MOTHERHOOD DOESN'T SLOW DOWN BALLERINAS.

Byline: Vicki Smith Paluch Correspondent

Not that long ago, dancers retired when they wanted children. But American Ballet Theatre's Julie Kent is a glowing example of the ballerina of the 21st century.

``I never thought I would be able to be a mother and dance,'' says Kent, whose son, William Spencer Barbee, celebrated his first birthday on April 9. ``I always thought you had to stop dancing, but that's not necessary. You can have it all.''

Last year, Kent graced the cover of Dance magazine in all her pregnant voluptuousness. Dressed in a flowing chiffon cover-up over white unitard, Kent's cover picture illustrated the point: This is a new generation of ballerinas.

At ABT, the roster of principal ballerinas who are also mothers is expanding: 20-year veteran Alessandra Ferri has two children, Kent has one, and Irina Dvorovenko gave birth this month. These dancing moms are blazing a trail other members of the corps de ballet have the option to follow.

``As a performer, it opens things up a little bit,'' says Ashley Ellis, 21, a Torrance native who joined ABT after winning the Music Center's Spotlight award. ``I don't feel like it's all or nothing.''

The renewed emphasis on body conditioning, utilizing techniques such as Pilates, has also extended careers for ballerinas who once retired in their mid- to late 30s due to injuries. Now, dancers can rebound from childbirth and injury with proper diet, training and physical therapy - options few dancers considered in the 1980s.

Not only is Kent back to dancing a full schedule, but also she believes that motherhood has deepened her artistry, which was already quite formidable. Kent is one of those rare dancers who draws the audience into her search for the elusive and the genuine. When American Ballet Theatre comes to the Dorothy Chandler Pavilion, Kent - whom artistic director Mikhail Baryshnikov brought to ABT in 1986 when she was 16 - will be dancing the ``White Swan Pas de Deux'' during the company's opening-night Tchaikovsky gala and will appear in the title role of ``Giselle'' on Friday.

``I feel stronger,'' says the 34-year-old ballerina. ``Motherhood has changed my priorities and impacted my performance. It has liberated me and broadened my perspective. I don't apply as much pressure on myself and I have blossomed.''

For the two roles she'll be dancing in Los Angeles - Odette, the white swan in ``Swan Lake,'' and Giselle - she must personify unconditional love. By today's standards, the fairy tale story of ``Giselle'' is rather silly. A naive young woman in a quaint little village falls in love with the charming but duplicitous prince, Albrecht, who toys with her affections and breaks her heart. Giselle goes mad and dies. However, as the personification of unconditional love, Giselle forgives the prince and saves him from the wrath of the Wilis, those jilted maidens who compel two-timers to dance to death.

``Now, I can relate my experience to Giselle,'' says Kent. ``When you have a baby, your capacity for love becomes greater than you ever imagined. You love so profoundly and deeply. That's the love she has for Albrecht.''

AMERICAN BALLET THEATRE

Where: Dorothy Chandler Pavilion, 135 N. Grand Ave., Los Angeles.

When: 7:30 p.m. Thursday, 8 p.m. Friday and Saturday, 2 p.m. Saturday and Sunday.

Programs: Thursday: Tchaikovsky Gala, including ``Theme and Variations,'' ``Swan Lake'' (pas de deux from Acts 2 and 3), Ballet Imperial and Tchaikovsky Pas de Deux. Friday through Sunday: ``Giselle.''

Tickets: $25 to $95. Call [phone] or Ticketmaster at [phone]; or go to www.musiccenter.org or ticketmaster.com.

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