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If you're a ballet dancer, thinking about taking ballet to the next step?
First, let me say that I truly believe that if you put your mind to, and become totally focused on this goal, you can will acheive ...
This article is just to highlight some of the secular beliefs of what constitutes a physical ideal for a ballet dancer ...
It is well known that a dancer must have a physique that can be trained to the highest level of coordination, combined with total flexibility, endurance and great strength from head to toe. Despite this important fact, some students train until well into their teens before being defeated by a physical characteristic that undoubtedly existed, ten years, but ignored or neglected by their coaches at the time ...
So what is the physical ideal, do you ask?
Well, most experts agree that the proportions of your body are critical to having an ideal physic. Apart from aesthetic considerations, a well-proportioned body will weather the stresses and strains of exciting work required of it with greater ease than one in which there is some disparity in the relative length for instance, of limbs to torso, of width to length of the body, or of the relative size of shoulders to hips and so on...
Unlike the musician, a ballet dancer can not adjust their instrument by lengthening or shortening their strings, increasing or decreasing the tension until the correct height is reached. In the world of classical dance, your body is your instrument, infinitely complicated and it becomes your servant only after many years of intensive training.
At best, it becomes an instrument of great beauty, but it will not achieve this if it is endowed centimeters more here or too short in length is to fall into the perfection of line and form that art requires. In the well-informed, well-proportioned physical there is less risk of muscle thickening in unwanted places, and less susceptibility to minor and some major accidents caused by the effort to overcome the obstacles inherent in the construction of the body. ..
The neck line is important, a little more for aesthetic reasons that the anatomical point of view. To comply with the ideal morphology of the neck should not be too square, and certainly not too short, the head should not be disproportionate nor too small ...
The physical ideal ballet embodies a perfect balance between the upper and lower halves of the body. A good guide to the best proportions may be taken from ancient Greece, where the length of the crown of the head to the pubic arch or fork is equal to the fork in the earth. Following the same pattern, the length of the fork to the lower edge of the ball must be equal to the lower edge of the ball on the ground ...
According to the classical tradition, the man's shoulders are wider than the hips in women, they are a bit closer. Here we differ somewhat, since it has been found by experience that the ideal figure of ballet's best for some slight extra width on the shoulders, men or women ...
Limbs are next on the list. Pretty arms and hands are a natural asset, extra arm length or lack of it is not really a problem, but the lower limbs the standard of beauty is high. The ideal leg is naturally straight and well made, showing little or no muscle development in upright position, with the harmonious line of sight back, knees and does not exceed too forward ...
There will be a straight line in the middle of the thigh, through the center of the knee, the front leg in the middle of the foot. The foot is flexible, with at least one arc of potential. With fingers of medium length only and preferably with two or three first approximation of the same length ...
Finally, the ideal candidate will have an upright carriage and head snugly.
Hope this gives you a quick overview of some old views on the physics of ballet dancers and the art of ballet.