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Ten year olds repeated ballet combinations at the barre with perfect attention, standing straight, properly aligned, with the discipline of little soldiers. But far from being wooden, the beauty and musicality of the French school seemed to draw out the aliveness of these young dancers, making them vital, and already, budding artists. The progression from class to class, with dancers of 12, 13, 14 and 15 executing more difficult enchainments with the perfect placement and energy that is so much a part of the Opera training was especially exciting.
When the young men of 14 leaped into the air with dynamic and verve, doing a series of sisson ouverts, the difference between French training and any other training in the world, was evident. The clarity, energy, inner calm and sophistication that is part of French training is simply not found elsewhere. Having this glimpse into the formation of what goes into the artistry and technique of adult dancers was like having a private invitation into this exclusive world.
Most exciting was the appearance of familiar faces like Carole Arbo and Sylvie Guillem at 15 in teenage pas de deux classes, already showing the promise of the superlative technique and artistry that is theirs. The repetition of combinations over and over was another aspect of the training that clearly made for exactness and precision and beauty. Rather than thrill with external mannerisms, these young dancers were getting a first-class education in dancing as it should be, with no tension, only technique and artistry.
The rehearsals for student ballets were also impressive, as they showed the students’ extreme dedication to dancing full out, and also the awareness that to dance is a privilege, one that had to be respected. The sense that if a student did not give it their all, they would quickly be replaced by another one of the hundreds of youngsters dreaming of attending the Opera school, was not lost on the audience. And the beautiful surroundings, the chance to dance in the Opera’s marble halls with its huge windows and old world architecture must have been inspiring to these young dancers who were following in the footsteps of great ballet names who had made their careers on that very stage.
Our own maitre de ballet, Fabrice, was far too modest to point out until after the film had ended and the lights went back on, that he too had appeared in the film as a precocious 13 year old, clad in a white T shirt and black men’s tights and slippers, working with the complete focus, attention to detail, and artistry even then, then he is known for today to those who are lucky enough to train with him.
Indeed, taking Herrault’s open professional class at Steps on Mondays, Wednesdays and Fridays at 1pm and on Saturdays at 11:30am and Sundays at 2pm, or more fortunately, being able to work privately with him at his school, The Fabrice Herrault Studio near Columbus Circle, or being able to take his daily classes, including pas de deux classes at The Julliard School, must be the only equivalent of the training we saw in the film that evening offered this side of the Atlantic.
Unlike other ballet teachers, Herrault demonstrates every combination in his class full out, and in addition, he gives the precise correction that will make it all easier to achieve, and consistently. The beauty of his epaulement and port de bras, the power of his jumps, the musicality of his movements, the dynamic and energy of his dancing, the completeness of his artistry, makes it easy to forget the performances of any other male dancer on the stage today.
But unlike the strict elderly ballet master in the film, who brought his cane down on the floor in anger to get his 17 year old male students to move across the floor with energy, Herrault’s manner is a mix of gentleness and focus which enables any student to access the best that is in themselves to dance more correctly, and therefore better than before.
His students, currently in major companies such as England’s Royal Ballet and ABT are a testament to the complete training he provides that was mirrored on the screen in the film.
One can only watch with anticipation for the next generation of students, currently under his tutelage, who may one day rival those stellar dancers from the film he showed us that evening.
Other films from Herrault’s collection will be presented as follows: Dec 4, 2010 – Great Ballerinas of the 20th Century, Jan 22, 2011 – An Exploration of 20th Century Choreographers, Feb 12, 2011 – A Valentine Special – Famous Ballet Couples,
Mar 19, 2011 – The Boys of Ballet – a look at your favorite danseurs, April 16, 2011 – Behind the Scenes of a Ballet Favorite – DON Q.
Catch them, and his wonderful ballet classes, if you can.
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