Russian Classical Ballet Academy
RCBA was started to give kids and children and adults an opportunity to train and learn ballet in the method of A.Vaganova.
Most dancers begin their formal training - often in a classical technique, such as ballet - between the ages of five or fifteen. Our sole purpose at the school is to show, teach, and inspire students about art of dance.
Being a dancer is about conveying thoughts, emotions, and imagery with an immediacy that fully engages and entertains students.
As a result of tremendous hard work every year from both students, adults and staff, we hope that we can develop and create every student’s dream to become a dancer and give them a chance to explore the art.
The school also offers recreational programs that allow students to learn and gain knowledge of other dance styles and technique.
Yearly performances, concerts, and competitions give all the students of Russian Classical Ballet School Academy a chance to show their yearly achievements, dedication, and hard work, along with bringing them the experience and joy of performing on stage.
To learn how to effectively perform on stage, and be able to share our student’s passion (young and adult) and interest in dance, is one of the main reasons for our seasonal shows.
Our ballet school in Toronto (North York) will help you to feel yourself as a dancer. We teach toddler ballet classes, adult ballet classes and teens ballet groups.
Call us at (647) 268-5400 for getting more information about our school.
Click here to download Registration Form for 2016 Season
We accept new adult ballet students at any time. Lessons are held on Friday from 8:15 pm to 9:30 pm.
Your first trial class is only $25.
Photo gallery of ballet classes has been updated.
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Articles competition about ballet was started.
Ballet is a highly skilled form of dance that is both beautiful to watch and wonderful to take part in.
The dancers are artists - who use their bodies, rather than words or music, to tell stories to the audience or simly to show what amazing things the human body can do when performing.
The art of ballet has developed over several hundred years, from a formal kind of dancing that only happened at royal courts, to today's ballets, which are designed for anybody to come and watch.
It is a style of dance that is loved everywhere, with many top internation ballet companies and famous dancers bringing ballet to a worldwide audience.
Adult Ballet Technique
The art of ballet, like all the arts, evolved first from instinct, then through experience developed into a formal technique. This technique became the basis for artists to master their craft and expand their art. An art may be influenced by its geographical location. However, the technical essence of an art is universal.
For the art of ballet, the universial principles are balance and mobility. Upon these principles all ballet (especcially, adult ballet) technique is constructed. In addition to these principles, and to make tecnique functional, are the tools: the body and the floor.
In the vocabulary of ballet there are basic and advanced steps, but there does not exist a basic or advanced technique. Technical theories remain what they are, the same for the beginner as for the professional dancer. Regardless of the difficulty of the step, the principles for correct execution applies. There are techniques of balance, port de bras, with their momentum-creating trajectories, horisontal and vertical mobility, the use of the leg and foot as one, and with their articulation, and the use of floor.
These techniques remain the only theories applicable to a particular function. But is technique that presents the step, and without appopriate technique, there is no recognition of correct presentation.
Agripina Vaganova could not have suspected how far-reaching her influence would be when, in the aftermath of the Russian Revolution, she set about systematizing the teaching of ballet for the new era of Soviet dance.
A priceless legacy has evolved, in part a result of Vaganova’s disillusionment with her own artistic career and her dissatisfaction with the old system of teaching which stimulated her desire for change.
Graduating into the Maryinsky company from its school in 1897, Vaganova displayed unequalled elevation and batterie.
She performed leading roles in La Source, Swan Lake, The Little Humpbacked Horse, and The Pearl. Among other important solos there were the Mazurka in Mikhail Fokine’s Chopiniana and a variation in “The Shades” scene in La Bayadere which is known at the Kirov ballet as the “Vaganova variation” even today.
Despite her eminence as “Queen of Variations”, Vaganova did not receive the title of ballerina until the year before her farewell benefit performance in 1916, dancing for most of her career in the shadow of her contemporaries Anna Pavlova, Tamara Karsavina, Olga Preobrazhenskaya, and Matilda Kshesinskaya.
She possessed neither good looks nor influential friends, and both were important for progress on the Imperial stage. The inadequacies which this self-critical and demanding ballerina found in her own technique brought her ultimately to question herself and the current system of teaching.
Vaganova had already begun a critical assimilation of the experiences of her teachers and contemporaries in her search for a personal approach to ballet by the time of her early retirement.