|This will hurt your toes|
|Dancers||The french / russians|
Classical Ballet is the most formal of the ballet styles, it adheres to traditional ballet technique. There are variations relating to area of origin, such as Russian ballet, French ballet, British ballet and Italian ballet. The Vaganova method, named after Agrippina Vaganova and the Cecchetti method, named after Enrico Cecchetti are Russian and Italian respectively and derive from the original French method.
Making the moveEdit
In the Vaganova method there are four basic arabesque positions. They are here described for a dancer facing Vaganova's fixed point 8 of the stage (that is, a dancer facing the front left corner of the stage). In class practice, the arms are always level with the shoulders (arabesque de classe), while in performance the arm in front may be raised above shoulder level (arabesque de scene). The elbows are always facing downwards. In the first arabesque, the dancer stands in effacé position (for point 8, facing the front left corner, with the left foot in front) with the right leg raised in arabesque, the right arm extended to the side (to the audience) and the left arm extended front (towards the corner). The gaze follows the line of the arm extended en avant. In the second arabesque the legs are like in the first arabesque, but the right arm is extended en avant while the left arm is extended a little behind the dancer's shoulder; the shoulders are in épaulement in line with the arms and the gaze is turned to the audience. In the third arabesque the dancer stands in croisé position (for point 8, facing the front left corner, the right foot is in front) with the left leg raised in arabesque, the right arm extended to the side and a little behind the shoulder, and the left arm extended front. The gaze follows the line of the arm extended en avant. In the fourth arabesque position the dancer stands in croisé as for the third arabesque, but the right arm is extended front and the left arm is extended as far back as possible in line with the right arm. The shoulders are in strong épaulement and the gaze is turned to the audience.