Back to Classics.

Classical training is the basis for mastering contemporary choreography. As Peter Brinson, British dance critic and historian, has advised: "Dance the classics well and all things are possible. Master the classics, as Picasso did in his sphere, and they offer you a base for invention, creation, and all the more revolutionary artistic departures, because they require a mastery of technique which is the beginning of communication."

Contemporary choreography has existed for many years and has never reached the level of technique demanded by the classics--three-act ballets such as Sleeping Beauty, Coppelia, Swan Lake, and others. The major pas de deux in these ballets demand technical virtuosity which can only be attained by the finest dancers--those trained in classical technique. Contemporary ballets, on the other hand, usually consist of one act, and rarely require the stamina demanded by the classics. Most serious artists in all fields agree with my contention that a solid classical technical base is vital before moving on to experiment with more contemporary work. Russian dancers such as Baryshnikov are so well grounded that they can move easily and swiftly into different dance forms, even though these forms have played no part in their initial training. Freedom grows from discipline.

When I first arrived in Canada from England in 1947, there were no professional companies (the National Ballet Company of Canada was formed four years later, immediately after the Royal Winnipeg Ballet), and except for touring companies and festivals by local schools, there was little opportunity to enjoy ballet. My school became the foundation for the National Ballet School which came into being in 1959, and at the request of the National Ballet Company, I was appointed principal. The school opened with a full complement of first-class ballet teachers and an enriched academic program. Because we had a student residence, we were able to accept fifteen children from across the nation and later built new facility that now accommodates ninety-five.

My mandate was to produce dancers of international calibre. Over many years I devised a method of teaching the theoretical and practical principles that lead to safe and thorough training for classical dancers. I examined systems in England, Russia, Italy, Denmark, and France; experimented; changed what I felt was wrong; and sometimes changed back again. To maintain standards, I used the Cecchetti syllabus as a guide to ensure that the technical vocabulary was covered, although the syllabus was only a small part of my approach to teaching.

Rigidity (in teaching, as elsewhere) is always dangerous. Children develop at their own speed, both mentally and physically. Add to this the fact that students in North America are accepted into professional schools at different ages. Some have had no training, some good training, and some, very bad training. It is obvious that, although a syllabus can be useful, it should always be flexible so that the teacher is free to adapt it to the unique needs of each pupil. I insisted on a pure style--port de bras without affectations or mannerisms, musicality, correct placement of the hips, and a good line. Our dancers were sought by companies all over the world and made their mark--frequently as principal dancers. Our graduates had no trouble finding employment with either major classically based or contemporary companies. We established a professional counselling program long before sports people became aware of an athlete's psychological needs. I believe that it is the teacher's responsibility to understand each dancer's body and to guard against injury and distortions--and a complementary strengthening program was always a part of our program. And a strong academic program produced dancers as well as others who went on to successful careers in medicine, law, and other professions.

I realize, that change is inevitable and often desirable. But it should not be at the cost of a quick preparation for a career. The student deserves proper training; the professional deserves a basis that permits expansion into many forms and styles; and the human being deserves a rewarding life.

Want to speak out on a teacher topic? Write Marian Horosko, Dance Magazine, 33 West 60th St., New York, NY 10023.

Betty Oliphant, C.C., LL.D., D. Litt., is founder of the National Ballet School in Toronto.