Enter: The True Method Teacher's Course™
The world is drowning in a sea of misinformation about what classical ballet is and the correct way to teach it. There are whole online forums dedicated to discussing how to teach ballet, where if you ask any given teacher for their opinion about something as basic as the correct execution of plié, the answers will greatly differ from teacher to teacher.
That's a HUGE PROBLEM because the goal of the classical ballet artist is to achieve mastery over a highly specific, codified set of movements. These traditions are important to preserve because this is what makes ballet "classical"–this is what sets ballet apart from any other dance form–and, consequently, this is why ballet is known for being the foundation of all dance. So when two teachers disagree about the vocabulary, well... they can't both be right!
Furthermore, when injuries are running rampant, how are teachers supposed to know how to protect their students when all the information is contradictory?
THERE IS ONE SIMPLE ANSWER TO THIS PROBLEM...
In an interview on his Late Show, David Letterman asked Natalia Makarova (former prima ballerina of the Kirov, called “the finest ballerina of her generation in the West”): "What is the relationship between ballet and Russia?" She replied, “The same.” Indeed, ballet and Russia are inseparable, and this is largely due to the life of one woman: Agrippina Vaganova.
The world-famous and ground-breaking Russian pedagogue, Agrippina Vaganova, recognized that, as a teacher, simply following what your own teacher did before you is just not good enough. In order to achieve the best and the healthiest results for their students,
Teachers need a codified system for training that actually works.
Fortunately for us, Vaganova pioneered the first teaching method to be based on physiological principals, combining the best of the French and the Italian schools. She was the first to analyze the allegro–the most difficult steps in the classical repertoire, contained in the Grand Pas de Deux (a "choreographic poem in four parts")–in order to derive teaching method (before, the easier adagio was analyzed to derive teaching method). Vaganova's students, and the countless students of her pedagogical pupils, have proven the effectiveness of this teaching method, time and time again.
Here's why teaching method is your blueprint for creating the Classical Dance Artist: