The Beauty of Torture

Ballet originated in the 15th century, in the Italian renaissance courts. During the 16th century, an italian noblewoman, Catherine de Medici, founded ballet in the french court. Ballet de cour was the name of the program introducing costumes and decor mixed with something poetic in a song. King Louis XIV seemed to enjoy partaking in this as he had many roles in the ballet. In 1661 the first dance academy opened in Paris, the Académie Royale de Danse. Pierre Beauchamp, King Louis XIV dance teacher, created the five basic positions of ballet and finally in 1681 ballet moved from the courts to on stage. In the mid 1700’s French ballet master, Jean Georges Noverre, protested against opera ballet, stating that the ballet should consist of movements that show the relationships between the characters they are playing, it should be expressive and dramatic. Dancing on the tips of your toes wasn't introduced till the 19th century, where it became the ballerina norm as well as the romantic tutu, a bell shaped tutu reaching the calf or ankle. During this time is when Russia joined the ballet train. From then on the ballerina changed to the classical tutu, that was short and stiff, displaying their legs, footwork and the difficulty in a flawless performance. 

 Lincoln Kirstein, (said to be one of the most important influences to American culture), wanted to create an American ballet that could compete with the competition in Russia & other European countries. Bringing in George Balanchine, they founded the School of American Ballet in 1934 and then the New York City Ballet in 1948. 

Balanchine had trained in music and dance at the Imperial school in Russia, he became a huge phenomenon when he was invited to choreograph for ballet Russes (a ballet company that would be performed from between the years 1909-1929). At the time ballet Russes became more male dominated, Balanchine is the one who changed that perspective and while he influenced the ballet culture tremendously and embraced the femininity in the culture, he was still a male who dominated the ballet. 

“Ballet is a woman”, says Balanchine, only he's not referring to the power a woman holds, but the lines of a female dancer. As pink tutus became black skin tight leotards, the innocence of asking for their favorite dancer's shoes faded and the discipline to destroy themselves became mandatory. “We would leave notes at the stage door, complimenting our favorite dancers and asking for their worn out shoes”. (Alice Robb) Balanchine's effect in the ballet world influenced the culture entirely, changing the dynamics of the ballet while also changing the dynamics of the dancer. It's said Balanchine's contribution was a bit controversial, Preferring long legs and tiny heads and on top of that you had to be extremely thin. It's expected to make an effort in their appearance but you are not allowed to show your efforts. Many dancers state that even after years of not dancing, they still are able to notice the smallest of details whether it's watching a recital or looking in the mirror. Critique yourself, shoulders back and smile. Emotionally and physically these dancers torture themselves to perfection.  

It's taught that pain is good in ballet, it's taught to dance through it. And that's what separates the ballerina from a competitive sports athlete is the fact that a ballerina can conceal and not even feel an ounce of pain until they stop moving, then they can feel it. “Over a period of two years, I had been dancing with about seven fractures in my foot, and I thought it was tendinitis. I was oblivious”. (Nicole Ciapponi) It seems impossible to tell a dancer that they cannot dance, their bodies were trained to dance in pain, they have practiced until their muscles couldn't forget any steps, this is what the beauty behind it all is. 

Stanford has a saying, “Stanford duck syndrome”. Smooth swimming, looking effortless to hide the frantic paddling underneath. ‘Effortless perfection’ is the epitome of being a ballerina, this is the beauty of torture isnt it? The body is all a dancer has, it is their prized possession the only tool they ever will need yet a mistake is feared more than an injury. While maintaining grace and softness, destruction follows close behind.