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Balanchine the TeacherFundamentals That Shaped the First Generation of New York City Ballet Dancers$
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Barbara Walczak and Una Kai

Print publication date: 2008

Print ISBN-13: 9780813032528

Published to Florida Scholarship Online: September 2012

DOI: 10.5744/florida/9780813032528.001.0001

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The Barre

The Barre

Chapter:
(p.249) 2.4 The Barre
Source:
Balanchine the Teacher
Author(s):

Barbara Walczak

Una Kai

Publisher:
University Press of Florida
DOI:10.5744/florida/9780813032528.003.0018

In Balanchine's classrooms, the barres were at the standard height, developed over the years by dancers everywhere. The barre should be at the level of the lower part of the rib cage so that the arm which is supported by the barre is at the same height as the extended arm. Place the hand on the barre a little forward of the body, while standing at a distance that allows a little play in the arm without causing the arm to bend too much at the elbow. Aside from pliés, all exercises at the barre are performed on one leg to strengthen and prepare the body for center work. This chapter discusses the purpose and use of the barre, construction of exercises, demi-plié, grand plié, coordination of the arm with grand plié, and coordination of the arm with bending down and back.

Keywords:   George Balanchine, ballet, barres, dancing

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