The Complete Ballet Bible Package: PART 1

This book has but a single, ultimate goal: To be so clear on exactly how to improve your ballet technique that you will be wondering how on earth you could have gotten so far without The 3 Simple Rules of a Prima Ballerina.

I will have failed if I only do what other guides do. They show you WHAT to do. I take you by the hand and coach you on exactly HOW to do it.

You will be amazed at this books ability to teach you how to dance with grace, precision, and poise. It's as if I am standing next to you guiding you through every movement and gesture.

In this guide I not only show you how to do a movement or gesture correctly, but I also show you how most dancers do it incorrectly, and I tell you WHY. No other book I have ever read shows you this. It is a fundamental aspect to learning. If I show you how NOT to do a movement you will have a better understanding of what compromises the correct form.

You will automatically see improvement in your dancing.

Learn Ballet Online

The Complete Ballet Bible Package: PART 2

This software package not only makes it easy to find any ballet term and learn its meaning, but it also includes real voice audio pronunciations.

One of the best things about this software is that it is so easy to use.

Just take one look and you've got it figured out. This software is not like the usual kind with a million menus, hidden buttons, and complex manuals. This software has specifically been designed for ease of use and maximum knowledge gain.

Learn Ballet Online

The Complete Ballet Bible Package: PART 3

This software program is a collection of over 60 videos on ballet technique.

I always found it hard practising at home because I didn't have my teacher to show me how to do the movement correctly.

You may be a visual learner like myself and really benefit from being able to watch how to correctly perform a Ballonce or Entrachat Quatre whenever you like. If I had something like this when I started I would have been light years ahead.

Learn Ballet Online

The Complete Ballet Bible Package: Part 4

Due to popular demand I have compiled one of the best resources you will ever find teaching you 1-on-1 the fundamentals and technique of ballet.

Included in this 1-on-1 demonstration/teaching series is over 20 individual video lessons covering everything you need to know to reach the top of your class in record time.

Imagine having access to a top notch ballet teacher 24 hours a day. How much quicker do you think you would be able to improve your skill level? This is essentially what you get. Everything you need to know is covered step by step just as if I was standing right next to you guiding your every movement.

This software is so easy to use. Before long this will become your favorite program. You will be referencing this software package over and over again.

Click here for instant access

The Complete Ballet Bible Package is a downloadable product including ebook, audio software, and video demonstration software. Ballet dancers new and experienced love this product.

Becoming a ballet dancer can be difficult. It is not something that can be learned overnight, nor can it be mastered in a few months. Taking ballet classes is imperative to learn the proper techniques necessary to become a truly magical ballet dancer whose every move and step personify grace and beauty.

As a resource for beginning through advanced ballet students, The Complete Ballet Bible Package written by Anita Leembruggen, reinforces what students learn in class. It's like having your own private tutor at home.

Broken into three components, ebook, audio and ballet dance videos, these user friendly formats allow you to navigate through every ballet exercise with ease.

Part 1 - titled "The 3 Simple Rules of a Prima Ballerina" is a PDF ebook with over 200 pages of text and detailed pictures. This guide not only shows you how to do a movement or gesture correctly, but shows you how most dancers do it incorrectly, and tells you WHY. No other book I have ever read shows you this. I feel this is a fundamental aspect to learning.

Part 2 - titled "Audio Terms and Definitions" is a audio software package that allows you to find any ballet term and learn its meaning. For each exercise, step, position, and/or pose, a simple point and click allows you to do any of the following: Scroll through the whole list of terms. Find specific terms. Learn the correct French accents for specific terms. Click a button to hear each term sounded out for you with clear and concise definitions and a visible pronunciation guide.

Part 3 - titled "Video Demonstrations" is a collection of over 60 videos on ballet technique. If you are a visual learner like myself this is a real benefit. Being able to watch how to correctly perform a Ballonce or Entrachat Quatre whenever you like, and as many times as you like, is an excellent method to reinforce proper technique.

All in all the The Complete Ballet Bible Package is unlike anything else I could find on the market. It is a flexible online teaching tool that provides you with a visual model of ballet steps, exercises, and principles typically taught only in an educational setting. Visit the official site now to learn more.

Ballet has 5 basic positions that serve as a foundation for more complicated ballet steps. You will learn the proper positions for both your arms and legs for each of these 5 positions.

Stand upright with your feet together.  Make your heels touch. Your left toes will face toward the left, and your right toes will face toward the right.  Your feet nearly form a straight line except your toes point ever-so-slightly forward. Place your arms in front of your body as though you are hugging a giant ball. Press your shoulders down and elongate your neck. Soften your fingers.  No tension in your fingers is permitted.

Begin in 1st position and move your legs a little beyond shoulder width apart. Place your arms out to your sides at shoulder height.  Your lower arms and hands will be facing forward slightly so that they are shy of a 180-degree angle.

Stand in 1st position. Now move your right heel so
that it touches the arch of your left foot. This is
3rd position. You can also perform 3rd position on
your left side.  Again, begin in 1st position.  This
time move your left heel and place it so that it is
touching your right arch. Begin with your arms in
2nd position, now move your left arm overhead as
though you are reaching up to pick an apple off a
tree.  Imagine a line going down the center of your
body. Your left arm will never cross over that line.

Begin in 1st position. Move your right leg in front of your left leg so that your legs are apart. Your right toes point toward the right, left toes point toward the left. You could draw a straight line from the heel of your right foot to the toes of your left foot if you are doing this position properly. Go back to 1st position. This time move your left foot forward and place it in front of your right foot. This is considered the left side of 4th position. Place you arms as they were in 3rd position, now move only your right arm out in front of you like it was in 1st position hugging a beach ball.

Begin in 4th position and slide your front leg back so that it is touching your back leg. If you began 4th position with your right leg in front, your right heel will be touching your left toes. As you can see, 3rd, 4th, and 5th positions can all be done on either side. There is a left-side and right-side variation to each of these positions. With 1st and 2nd positions, there is only one way to do these. Begin with your arms in 4th position and move your right arm overhead just as your left arm already is positioned.

Ballet has rigorous requirements for proper body alignment. When you are performing any of the 5 basic positions, there are several important things to remember.

• Your gluteus will always be tucked under, and your abdominal muscles will always be flexed.
• Press your shoulders downward (do not hunch them upward toward your ears).
• Keep your neck elongated.
• Keep your chin tilted slightly upward.

Now, that you have mastered the 5 basic positions. You can attempt to do some basic ballet moves.

Your Dance Posture is vital if you are going to be able to execute dance steps and moves correctly - no matter what style of dance you learn.

If you start off in a poor position, stooped, slouched or twisted in any way, your chance of injury skyrockets, and you don't look so hot, either.

So, if you want to look more like a true dancer and less like Quasimodo, get your posture right before you start. Everything else will fall into place if you begin from the right stance.

So try this five minute Dance Posture exercise, and you'll be all set.

And you know what? Do yourself a favor and get this right.

This is a time to be quiet and still. To really think about your body and the way you stand and move.

So, switch off your phone, find a calm quiet spot in your mind, block out the stresses of the day, and just do this exercise peacefully and thoughtfully.

Once you've got the hang of it, your excellent posture will stand you in good stead for all your dancing to come. Literally...

During the early history of Ballet, music composition went hand in hand with dance composition. But as Ballets became independent theatrical forms, music was reduced in importance. Serious composers did not write dance music a lot. In the late 1800's, Russian composer, Tchaikovsky wrote several beautiful ballet pieces that brought back the reputation of music composed especially for ballet.

In the 1900's, Igor Tchaikovsky continued this tradition by writing 15 ballet scores that greatly influenced the art form.

The Italian court ballets were further developed in France. Le Ballet Comique de la Reine (The Queen's Ballet Comedy), the 1st ballet that a complete score survived, was performed in Paris in 1581. It was danced by aristocrats' amateurs in a hall with the royal family on a dais at one end and audience in galleries on three sides. Poetry and songs accompanied the dances.

Most French court ballets contained dance scenes linked by a minimum of plot. Because they were designed mainly for the entertainment of the aristocracy, rich costumes, scenery, and elaborate stage effects were stressed.

The court ballet reached its climax during the reign (1643-1715) of Louis XIV, whose title the "Sun King" was derived from a role he danced in a ballet. Many of the ballets presented at his court were created by the Italian-French composer Jean Baptiste Lully and the French choreographer Pierre Beauchamp, who said to have identified the five positions of the feet. In 1961 Louis XIV established the Academie Royale de Danse, a professional organization for dancing experts. He himself stopped dancing in 1670 and his courtiers followed his example.

Most French court ballets contained dance scenes linked by a minimum of plot. Because they were designed mainly for the entertainment of the aristocracy, rich costumes, scenery, and elaborate stage effects were stressed.

The court ballet reached its climax during the reign (1643-1715) of Louis XIV, whose title the "Sun King" was derived from a role he danced in a ballet. Many of the ballets presented at his court were created by the Italian-French composer Jean Baptiste Lully and the French choreographer Pierre Beauchamp, who said to have identified the five positions of the feet. In 1961 Louis XIV established the Academie Royale de Danse, a professional organization for dancing experts. He himself stopped dancing in 1670 and his courtiers followed his example.

By then the court ballet was already giving way to professional dancing. At first all the dancers were men, and men in masks danced women roles. The first female dancers to perform professionally at a theater production appeared (1681) in a ballet called Le Triomphe de l'Amour (The Triumph of Love).

18th - century dancers were laden with masks, wigs or large headdresses, and healed shoes. Woman wore panniers, hoopskirts draped at the sides for fullness. Men often wore the tonnelet, a knee-length hoopskirt. The French dancer Marie Camargo, however, shortened her skirts and adopted heelless slippers to show her sparkling jumps and beats. Her rival, MarieSallé, also broke with costom when she discarded her corset and put on Greek robes to dance in her ballet, Pygmalion, which was done in 1734.

During the 2nd half of the 18th century, the Paris Opéra was dominated by male dancers such as the Italian-French expert Gaétan Vestris and his son Auguste Vestris, well known for his jumps and leaps. But woman such as the German-Born Anne Heinel, the 1st female dancer to do a double pirouettes, also were gaining in technical ability.

Despite the brilliance of the French dancers, choreographers working outside of Paris achieved more dramatic expression in ballet. In London the English choreographer John Weaver removed words and tried to convey dramatic action through dance and pantomime. The most famous 18th-century advocate of the dramatic ballet was the Frenchman Jean Georges Noverre, whose Letters on Dancing and Ballets, which was written in 1760, influenced many choreographers both during and after his lifetime.

Toe dancing began to develop at about 1796, although the dancers balanced on their toes for only a moment or two. Blocked toe shoes had not been invented yet, and dancers strengthened their light slippers with darning. The Italian choreographer Carlo Blasis, recorded the dance technique of the early 19th century in his Code of Terpsichore, (1830). He is credited with inventing the attitude derived from a statue of the Mercury balanced lightly on the toes of the left foot.