Positions in Different Ballet Schools: Vaganova vs. Cecchetti
Introduction
Ballet, a highly disciplined and artistic form of dance, has evolved over centuries, giving rise to various schools and methodologies. Among the most prominent are the Vaganova and Cecchetti methods, each with its unique approach to training and technique. This article delves into the positions in these two ballet schools, comparing and contrasting their philosophies, techniques, and the impact they have on dancers.
Historical Background
The Vaganova Method
The Vaganova method, named after Agrippina Vaganova, a Russian ballet dancer and pedagogue, is a ballet technique and training system that emerged in the early 20th century. Vaganova’s approach synthesizes elements from the French, Italian, and earlier Russian schools of ballet. Her method emphasizes a harmonious blend of strength, flexibility, and expressiveness, aiming to create dancers who are both technically proficient and artistically expressive.
The Cecchetti Method
The Cecchetti method, developed by Italian ballet master Enrico Cecchetti, is another influential ballet training system. Cecchetti’s approach is rooted in the Italian tradition but also incorporates elements from the French and Russian schools. The method is known for its rigorous and systematic approach to training, focusing on precision, clarity, and the development of a strong, versatile technique.
Positions in the Vaganova Method
First Position
In the Vaganova method, the first position involves the heels touching each other with the feet turned out to form a straight line. The arms are rounded and held in front of the body, with the fingertips almost touching, creating a soft, oval shape.
Second Position
The second position in the Vaganova method has the feet turned out and placed shoulder-width apart. The arms are extended to the sides, slightly rounded, and held at shoulder height, creating a graceful line from fingertip to fingertip.
Third Position
In the third position, one foot is placed in front of the other, with the heel of the front foot touching the arch of the back foot. The arms are positioned with one arm rounded in front of the body and the other extended to the side.
Fourth Position
The fourth position involves placing one foot in front of the other, with a distance of about one foot between them. Both feet are turned out, and the arms are held with one arm rounded above the head and the other rounded in front of the body.
Fifth Position
In the fifth position, the feet are turned out and placed close together, with the heel of one foot touching the toe of the other. The arms are rounded and held above the head, creating a soft, oval shape.
Positions in the Cecchetti Method
First Position
The first position in the Cecchetti method is similar to that of the Vaganova method, with the heels touching and the feet turned out. However, the arms are held lower, with the fingertips just above the thighs, creating a more grounded and stable appearance.
Second Position
In the Cecchetti method, the second position has the feet turned out and placed shoulder-width apart. The arms are extended to the sides, slightly rounded, and held at shoulder height, similar to the Vaganova method but with a more pronounced curve in the elbows.
Third Position
The third position in the Cecchetti method involves placing one foot in front of the other, with the heel of the front foot touching the arch of the back foot. The arms are positioned with one arm rounded in front of the body and the other extended to the side, similar to the Vaganova method but with a more pronounced curve in the elbows.
Fourth Position
The fourth position in the Cecchetti method involves placing one foot in front of the other, with a distance of about one foot between them. Both feet are turned out, and the arms are held with one arm rounded above the head and the other rounded in front of the body, similar to the Vaganova method but with a more pronounced curve in the elbows.
Fifth Position
In the fifth position, the feet are turned out and placed close together, with the heel of one foot touching the toe of the other. The arms are rounded and held above the head, creating a soft, oval shape, similar to the Vaganova method but with a more pronounced curve in the elbows.
Key Differences Between Vaganova and Cecchetti Methods
Philosophy and Approach
The Vaganova method emphasizes a holistic approach to training, focusing on the development of strength, flexibility, and expressiveness. It aims to create dancers who are both technically proficient and artistically expressive. The Cecchetti method, on the other hand, is known for its rigorous and systematic approach to training, focusing on precision, clarity, and the development of a strong, versatile technique.
Technical Differences
While both methods share many similarities in terms of positions and movements, there are some key technical differences. The Vaganova method places a strong emphasis on the use of the upper body and arms, with a focus on creating a harmonious and flowing line. The Cecchetti method, on the other hand, places a greater emphasis on the precision and clarity of movements, with a focus on developing a strong and stable technique.
Training and Curriculum
The Vaganova method follows a structured curriculum that progresses from basic to advanced levels, with a strong emphasis on the development of strength, flexibility, and expressiveness. The Cecchetti method also follows a structured curriculum, but with a greater emphasis on the systematic development of technique and precision.
Impact on Dancers
Vaganova Method
Dancers trained in the Vaganova method are known for their strong, expressive performances and their ability to convey emotion through movement. The method’s emphasis on the use of the upper body and arms helps to create a harmonious and flowing line, resulting in a more fluid and graceful appearance.
Cecchetti Method
Dancers trained in the Cecchetti method are known for their precision, clarity, and strong technique. The method’s rigorous and systematic approach to training helps to develop a strong and stable technique, resulting in a more grounded and controlled appearance.
FAQ
What is the main difference between the Vaganova and Cecchetti methods?
The main difference between the Vaganova and Cecchetti methods lies in their philosophy and approach to training. The Vaganova method emphasizes a holistic approach, focusing on the development of strength, flexibility, and expressiveness, while the Cecchetti method focuses on precision, clarity, and the development of a strong, versatile technique.
Which method is better for beginners?
Both methods are suitable for beginners, but the choice may depend on the individual dancer’s goals and preferences. The Vaganova method’s emphasis on expressiveness and fluidity may appeal to those who enjoy a more artistic approach, while the Cecchetti method’s focus on precision and clarity may appeal to those who prefer a more structured and systematic approach.
Can a dancer train in both methods?
Yes, many dancers train in both methods to develop a well-rounded technique. Each method offers unique benefits, and training in both can help dancers to develop a versatile and comprehensive skill set.
Are there any famous dancers trained in the Vaganova or Cecchetti methods?
Yes, many famous dancers have been trained in both methods. Notable Vaganova-trained dancers include Natalia Makarova, Rudolf Nureyev, and Diana Vishneva. Notable Cecchetti-trained dancers include Alicia Markova, Margot Fonteyn, and Rudolf Nureyev (who trained in both methods).
Conclusion
The Vaganova and Cecchetti methods are two of the most influential ballet training systems, each with its unique approach to technique and training. While the Vaganova method emphasizes a holistic approach to developing strength, flexibility, and expressiveness, the Cecchetti method focuses on precision, clarity, and the development of a strong, versatile technique. Both methods offer valuable benefits to dancers, and many choose to train in both to develop a well-rounded skill set. Ultimately, the choice between the two methods may come down to individual preferences and goals, but both have made significant contributions to the world of ballet and continue to shape the training of dancers worldwide.
