Technical analysis of ballet in the roles of principal dancer and female soloist

Abstract

The aim of this study is to analyse the technical behaviour of the roles of principal dancer and female soloist in Ballet. For this purpose, a non-participant observational analysis of the motor praxis of the technical dimension of five works from the classical ballet repertoire was carried out (balances, transitions, small jumps in displacement, preparations, poses and pas de bourr & eacute;e), as well as both frequently perform turns, large jumps in displacement, leg lifts and transitional steps and poses. In contrast, less complex gestures (port de bras and pas de vals) are scarce and are mostly performed by the corps de ballet. Differences between the two roles include the performance of pirouettes and fouett & eacute;s by the principal dancer, as well as the significant predominance of leg throws, drumming, short and quick steps for the soloist dancer. It should be noted that, regardless of the external logic, each role performs the same technical behaviours in all the works. This indicates the importance of their knowledge for the selection in each of them, as well as the specific training and profile for their selection.