RBS VS Vaganova Ballet Styles

Comments · 70

• TA

  @talitharosanna946 · 1 year ago

  I wish I had been trained in the Russian style, I find it so much more beautiful and expressive than the RAD style I have. Loved the video! xx

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• OH

  @OhadRaps · 1 year ago (edited)

  I love how Suvi looks at you. So cute!! Honestly the Vaganova technique is just so pure and clean, I don't think anything can compare. It's literal classical ballet. Other techniques look more modern, which suit contemporary choreography better, for example Forsythe or Jiri kylian, where you need to tilt the pelvis sometimes or use curves, etc.

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• PG

  @pgoodman7662 · 1 year ago

  My favorite duo !! I was trained Vaganova. It’s the most elegant to me. But, I’m biased.

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• VV

  @vv.g.8817 · 1 year ago

  Awsome video❤ i have two amazing russian teachers, both from the bolshoi akademy and i absolutely love learning the "russian ballet style" from them❤

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• LA

  @larissaswayze · 1 year ago (edited)

  Very fascinating comparison and just want to add some observations as a teacher who is working toward their Cecchetti associates degree. Keeping in mind that different teachers within the same training method do things differently and also since I train in Canada we do some things differently than Cecchetti teachers in the US, UK, Australia, etc:<br>- The alignment of the body as I have been taught is the spine is lengthened up and forward and there should be a “straight line” with the ear over shoulder over centre of ribs over hip joint and then down behind the kneecap and into the foot tripod. This does bring the weight slightly forward but the body should be very “stacked” anatomically. <br>- Usually in the grades we do take our en dehor pirouettes from a plie in 4th, but en dedan pirouettes are usually from a lunge. <br>- There are several exercises where we do what we call a “Russian chasse” and do a small temps leve and then slide a stretched front foot foward with the heel presented to prepare for a pirouette or a jump such as a cabriole. I do agree that a Cecchetti chasse is very grounding but the down always has to be paired with that very strong lift through the spine so you don’t sink. <br>- The height of the arabesque arm depends on what you are doing. For example 1st arabesque in a temps leve would have a higher arm but a promenade in 1st arabesque is quite flat - so similar to how you explained Vaganova. <br>- The 6th port de bras you did is what we call 8th port de bras. In Canada you do it in Advanced 1 and it is in a very deep lunge much like you demonstrated for Vaganova, but you stay in the lunge the whole time and then repeat the port de bras 4x and at the end push straight up into an arabesque on a rise and balance. I feel like anyone allowing the arms to not move around the body in relation to each other are not following Cecchetti’s theory of port de bras, which states (among other things) that “as much as one arm moves foward the other moves back, as much as one arm moves up the other moves down.” So it’s very much about moving the arms always in relation to each other. Again, similar to what you showed for Vaganova. <br>- In passe movements there are many times where the arms stay en bas and the movement is all in the eyes/head/epaulment. And definitely the way I have been taught is no extraneous movements of the hands or wrists so any port de bras in an exercise like this would be lower and more simple and clean. <br>- The coordination of arms into a jump are always arms anticipate the jump. Also in the Canadian Cecchetti syllabus we often do our arms in something like a glissade assemble as small demi 2nd rebounding into a bigger demi 2nd or if it’s an assemble elance the arms are in full 2nd with the head fully turned to ecarte which feels very powerful. Yes the brush of the foot is strong but the arms are what propel you into your jump. <br>- I do agree about Cecchetti not demanding 180 degree turnout - the goal is to get the absolute best turnout a person is anatomically capable of, but always working for that little bit more/constant rotation (you often talk about wrapping the pinkie toe Isabella and that is something my mentor also teaches except she says “spin the pinkie toe metatarsal”). That being said in Cecchetti you are always expected to be in YOUR maximum turnout and cannot release it for one second especially as you said on the supporting leg. <br>- Thank you for reading my novel! I am just as passionate about Cecchetti as you are about Vaganova and that’s what the ballet world needs most right now - passionate, supportive teachers who want their students to soar. Regardless of the style they’re trained in. Love you and Suvi together as always 💚

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• ED

  @EdenSClark51 · 1 year ago

  I LOVE the Vaganova method the most, my local classes are French/American blended, but at home I work on the Vaganova method with your platform, and prefer the look as well as the feel.

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• AM

  @amtrue_ · 1 year ago

  I&apos;m not a ballerina, I&apos;m a 61yo with an appreciation of ballet especially ABT. This year I discovered BWI. My eyes and heart have been opened to other techniques and I can&apos;t get enough! Thank you so much! Andrea Huntington Beach California

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• NA

  @NanMaisNan-m1e · 1 year ago

  The Vaganova style is so artistic to me, absolutely gorgeous lines. I currently train in the French style which already felt very extra after having previously taken RAD classes.

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• RE

  @redlantern3371 · 1 year ago

  The exaggerated angles and &quot;proud&quot; images are what makes ballet so beautiful to me. This was very interesting to have the contrasts explained and demonstrated. Thank you ladies!

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• KA

  @karunadd · 1 month ago

  I don’t hear or see much about Bournonville method - would like to see more. As a child I loved the Royal Danish Ballet.

• IT

  @itsaboutalexa · 1 year ago

  Ah yes, yeah we’re being taught the Cecchetti method in our adult class 😂 but I also prefer the Russian method visually ❤

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• AM

  @amtrue_ · 1 year ago

  I&apos;m so happy to see you both! Thank you!

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