Education and Training
The full title of the School is Rambert School of Ballet and Contemporary Dance, with the terms "Ballet" and "Contemporary" listed in this order because it is alphabetical. At Rambert School both these major genres of western theatrical dance are treated equally and as major studies. Neither is undertaken largely or only to supplement the other. This approach, which is unique in the UK, is adopted because - as the record of former students of the School shows - it provides young dance artists with an education and training that allows them, with great success, to enter, enjoy and improve the professional dance job market of today.
Principal Subject Areas
Ballet
Concentration in the study of Ballet is upon what can be called the 'English Style', which is characterised by a particular musicality, precision of movement and clarity of line. The emphasis is on finding the efficiency and deep physical experience of which the body is capable, through this highly developed training system.
The full content of the Ballet vocabulary is covered over the three years. In order for students to accomplish this they require a sound technical grounding which is taught during the first year, and often this involves a return to basic skills in order to unlearn faults. Emphasis is on correct placment, alignment and epaulement, seeking always to allow these to arise through a developing sense of movement.
Contemporary Dance
The genre of Contemporary Dance is derived from a mix of Modern Dance styles which (usually named after their
initiators) emerged, for the most part, in the first half of the 20th century in the United States.The styles of Contemporary Dance taught at Rambert School have been chosen to reflect the four main styles of Modern Dance which appear to be most evident in the Contemporary Dance of today.
These are:
- Graham Technique,
- Humphrey/Limon Technique,
- Cunningham technique and
- Hawkins (Release) Technique.
At the School there is one Contemporary Dance style which is taught throughout the three-year course, that of Robert Cohan. This style is derived from Graham Technique and is taught in order to provide a foundation through which the techniques listed above may be studied.
Guest teachers also contribute to provide further richness and diversity.
Pas De Deux
Pas De Deux is taught by both male and female teachers in order that the balance in partnering may be understood. They liaise with the director so a unified approach to the subject can be provided. The objective is that students should attain the capacity to perform Grand Pas De Deux by the end of the course.
In the first year the basic skills are introduced: the man's awareness of the woman's weight both in stillness and motion; the woman's need to sense the motion of the man who is often behind her; the basic positions of the hands; the firmness through the middle required of the woman; and the awareness of the partner's use and processes of energy in lifts.
Classical Solos
Solos, principally from the 19th century classical repertoire, are learned and performed in public and during in-house events.
Pointe
Pointe work forms the basis of work in many Ballet based companies and is an excellent way of developing the use of the legs and feet in any dance form. It is taught within regular Ballet classes and in special Pointe classes. Female students work on pointe every day.
Ballet Repertoire
Ballet Repertoire is a class for women that involves learning Corps de Ballet work from the 19th century classics. It teaches the individual dancer to work within a body of dancers, orientating herself in relation to them, and particularly to hold and move from one geometric pattern to another.
Coaching
This is particularly necessary for men who often come to the school with less training than the women and sometimes with more "difficult" bodies. It concerns the basic co-ordinations of Ballet and Contemporary Dance, and finding the experience which make them possible.
Music
Concentration is upon the voice as a medium of expression, and the ability to respond to the energy of music and rhythm. There is a particular emphasis on developing the awareness of the link between musicality and movement quality. Music-related creative methodologies are explored with the aim of furthering choreographic innovation.
Contemporary Solos
Important contemporary solos are studied and performed for the public and in-house audiences. The work particularly enhances individual movement quality and expressive capacity. The students also gain contextual knowledge concerning when and how these solos arose.
Choreography
In the first year there are classes in choreographic methods. In the second and third years choreography is pursued largely through project work. Instruction
is then through monitoring, guiding and encouraging individual projects which reach public performance. There is also project-based individual instruction concerning lighting and costuming of work.
Improvisation
Dance Improvisation is taught and explored within all year groups. The student is thus prepared to work with the many dance-makers who now build work out of material generated by their dancers.
Performance
The school performs a great deal through four full-week performance periods in its own theatre and special outdoor performance spaces. Students also perform within Research Projects. Rehearsals take place all year round, taken by staff, guest choreographers and students, and are an important part of the course.
Contextual Studies
The root and centre of the courses is the process of learning to dance to, and beyond, a professional level. Contextual studies, within the School are designed to help this process. All students, even those engaged in diploma study, are brought to a graduate standard in the use of traditional or conventional academic skills and conventions.
Body Maintenance
This area of study is addressed through practical dance classes as well as specialist lectures in nutrition, injury prevention, Pilates, Alexander Technique and other forms of therapy and physical development.
