. The return must consist in the soft, plainly with the toast touching the floor first and then wait. Being taken through the whole foot into a good for you. Begin with your feet in parallel on your arms in proper were clear. Let's jump Plea stretch. Rip it, Please jump. Three years stretch now Let's sweet without the stretch in the middle for faster jumps. What? 234 and old into the clear Reeses to stretch. Repeat but opening to first. Screw it. Brie and jump Plea a stretch for 1234 stretch and repeat. Remember to keep your heels together and to move up, maintaining the neutral alignment off the spying on the pelvis on old in your arms in Brava , Free shop, please stretch really jump. We stretched. What? 1234 Hold stretch. Leah First plea stretch. We first Leah Stretch for 1234 off. Come on, Repeat. Now that we have finished the class, let's go toe cool down and stretching. 13. Cool down and stretching : cooling down, reverses of principles off, warming up, allowing the blood in the muscles to be redistributed throughout the body, and muscle energy levels to be replenished more efficiently. Movement in a cool down are usedto rather early. Bring down the art rate. We mobilize the joints and stretch how to muscle that. I've been worked doing the dance class. It also helps reduce muscle soreness and speeds up the recovery process. Face the bar and keep your back heel on the four. Feel the stretch in the back off your leg and then repeat it with the other life. Keeping your knees together, pulled the foot and feel the stretch in front of the heap. Repeat with the other life. Do aside mint to the right, then to the left on. Then go forward and keep your back as flat as possible to stretch the back off your legs and your back there . - Congratulations . You now know the basics of the classical ballet technique 14. Conclusion: Thank you so much for joining me on the basics off the classical ballet technical home course. Hope you have enjoyed it. Can't wait to see ofi use. We send me a message. If you have any doubts, our concerns If there is anything you like to see me exploring next, please let me know.