We have all heard the phrase “the sooner the better”.
This is not entirely true.
Being born, the child develops (physically and mentally) in a certain sequence. It never occurs to anyone to teach a 3-month-old baby to walk, and a one-year-old to read and write.
In the same way, you should not learn 4-5 summer child complex ballet steps and performances - a simple polka, danced consciously and musically, or improvisation to a given music will always look more aesthetically pleasing than clumsily executed choreography not for age.
Mastering classical dance is one of the most time-consuming and complex dance processes. Each child must come to him, having a certain set of skills and abilities, being physically developed and psychologically ready for real ballet loads.
Our studio accepts children from the age of 4 - according to the experience of many teachers, including ours, this is the optimal age for a child to “work” in a group, as well as to consciously perform (not always pleasant) stretching exercises and muscle gain. In exceptional cases, children from 3.5 years old can be accepted. Children over younger age can learn the basics of choreography in individual groups, only with the participation of the mother or other accompanying person.
What is included in the lesson of the younger group (4-6 years)?
In this group, our kids learn anew... to stand, walk and run! But not in the everyday sense, but in the dance sense. And it's not as easy as it might seem at first glance!
The lesson includes learning various kinds dance step, running and jumping, basic positions of arms and legs in classical dance, correct positioning of the body during movement, development musical ear(rhythm), stretching exercises, development of eversion, working out the muscles of the legs, back and press, as well as dance improvisation(an important part of the lesson, designed to develop the child's artistry, self-confidence, to reveal individual plastic surgery each baby).
The lesson takes place in the form of a game, under classical music for children's ballet class.
What is included in the lesson of the senior group (6-10 years)?
The program of the choreographic school (see section "Library") is designed for children from 10 years old.
Therefore, in our lessons, classical dance is taught in a “lightweight” version - children at this age are still difficult to concentrate and methodically perform movements at the barre, and the “out of age” program will easily discourage the desire to engage in classical dance even in the most capable and purposeful child!
So in the lesson senior group includes: consolidating the skills of a dance step and running, learning new types of jumps, a significant part of the lesson is still occupied by ground training (more difficult than in junior group), the main elements of ballet exercise at the barre are gradually introduced, as well as the staging of dance sketches and numbers.
Also, I draw your attention to the fact that finger technique (pointe shoes) at this age is NOT given!
What is the dress code for the lesson?
A beautiful ballet form is the “mood” for the whole lesson!
White swimsuit with straps
White/pink flats
White / pink leotards or tights (in the warm season - white socks, simple, without a pattern and ruffles)
White / pink skirt (with elastic band)
In the cold season - a blouse for warming up.
For boys - a white T-shirt and socks, black shorts and ballet flats.
It is advisable not to purchase Czech shoes for classes - they fetter the feet when performing movements.
For the very first lesson, comfortable, elastic clothing and socks are suitable.
The child is already 12/14/16 years old. Is there any point in doing it?
In choreographic schools, to obtain the specialty "Ballet dancer", they usually enter at the age of 10 years. Connecting your life with dance professionally is a difficult and responsible decision for both the child and the parents.
Naturally, in order to get vocational education, children with ideal ballet data are selected - eversion, flexibility, step, jump. But what about the rest?
Of course, practice!
Historically, for a child who has not connected his life with professional dance, at 12-16 years old, pop or folk groups were the only way to continue classes.
However, none of the types of dance gives that "form" and that degree of conscious control of one's body, which classical dance gives.
A student who has received the classical "foundation" can master almost any other type of dance much easier and faster, especially the jazz-modern and contemporary styles that are gaining popularity. Excellent classical training have many "stars" of ballroom dancing.
Yes, of course, ballet is not only very beautiful, but also a very demanding kind of dance that requires patience and perseverance. From the first lesson to the first "real" performance, it can take many months of classes.
But the first results - a beautiful toned figure, excellent posture, a flexible, "obedient" body, an easy gait - will not keep you waiting!
In our studio, classes for teenagers are possible either in the older children's group or in the adult group, depending on the level of preparation. It is possible to determine the group on an individual viewing, having coordinated it with the teacher.
Do children perform at competitions/festivals?
First of all, a few words about what the this moment numerous "festivals" and who can become their "laureate".
to us on email daily invitations to similar events taking place in all corners of the world come. These proposals boil down to the fact that the team at their own expense (ie parents) goes to a performance (often combined with rest and an excursion program), as a result of which they are guaranteed to receive some kind of "diploma". There is usually no pre-selection among the participants (except for well-known and really prestigious competitions, which are not so many).
Naturally, preparing a program for such a trip requires additional hours of classes (not 2-3 times a week, but 5-6), tailoring of costumes, etc.
"Ballet" competitions are generally a separate case. Usually not a group of children is prepared, but one or two (the most capable), and preparation already underway on an individual basis. The age of participants and what they can submit to the competition are usually strictly regulated. Many famous ballet schools - Kiev, Moscow Choir School, Academy of Russian Ballet, Grand Opera School - very rarely send their students to such competitions before the age of 15-16, believing that this harms the learning process.
Thus, children's trips to various competitions and festivals are quite possible and depend solely on the desire, time and financial capabilities of the students' parents.
The intensity of our classes (2-3 times a week) in any case implies performances by children at studio events for parents and friends (at least 2 times a year).
First qualifying examination round
The commission must first evaluate the external, scenic and professional physical (functional) data of the applicant, reflect all this in the examination score sheet of the first round and give a conclusion (recommendation) on the possibility of admission to the second round of exams.
Children are called to the commission in groups of ten to twelve people. They are placed facing the members of the commission, so that they have the opportunity, by comparing, to highlight those who are distinguished by the best proportionality of physique, the greatest external attractiveness. After that, acquaintance with each child begins individually.
The shape and proportions of the body are visually studied in a standing position with closed feet (I non-reversible position of the legs) in four angles: face, left and right side and back. Preference is given to children of a moderately dolichomorphic body type: narrow-boned, with a normal or slightly elongated body, narrow or normal shoulders, with elongated, even legs, the same arms, thin brushes and fingers. The feet should have pronounced arches, the first and second toes should be of the same length. The head and neck are in proportion to the child's body. Facial features are correct. The face is expressive.
Children with an average or mesomorphic type of build, who have an expressive stage appearance, are also accepted for classical dance classes. When accepting boys, the average (mesomorphic) type of addition is even preferable.
Children who look outwardly unscenic are not accepted, but such conclusions should be made with great care, since the main criterion for admission, as already mentioned, is the proportional body structure, professional data, and artistic talent.
At the same time, we consider it necessary to pay attention to the following negative signs appearance child, while taking into account that significant changes can occur here in the process of growth and development.
Body type. Children of brachymorphic body type are not accepted. They are distinguished by wide and shortened body proportions: with a long body they have short legs, with broad shoulders, a wide low pelvis.
Head. Negative signs are: a disproportionately large head, an angular head, a large lower jaw, a large chin, protruding corners of the jaw, an irregular or ugly nose, ears, deformation of the front teeth, a broken (wrong) bite.
Neck. Reception of children with a short and wide neck is contraindicated. Children with an excessively long neck, with a protruding Adam's apple (thyroid cartilage) are also unstaged.
Shoulder girdle. Children with prominent, raised or asymmetric clavicles, as well as with protruding sternal and humeral ends, with wide and angular shape of the shoulders and with pterygoid and asymmetric shoulder blades, are not accepted.
Hands. Hands with excessive bending at the elbow joint, as well as short arms, are considered a negative sign.
Vertebral column. Children with curved spine. These are pronounced kyphosis (stoop or "round back"), hyperlordosis ("saddle-shaped lower back"), pronounced scoliosis of the second and third degree (pronounced asymmetry of the shoulder blades). 
Rib cage. Negative signs: asymmetry chest, a narrow form with deformity of the ribs, a protruding sternum ("keeled" or "chicken" chest), a noticeable retraction of the sternum (funnel-shaped deformity).
Taz. .The reception of children with a wide pelvis, "saddle-shaped" lower back (hyperlordosis), low-set pelvis, with excessive fat deposits on the hips, with massive hips, with large and developed gluteal muscles is contraindicated.
Stomach. Children with a large belly are not accepted in the absence of subcutaneous fat deposits.
Legs. Children with strongly pronounced "saber", X-shaped a) and O-shaped b) legs are not accepted.
Feet. Sloping, wide feet with a large ankle and pronounced flat feet are contraindicated for classical dance. 
After getting acquainted with the external stage data, the commission checks professional physical (functional) data, such as: eversion of the legs, state of the feet (including lifting), dance step, body flexibility, jump.
Second, medical, round of selection
In the second round, thorough medical care for children is carried out by pediatric doctors of all specialties. During the examination, the presence of teachers of the classes in which the children will study is mandatory, since they should know the opinion of medical specialists about the health and atomic-physiological-psychological characteristics of each of their future students.
Specialist doctors check the condition of the internal organs (heart, lungs, vestibular apparatus, and others), paying special attention to vision. In this case, doctors and the medical commission are called upon to proceed from the fact that classical dance classes require a lot of effort and therefore children must be absolutely healthy.
When examining children, the method of anthropometric research is used: weight, height are measured, the long-legged index is displayed (according to N. Dembo and P. Kolovarsky). The study is carried out in all possible angles.
When examining the body (torso, torso), the main attention is paid to the condition of the spine, to the degree of its bending in the sagittal (dividing the body into right and left parts) and frontal (dividing the body into front and back parts) planes. In correct posture, all parts of the body are symmetrical. Deviations in posture are fixed, which can be in the frontal plane (stoop - kyphosis, increased deflection in the lumbar spine - lordosis) and in the sagittal plane (asymmetry of the shoulder blades - scoliosis). Children with serious deviations in posture cannot practice classical dance.
Future dancers should not have pronounced X-shaped and O-shaped legs. With X-shaped legs, the distance between the feet is not more than 10-12 cm, with O-shaped legs, the distance between the legs and thighs should not exceed 3-3.5 cm.
Children with pronounced hyperextension in the elbow joints cannot be accepted for classical dance lessons. The shape and condition of the feet are important. In the correct foot, the first and second toes are of the same length, the arches of the feet are well defined. Pronounced longitudinal and transverse flat feet when taking are undesirable.
The type of addition of the child's body is determined (dolichomorphic, mesomorphic, brachymorphic) and its type of higher nervous activity(Temperament of choleric, sanguine, phlegmatic, melancholic).
When the results of the second round are summed up, the conclusion of the medical commission on the possibility of one or another future pupil to study classical dance is given great importance. However, no less important is the opinion of the teacher-choreographer about those children who, having certain abilities, are not yet physically strong enough and, because of this, have slight deviations in posture. And therefore, the teacher must determine how possible it is to correct deviations in posture, develop and improve professional data. With very high requirements for the general physical condition of the child, it is impossible to overlook a gifted child.
Third, final round of selection
During the third round, professional data are considered, as well as musicality, rhythm, coordination of movements and artistry are checked.
First, the rhythm and musicality of the candidates are checked. They are several people must pass through the hall to the music. The tempo of the music should change: then accelerate, then slow down. The perception of a rhythmic pattern is tested as follows: the accompanist, playing the piano, sets a certain rhythmic pattern, the examinee must repeat it by clapping his hands. At the same time, attention is drawn to the speed of reaction and memorization of the melody.
The determination of children's coordination abilities is decided on the basis of complex testing, including pedagogical, medical-physiological and psychological tasks.
Coordination, including its property such as balance, can be checked as follows:
a) an applicant in the middle of the hall must walk along a line drawn in advance with chalk (like on a tightrope);
b) perform a pose called "swallow": stand on one leg, raise the other 45-60 degrees from the floor, while the arms open to the sides; stand in the "swallow" position for eight seconds.
Musical-rhythmic coordination and artistry are evaluated during the performance by the applicant simple movements(running, marching), individual dance steps and dance-improvisation to music.
Particular attention is drawn to the artistry of the child and the possibility of its development. In connection with the definition of artistry, it is also important to identify the temperament of the child, which the teacher will have to deal with in future classes. Of the four main types of higher nervous activity, choleric and sanguine people are considered the most suitable for practicing classical dance, phlegmatic people require separate classes, and melancholic people are not recommended at all.
When discussing the issue of accepting artistically gifted children, it is necessary to determine the possibility of correcting deviations in posture and developing professional data, since ideally built and with beautiful stage data are candidates for choreography in real life very difficult to meet. The history of classical ballet contains many examples of how virtuoso mastery of technique and artistic artistry largely compensated the dancers for their inherent partial shortcomings in physique and appearance.
Noteworthy in this regard is the characterization given by the famous French dancer of the first half of the 18th century, Marie Camargo, the outstanding specialist in the field of ballet Jean Georges Noverre. He described the manner of her dance as follows: “Some writers in vain attribute grace to her. Nature denied her everything that was necessary to possess grace: she was neither beautiful, nor tall, nor slender. But her dance was fast, light and full of fun and Jetes battus royales, impeccably chiseled entrechats, all these steps, once captivatingly sparkling, and now removed from the lists of dance, Mademoiselle Camargo performed extremely easily. She danced only fast tunes, and grace cannot be deployed in swift movements. But it was replaced by ease, fluency, liveliness ... Mademoiselle Camargo was smart, which she proved by choosing a genre that was mobile, assertive, leaving no time for the audience to notice the errors in her composition and sort them out. great art- to hide their shortcomings behind the sparkles of talent. 
Therefore, the selection of children when they enter choreographic (ballet) schools and schools is only the beginning of a complex process of studying each child individually, which continues throughout the entire time of his training in classical dance. From here follow the recommendations to investigate both the professional physical and artistic data of children as fully as possible during admission, so that on their basis it would be possible to predict the development of each child and draw up individual training programs.
In this regard, it is recommended that when accepting children for training in classical dance, it is recommended to fill in individual (personal) professional data cards according to a specially designed assessment form. Such a map allows you to constantly focus on the structural features of the child's body, monitor ongoing physical changes (including professional data), helps to purposefully correct shortcomings and improve professional data. In addition, at the end of the year, such a map can be used to summarize the work of both the teacher and the child.
And summary forms of evaluation sheets for the year by class or classes allow you to analyze the work done as a whole, draw conclusions about the omissions and their elimination, and further improvement educational process, based on knowledge of the anatomical and physiological and psychological characteristics children and each child individually.
Thus, the selection of children for admission to classical dance is not only a determination of their general physical health, the presence of professional physical (functional) data, artistry, it is also a creative act in the activities of choreographers. 
Website link:http://biblioteka.teatr-obraz.ru/node/6968
From the age of 6 to 16, I studied ballet in a studio that worked according to the program of the choreographic school. Every day for an hour and a half spent at the machine. And then she received a diploma and forgot about ballet for more than ten years, exchanging it for fitness. Until I realized that ballet is the same fitness, only better. and went to one of ballet studios for adults.
Of course, I did not immediately return to the previous level, but the body remembered a lot and remembered more and more with each lesson. In the class, my peers studied with me, who, unlike me, came to ballet without any preparation. And I can assure you: they changed before our eyes. Ballet develops flexibility and strength, tightens muscles and helps to become slimmer. It's never too late to start, I concluded. You can learn how to do plie and batmans and even stand on pointe shoes in adulthood.
classical choreography- a whole system that has its own iron logic. According to the laws of this logic, classes are built in choreographic schools where future ballerinas study, and classes in classical choreography studios for adults are usually built according to this logic.
A competent teacher will not immediately put you on the “fingers” and even to the machine. To prepare the muscles and joints for the load and develop what is called eversion in ballet, first you need ground gymnastics. These are exercises on the floor, similar to a mixture of stretching and yoga: lifting the legs, arms and body, backbends, stretches.
After a course of ground gymnastics (it can take from several weeks to several months, depending on the level of training), you can take up the barre. The first movements are the simplest, and they are performed holding the machine with both hands. For example, demi plie - shallow squats, or tandu batman - abduction and adduction of one outstretched leg to the other along the floor.
Over time, you will improve coordination and the so-called aplomb - the ability to keep balance. Then it will be possible to practice holding the machine with one hand, and eventually move on to the “middle” - movements and their combinations without support.
In addition to the ability to perform plies and batmans, the first few months of ballet training will bring other more obvious results - a toned body, light muscle relief and excellent posture. True, you should not count on pointe shoes during this time.
Standing on the “fingers” is the dream of many of those who come to the ballet class. But this must be preceded by considerable preparatory work Otherwise, it could lead to injury. Anastasia Kuznetsova, teacher-choreographer, CEO school-studio "Pa-de-sha", also teaching at the choreographic college "School of classical dance": "I would not advise an unprepared person to stand on pointe shoes. The muscular-ligamentous apparatus must be prepared - from the toes to the ends of the hair! Even in the choreographic school, children do not get on pointe shoes during daily classes. before the second half a year". For an adult with an average level of training, subject to regular classes, this will take at least a year and a half.
So, the main advantages of ballet:
Ballet harmoniously develops the body
“Not a single sport or dance can develop coordination of movements and body, bring arms, legs, body and head into a harmonious combination,” Anastasia believes. After a year of classes, the difference between a ballet dancer and a mere mortal is so obvious that others will ask what you do and where.
When practicing ballet, almost all muscle groups work - the muscles of the body, abdomen and buttocks, legs and arms. Outcome: posture, beautiful neck, great gait, figure, grace.
Classical choreography helps to lose weight
If the problem of excess weight is quite acute, then with the help of 2-3 choreography lessons per week without additional loads and proper nutrition, it is hardly possible to solve it. But ballet will help to get rid of a few kilograms and tighten the body.
“Our students lost from 5 to 12 kilograms per year,” says Anastasia. And with constant classes, they didn’t gain any more, while switching to the right way of eating, because the excess eaten in the classroom is very disturbing.
Example: Tanya, 37 years old, we came to class together. “For six months it took 6 kg, but even this is not the main thing. I straightened up and my back stopped hurting, my posture improved, I even began to hold my head somehow differently!
Ballet is also an intellectual and aesthetic development
Classes are held to classical music - this develops the ear and brings up the taste. But that's not all. “When students begin to master ballet steps, they become interested in how professionals do these movements. A good teacher advises watching classical ballet in a worthy performance - and man goes to the theater, it happens that for the first time in my life, ”says Anastasia.
Any classical plot ballet is built on the basis of a famous literary or historical work (take Romeo and Juliet, Don Quixote, Spartacus, and much more). Add luxurious music, magnificent scenery and costumes, and the very atmosphere of the theater - all this takes a person out of the ordinary state of worries about "daily bread."
“How many times these metamorphoses took place before my eyes: people came to lose weight, and at the same time they received the huge world of culture and art that opened up to them, they began to live with pleasure,” says Anastasia.
However, there are contraindications: ballet should not be practiced with varicose veins, arthrosis and other joint problems, severe flat feet, serious problems with the spine and diseases of the internal organs. In any case, if you have any doubts, it is better to consult a doctor.
For over a year now I have been classical ballet. Not a "body ballet", but such a normal, serious classic. I don’t grab stars from the sky, and there are more torments than successes. However, I can't imagine life without it for a long time. What makes adults in their right mind choose such an exotic hobby - I'll try to tell you.
For a dream
Whoever was not taken to the Nutcracker as a child can be the first to throw a stone at me. Profession shrouded in a mass of romantic stereotypes. Tutus, tiaras, pointe shoes, that's it. True, if children are allowed to dream about this, then adult aunts ... In general. Tutu and pointe shoes at the ballet for amateurs will not be given to anyone, you can not wait. And thank God. But this is probably the only place, where I calmly put on pink leggings above the knee. If you hope to fly into the hall as an airy princess at the first lesson, you will also be severely disappointed. And on the second, and on the third. I still remember this crazy dissonance between my completely ballet dimensions and complete physical helplessness. Legs from the ears, the form according to the charter, the back is open, the hair is tightly pulled together - why not a ballerina. As long as you don't move, uh-huh. Everyone, probably, was waiting for me to spin 32 fouettes now, but I was not able to keep my foot 90 degrees to the side. In short, with the dream of becoming an amateur ballet dancer, it is better not to go. Even if you already look like a dancer.
For inspiration
In fact, It was a fortunate combination of two circumstances that led me to study the classics. The first is a long-standing love for ballet as a rather sophisticated spectator. Up to knowledge of terminology (at least French came in handy somewhere) and writing reviews of performances. Before that, I drew ballerinas, now why not try to become the machine itself. By the way, recently my friends assembled a chest of drawers for me, using a brick from the Encyclopedia of Ballet instead of a hammer. The second circumstance is a huge hole in the soul after a failed romance, which urgently needed to be filled. And do not leave yourself time and energy for fruitless experiences. What can I say, if you are a philological maiden of a wide profile with an irrepressible need to suffer beautifully, then you will come to the right place. There is more than enough decadence here. You will painfully raise your legs to the piercingly beautiful melodies in the interior of the theater, touched by desolation. Sew by hand satin ribbons to ballet shoes. Squeezing out your candy-pink leggings with swimsuits from labor sweat. Love the tight knot at the back of your head. If, in addition, you have an aesthetic ecstasy from the work of the Mulleavy sisters on the costumes of the film "Black Swan" - tons of inspiration are definitely provided. The rest of this film may be debatable, but the costumes are good. Especially training ones. And all this is a rather interesting and specific aesthetic for those who are “in the know”.
Instead of sports
The pressing problems of all scoliosis office workers are a crooked back, poor eyesight and a complete lack of muscles. The most pressing problem for me personally is laziness and dislike for monotony. I can’t be dragged to the gym, I yawn at the 20th squat, I fall asleep at the 30th, the prospect of a morning run is terrifying. Meanwhile, the clock is ticking, we are not getting younger, and neglect physical activity and keeping the body in good shape today is a sign of extreme outsiderness. In ballet, for one combination of exercises, you get more load than for fifty simple squats. At the same time, there is no time to be bored, since you need to follow everything, from facial expressions to the position of the fingertips. Amateur loads are not enough to dance the simplest ballet variation, but at the same time it is enough for a toned look and comfortable self-feeling in Everyday life. Whether you like it or not, over time, your back will straighten, your knees will straighten, your leg muscles will take shape and tighten up, and that notorious feeling of lightness will appear, for which it is worth tormenting yourself in the gym for three hours in a row. What will not work: losing weight on one ballet will not work. Life is such that in order to lose weight, you will also have to follow the testament of Ranevskaya. I mean, don't eat.
Because there is no other way
Ballet is a cruel thing, and the question “why go there” will quickly disappear from you. That is, you will either crawl out of the hall in horror with the thought “never again”, like one of my friends. Or sit down very seriously and very tightly. And now you’ve been watching performances and training videos for half a day, twisting your unfortunate limbs in all possible directions, working and sleeping in the “butterfly” exercise, and buying new form more interesting than going to the shopping mall. Then you start to read even more, then - to make friends with people "from the profession." With whom, to the indignation of mutual friends, you discuss obscure nuances with the help of frightening terms. If dancing is no longer in danger, then at least you can become a specialized journalist and interview a couple of stars. Their names, again, will say little to the general public, and you already know them all by heart - along with a biography. Or, for example, to photograph performances. Here, too, not everything is so simple and it is desirable to know what's what - in order to catch the dancer at the peak of the jump or in the right arabesque. In general, options are possible. The main thing to remember: be careful, it's addictive! And, it seems, for life. After the first trip to the class, it may no longer be the same.
Illustrations: Julia Slavinskaya
If you are an adult, then this is not at all a reason to transfer your childhood dream of dancing ballet into the category of unrealizable. Although the chance that you can achieve high level sufficient to participate in professional productions, is small (although history knows such examples), ballet as a hobby can be a great activity for a person of any age. Ballet classes for an adult are a great way to keep yourself in good shape. physical form, develop and maintain flexibility and have a great time with like-minded people. In this article you will find information on how to start your ballet lessons.
Steps
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Talk to your teacher after class. During such a conversation, you will be voiced both your progress and successes, and the problems that you still need to work on.
- Adult classes are usually not part of curriculum, that is, to go to next level ballet training, you will not need to take any exams and tests. If you, on the contrary, want this, then you will need to discuss this with your teacher. It is worth noting that most adults prefer free-form activities, a relaxed atmosphere and no need to meet any standards other than their sense of self-satisfaction.
- It often happens that your teacher will be a former professional ballerina who was injured, or retired from the stage due to age, or decided to teach rather than try to keep up with an over-saturated performance schedule. If so, then you are incredibly lucky!
- Consider purchasing a DVD with instructional videos. There are several collections that help adults learn all the intricacies of ballet.
- Consider joining an online forum for adults who want to take up ballet. There are several of them, and on them you can share your stories and thoughts with like-minded people.
- If you're not sure if this class is right for you, ask for a trial class to see how you feel.
Warnings
- Do everything at your own pace. It doesn't matter how "advanced" in ballet skills the other participants in the class are, this is not a competition. You will achieve the same results in your time and at your own pace. It is also very important to understand and accept the fact that there are some things that you will never succeed. Don't torture yourself, just accept it.
Assess your fitness. Make sure nothing gets in the way of serious ballet work. As with any other form exercise, sport or life stress, you need to know exactly what you can handle and what you can't. If you have any doubts, it is best to consult your doctor. There are a lot of stretching exercises in ballet to develop flexibility, so if you have any health problems that prevent such loads, then before starting classes, you should consult with a professional and inform your ballet school.
Find the right dance school for you. Many ballet schools offer classes for adults. different levels Preparations: from absolute beginners and those who once practiced ballet and would like to brush up on their skills, to advanced and semi-professional dancers. There is absolutely no point in trying to go to classes for children, because you will feel uncomfortable and very awkward compared to the natural flexibility and grace of children. Talk to the teacher, tell him/her about your level of dance training, and he/she will help you decide which classes to take. Most dance schools there is definitely at least one group for adults without dance experience, and if there is none, then offer them to open it! Keep in mind that dance classes for adults are usually held in the evenings or in the daytime so that they can be caught after work.
Buy the right clothes. For the first lesson, you will not need ballet tutu, but a good sports swimsuit, tight tights for sports and a wraparound cardigan will come in handy right away. If you buy all this in a specialty dance store, then get ready to shell out a tidy sum for your dance outfit! Such things are usually quite well made, so they will last a long time. Although you can always start in a simple sportswear or even just a t-shirt and sweatpants- No need to spend money on special clothes for ballet until you are absolutely sure that these classes are right for you.
Pick the right shoes. Ballet wouldn't be ballet without pointe shoes, so the right shoes here are not something you should skimp on. Buy quality leather or fabric pointe shoes. It is important to first ask in your ballet school which pointe shoes they prefer or advise you there. And don't buy pointe shoes - they are only suitable for professional dancers, and the chance of you becoming one is really small. Be prepared to buy ballet ribbons, which are used to tie pointe shoes to the foot, as well. They are usually sold separately and sewn onto pointe shoes by hand. This is not difficult to do - you just need to choose the right length of ribbons and, using simple stitches, sew them to the lining of the pointe shoes. If you're not sure how best to do this, ask the store you bought them from or your dance school for advice.
Attend your first class. Ballet classes usually begin with a warm-up at the barre and stretching. Further along the course of the lesson, you will learn a lot of all sorts of steps, jumps, slides, dance moves, etc. If your school organizes speeches, then perhaps at the end of class there will be rehearsals for a debriefing speech or something similar.
Train and keep learning ballet. Don't quit your work. At first, you may find it difficult to coordinate movements, stretching and memorizing the sequence of movements. From the very beginning, you will need to train a lot, so if you have the opportunity to work out at home, by no means miss it. Remember: the more you exercise, the better shape your body will be and the more flexible you will be for the rest of your life.
