Cecchetti Method

Legendary ballet master of the Ballets Russes Maestro Enrico Cecchetti (1850-1928) created a Method of ballet training, which he called The Days of the Week. Each day focuses on a particular step with a specific quality. Looking closely at each family of steps reveals an underlying basic and fundamental Physical Principle.

Physical Principles are universal and based on natural law. They are easy to understand and apply and therefore can be grasped anyone who wants to study ballet or dance in different styles. You do not have to be Cecchetti trained or know who he was or what he did.

One by One, Day by Day, these simple principles reveal themselves as elemental to the study of ballet technique….but that is not all.

Any dancer can re-discover these physical principles and improve all aspects of their technique and performance. By understanding how they work, even the most difficult exercises become accessible.  And this is a training that respects the anatomy of the human form, strengthening the dancer’s embodied technical and artistic knowledge into maturity.

Julie Cronshaw, Director of Ballet’s Secret Code:

“Back in 2010 I was discussing two essential principles of ballet technique: aplomb and épaulement, when I had a sudden insight. I realised there are six basic, physical principles which underlie ALL Classical Ballet and that these are revealed through the Method and daily classes of Maestro Enrico Cecchetti!”

Julie Cronshaw completed the three year Teacher’s Training Course at England’s Royal Ballet School in 1986 before pursuing a career dancing professionally in Germany, the USA and Russia. She founded Highgate Ballet School in London, in 1995 and over the subsequent two decades worked with master teachers in the UK and abroad, researching and dancing her way through all aspects of the Cecchetti Method. Eventually she gained the Enrico Cecchetti Diploma (a performance exam) in 2009 and then the ISTD Fellowship for teaching, in 2010.

In 2008 she became a founding member of the Auguste Vestris Society, based in Paris, a not-for-profit teaching organisation, and has guest taught extensively for the society and across the world from France and Italy, to Poland and Japan.

She has written articles for the Auguste Vestris and international Cecchetti societies. Some of these articles can be found on her resource website for all things Cecchetti: http://www.TheCecchettiConnection.com

“Discovering that 6 simple, universal physical principles can transform how you dance, even as an experienced, mature dancer and teacher, has been the driving force behind the making of the film. They continue to inspire me, and motivate my students, in every ballet class I teach, and I hope they will be for anyone else who discovers them!”

 

George Massey, Co-Director and Editor of Ballet’s Secret Code

George Massey is a filmmaker, author and musician who studied ballet in London. He received a full scholarship to the American Academy of Ballet in New York, where he continued his dance training before continuing work as a writer and filmmaker. One of his scripts was entered into a Film London screenplay competition and won, gaining him funding to make a short animated film. The film beat 42 others in competition, was screened at the BFI and Bafta, and was advertised on London Tonight. His second short, originally intended as a TV pilot, won an audience award at the BFI.

As a published author, George’s writing includes the novel ‘Safe as Houses in the Ballpark World’ and the children’s novel ‘Trick or Treat’ both available on amazon. In addition, he has sold two songs to television.

George credits his dance training in part to being cast as a variety of Droids in the Star Wars films: The Last Jedi and A Solo Story. 

“I’ve long professed that there is a science to art. There’s a science to filmmaking, animation, videogames and music too. For example, the ideas you have for a film may be deemed as artistic, however, to understand cinematography, lighting, editing and so on, these are technical skills. To play guitar is a technical skill. Once mastered, you can be creative but there’s still an underlying science required to achieve your goals. So the idea of exploring science in dance, especially ballet, was a project I connected with and felt well worth collaborating on.”