A Cecchetti Teacher’s Point of View on Reconstructing the Stepanov Notation On the Occasion of Doug Fullington’s Master Classes at Paris and Rome, October 2015

As a former professional dancer and teacher of the Cecchetti Method for more than twenty years, it is apparent to me that Enrico Cecchetti’s development as a teacher of “classical theatrical dancing” (as opposed to being a mere dispenser of ‘ballet technique’) was informed by an entire lifetime devoted to the stage, and during his…

Observations on teaching pointework using the Italian school technique and the Notion of ‘Descending onto Pointe’

During the latter half of the 19th century, Italian ballet shoemakers developed a new kind of slipper, with reinforced blocked toes, which would allow the ballerinas of the Italian school to show off new and daring jumps, balances and spins on the tips of their toes. The era of virtuosic technique in classical ballet had…

Glimpses into the Spanish World of Ballet

A Glimpse into the Spanish World – Cecchetti, Bournonville and the Escuela Bolera

In 2007, in Paris, Flemming Ryberg and Dinna Bjorn of the Royal Theatre Copenhagen, presented a week of classes in Bournonville technique, repertoire and mime. As an observer with very little practical experience of the Bournonville style, I watched with fascination and delight, revelling in the joy of being a human, dancing, which is expressed…

Redondanse_Enrico-Cecchetti

Interview for Danse avec la Plume, editor Amélie Bertrand, February 2015

Promotional article for Redondanses, new venture for classical ballet events in Paris set up in 2014 by Marie-Josée Redont, former soloist Paris Opera ballet Promotional article for Redondanses, new venture What is meant by the term “Cecchetti  School”? Au Théâtre Maryinskii, en raison des progrès indéniables de chacun de ses élèves, Enrico Cecchetti a finalement…