Video Dictionary of Classical Ballet Demonstrates the complete language of ballet - including positions and directions, barre, linking steps, center practice, pirouettes, adage, allegro, batterie, pointe, and musical enchainements.

Classical Ballet Terms by Richard Glasstone Wherever ballet is taught in the world, and in whatever language, it retains one common denominator: the technical terms used are in French. Yet there are many discrepancies in the perceived meaning, spelling and usage between various countries and teaching methods, and this dictionary aims to prevent confusion by explaining the precise meanings of over 560 of the French technical terms used in classical ballet. The dictionary is also unique in that it addresses the problems of correct spelling and grammar. These details may be relatively unimportant to the average dancer, but it is essential that they should be correctly applied when dealing with the printed word. While most of the entries are concerned with the correct translation and basic explanation of technical terms, there are also extended entries which trace both the historical background and the linguistic origins of particular aspects of ballet terminology. The dictionary is an essential reference work not only for ballet dancers and teachers, but for all audience members who wish to have a better technical understanding of this most elegant of art forms. The book is illustrated with photographs of Michael Clark, Antonia Franceschi, and Philip Broomhead, taken by Simon Rae-Scott. Richard Glasstone is a graduate of the Dance Department at Cape Town University, and has worked internationally as a dancer, choreographer, and teacher. He was Resident Choreographer and Principal Teacher at the Turkish State Ballet from 1965 - 1969, before being invited by Dame Ninette de Valois to join the staff of the Royal Ballet School. During his 15 years there he held the posts of Senior Teacher for Boys and Director of the Dance Composition Course; he also choreographed numerous ballets for the students, in which many noted dancers of the Royal Ballet Company made their stage debuts.

International Dictionary of Ballet by Martha Bremser (Editor) The International Dictionary of Ballet has as its subject all of ballet, from its beginnings in the Renaissance to contemporary dance.

American Ballet Theatre's Ballet Dictionary A unique interactive resource designed to bring dance to the Web and make it accessible to everyone. Dover Publications has graciously allowed the use of 170 terms from the Technical Manual and Dictionary of Classical Ballet, which are then demonstrated by ABT Company dancers.

Humanizing Ballet Pedagogies by Jessica Zeller Philosophies, perspectives, and praxis for teaching ballet.

The Art and Science of Ballet Dancing and Teaching by Janet Karin This book offers an inside view of ballet as the art form we see on stages today, how expressive movement is initiated and controlled, and the importance of embedding creativity and expressivity within ballet technique from the dancer's first lesson to their final performance.

Ballet Pedagogy: a Conceptual Approach to Teaching Classical Dance by Marilyn Gaston This book is an invaluable tool for the prospective or experienced ballet teacher, college dance major, professional dancer, or dance student. It would be an ideal textbook as well for university dance pedagogy courses. Unlike many books on the subject of teaching ballet it is not merely a list of vocabulary words, a pictorial showing of steps or exercises, or written descriptions of dance combinations. Rather, the 'conceptual approach' provides insight into how a dancer's technique develops through understanding what lies behind the correct execution of steps and exercises-vital knowledge for every successful teacher and student. In the author's own words, "the teaching of steps does not equate to the teaching of technique [or artistry] in dance. It is easy to teach steps, but a full understanding of them is required in order to teach technique." The book outlines the priority and correct progression, through levels of difficulty, of each part of the ballet class. It defines and connects the ten most important concepts (such as placement, turnout, isolation, flexibility-among others) with the exercises that best foster their development and that allow the student to eventually execute each individual step with precision and without injury. Following the historical precedents established by the recognized ballet syllabi and curricula in use today, the 'conceptual approach' encourages teachers to be creative while giving them the tools to develop a personalized strong dance program that consistently results in exceptional student dancers. There are many examples and visual aids here to clearly present the progressions as a student should experience them, along with detailed explanations of steps and combinations that correlate to every level. Color photographs enhance the text.

Ballet Pedagogy by Rory Foster Finally, a ballet pedagogy book for teachers of all training methods "This book, although written with the ballet teacher in mind, is equally useful to the modern dance teacher. All teachers of concert dance should have it close at hand."--Eileen Cropley, Paul Taylor Dance Company "An original concept and a work of great necessity in the field of training in ballet. This is the best book on ballet pedagogy I have encountered."--Rick McCullough, Florida State University There are many different methods for teaching classical ballet--Bournonville, Vaganova, Cecchetti, and Royal Academy of Dancing being the most widely known. All of these methods are effective tools for presenting the technique and art of ballet. Knowing how to use these tools successfully requires more than being a devotee of the technique; it also requires the mastering of various skills.             In Ballet Pedagogy, Rory Foster aims to share his extensive knowledge of how to teach rather than focus exclusively on what to teach. He argues that it is not enough for a ballet teacher to be well trained in technique, but that he or she must also know how to utilize pedagogical skills. Designed as both a manual for beginning teachers as well as a reference for experienced instructors, Ballet Pedagogy is appropriate for either followers of a single methodology or for those who have adopted a more eclectic approach to technique. Foster believes that effective teaching skills--proper demonstration, counting, correcting, musicality, anatomical approach, etc.--do not come automatically just because one has trained as a dancer.             In this book, Foster--an expert in multiple ballet methods--covers all areas involving dance, from history to injury prevention, from anatomy and kinesiology to vocabulary and music. He even offers pragmatic advice on the business of starting a dance school. The result is an essential addition to every dance teacher's library.

Step-by-step ballet class by Royal Academy of Dancing An illustrated guide to the official ballet syllabus

The Art of Teaching Ballet by Gretchen Ward Warren Warren combines her years of experience as a dancer and master ballet teacher and her engaging writing style to create a living history of 20th-century classical ballet training.

Teaching Classical Ballet by John White "A service of great importance for any artist wishing to pursue a career in dance. . . . applicable to both experienced and inexperienced dancers and teachers. It gives guidelines to the art of teaching ballet where none existed before."--Charles Flachs, principal dancer, Nashville Ballet

Ballet from the First Plie to Mastery by Anna Paskevska The book opens with a brief description of the benefits of ballet training to young dancers, then introduces fundamentals and precepts. Clear photographs show exactly how to execute each movement. Then an eight-year course is presented, taking the student from age 5 or 6 through the teen years, outlining exactly what is to be taught and how it is to be performed.

Classical Ballet Technique by Gretchen Ward Warren "An excellent, comprehensive guide to ballet pedagogy valuable to teachers and students alike. For many years Gretchen's has been a major voice in the dance community, and this extensive work details the study of classical ballet from her unique and expert point of view. I applaud her, and I heartily recommend Classical Ballet Technique."--David Howard, International Ballet Master and Master Teacher

Musical Diversity for a Complete Ballet Class by Shayla Bott & Amalie Simper

Reimagined for Ballet Class by Andrew Holdsworth

Musique pour le cours de danse classique by Ellina Akimova

Venti's Ballet Class by Venti Petrov