Introduction

It has been the lot of the author during the past ten years to examine some hundreds of children, all hoping to be the future ballerina of her (or her parents’) dreams, children who have passed their dancing auditions and medical examination, but for whom a final verdict as to suitability from the point of review of physique and structure has been required; and also for many years previously, to have treated the mishaps and injuries which are inevitable in the arduous profession of the ballet dancer. The material therefore which follows is drawn from the result of this experience.

More than one well-known and well-loved dancer of today has been heard to say “If I had to go up for an audition today I would never be accepted.” This is not likely to be true in fact, for real artistry and the gift of movement will always weigh heavily in the balance against physical imperfections; but it is true that more attention is given today than formerly to the importance of starting with a good foundation―the structure of the body. This is all the more necessary in that multitudes of children now learn ballet from a young age and a surprising number of very diverse shapes and sizes present themselves at auditions, apparently very little thought having been given to their physical suitability, childish talent presumably being deemed capable of over-riding all else. But between childish talent and even the back row of the corps-de-ballet there is a stretch of years, full of hazards and unforeseeable factors even for the most physically perfect, whilst for those with structural difficulties to overcome the outlook is even more uncertain. Perhaps fortunately, we have no statistics showing the percentage of trainees who finally arrive on the stage and who are able to continue their career in a ballet company for many years, but were they available the result would probably prove a shock both to teachers and the public. In the writer’s experience the physical factor predominates very largely in those who fall by the wayside, and it is in the hope of minimizing this wastage that this book is written. This does not mean to say, of course, that only those suitable for a professional career should lean ballet. Apart from its artistic merits,, it is far too valuable in the training of posture, of disciplined and beautiful movement, mental alertness and concentration to be kept for the chosen few, but it does mean that care and discrimination should be brought to bear in the choice of those hoping to train profes­sionally, and who in so doing are forced to give up many activities that belong to childhood and the world of school.

One final word. The purpose of this book is not to provide anatomical understanding of the body but rather to direct the observer's eye to those points, good and bad, which may be seen amongst any group of children attending auditions. The author is taking it for granted that the reader already possesses the rudiments of anatomy as set forth in her previous book, Anatomy and Ballet, and on the whole the dancer's language is used rather than the anatomist's in describing the different parts of the body and such deviations from the perfect as may affect the student in the course of training.