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Well-placed turns enhance choreography and dazzle the audience. When teaching pirouettes, Kathryn Warakomsky has her Texas Ballet Theater School students watch videos of legendary ballerinas Maya Plisetskaya, Alicia Alonso and Galina Ulanova. “They spun like tops,” says Warakomsky, the Fort Worth school’s principal. “The public wants to see that excitement.”
It’s All About That Prep (‘Bout That Prep, ‘Bout That Prep, No Trouble)
A pirouette en dehors from fourth position typically starts with a plié, with more weight over the front foot (see photo 1). “This style is very RAD,” says Warakomsky, “where everything comes from a good soft plié that sets you up for your balance. You use the plié to push from both legs, so it’s a movement and not a static position.” She encourages students to keep their heels down and use the whole foot on the floor, rather than rolling forward on the arches or letting the front foot slide into the turn first: “You want to go down into the floor and push from the back foot to go up.”
Balanchine changed the traditional preparation by having dancers take a wide lunge in fourth position with a straight back knee and outstretched arms (see photo 2). “He wanted it to be a surprise—he disguised the preparation so the audience wasn’t sitting there waiting for you to do a pirouette,” says Gloria Govrin, artistic director of Eastern Connecticut Ballet. When using this deep, elongated preparation, dancers should keep their weight far over the front foot and use their back toes to push into passé.
Photos by Bridget Lujan, courtesy of Juneau Dance Theatre