Are you hoping to get a contract this year? These top-tier companies are hiring!

Company: Miami City Ballet

MCB is holding open auditions in New York City for the 2017-18 season. Artistic Director Lourdes Lopez is seeking classically trained male and female dancers with at least 10 years of professional experience to join the Company at all ranks. Training in the Balanchine technique is a plus.

Date: March 26, 2017 3-8 pm

Location: School of American Ballet 165 W. 65 Street, New York (W. 65th St. between Amsterdam and Broadway)

Specific audition class times to be announced via miamicityballet.org

Pre-registration:

  • Resume
  • Current headshot
  • 2-3 full-body dance photographs
  • Recent video (link) to a classical work, variation

Send to: Michael Sebesto – Msebesto@miamicityballet.org You will receive an email confirming receipt of pre-registration materials. No phone calls please.

Bring: Hard copies of resume, headshot and dance photos with you to the audition.

If you cannot make it to the New York audition, please submit the required materials, and you will be notified by email if you are invited to attend an audition class in Miami.

Tulsa Ballet

Tulsa Ballet is seeking dancers with strong classical technique for its 2017/18 Season.  All auditions are by invitation only.  Please send your resume and a video link of your dancing to companymanager@tulsaballet.org.

The Sarasota Ballet

Sarasota Ballet is seeking strong classically trained male dancers for the 2017 – 2018 Season. Click here for more information.

American Contemporary Ballet

American Contemporary Ballet is currently hiring dancers for the 2017-18 season. Contracts are available for the full season (May–February) and summer only (May–August). Flexibility on contract start date (into May and June) is sometimes available. Click here for more information.

Date: Sunday, March 12, 2017

Location: School of American Ballet

Bring: A headshot, dance photos and resume/CV.

Fee: $25

Alberta Ballet

Pre-registration: Send the following materials to auditions@albertaballet.com

  • C.V. (include full name, phone number, email address, citizenship, training and performance experience)
  • Photos (one head shot and one full body dance photo)
  • Video (high quality stage or studio video that display a range of repertoire, no more than ten minutes; a link to online material will be accepted)

Date: Saturday, March 11, 2017

Location: Joffrey Ballet School 434 6th Ave, New York, NY

Registration: 2:00 pm–3:00pm, $10 registration fee

Audition: 3:00 pm – 5:00 pm

School Audition

The Accademia Teatro alla Scala Ballet School in Milan, Italy, is now accepting applications for 2017.

Duration: The complete path of the ballet school lasts 8 years, each one from September to June. An exam is given at the end of each year. If admitted, all pupils are admitted for one academic year only and must reapply for following years.

Attendance: Mandatory. Lessons are held Monday through Friday for levels 1-5 and Monday through Saturday for higher-level courses. Courses 1-3 meet in the afternoon, courses 4-7 are full-day.

Prerequisites for admission:

  • Candidates who are in the 5th year of elementary school during the 2016/2017 school year may apply for the Level 1 course.
  • For higher courses (Levels 2-7), the candidates must show that they are prepared to be admitted to the courses corresponding to their middle school or high school level.
  • Candidates for Level 7 must be under 18 years of age on Friday, March 24, 2017.

Selection: In order to be admitted to the courses, the candidate must pass a screening test, as described into the official Announcement (Point 7, 8 and 9). Please, download it and read it carefully. The admission tests will take place in late April at the Ballet School in Milan (Italy), according to the calendar specified at the point 9 of the Announcement. No other exam sessions are scheduled for the year.

Venue: Ballet School of the Accademia Teatro alla Scala – Milan | Accademia Teatro alla Scala – Milan.

Fees: registration fee to the selection of € 85 + attendance fees to be paid with a Bank SDD (SEPA Direct Debit) in installments. Please, read carefully the official Announcement for all the details about fees and tuitions, as for scolarships and exemptions available for admitted pupils. Download here the document to apply for scolarships/exemptions .

Application 2017/18: applications must be completed and submitted online, by clicking on the “Apply now” button, NO LATER THAN FRIDAY, MARCH 24, 2017.

The following documents (scanned) must be included with the application, as detailed into the official Announcement, point 6:

  • valid identification for both parents or legal guardian (identity card or passport)
  • receipt for payment of €85.00 (eighty-five euros)
  • candidate’s codice fiscale (Italian national identification number) or statement declaring that the candidate does not have an Italian “codice fiscale”
  • a professional quality photograph, passport format of the candidate’s face
  • account’s holder codice fiscale (Italian national identification number) or statement declaring that the candidate does not have an Italian “codice fiscale”

Each document must not exceed 1 MB. Documents must be in doc, docx, pdf, jpeg, jpg, png format only.

Be sure to check our Auditions Page regularly!

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Angela Sterling, Courtesy of Pacific Northwest Ballet

Clear your schedule now for Monday, January 29th, 2:45PM (EST)/ 11:45AM (PST). Pacific Northwest Ballet will be live-streaming rehearsal from Kent Stowell's Swan Lake, straight from their Seattle, WA-based studios. To psych us up for their on stage performances February 2nd - 11th, PNB is letting us in on their Act II rehearsal.

From the corps of swans to Odette and Prince Siegfried's pas de deux, and the infamous four swans, this rehearsal is not to be missed. You can sign up now for a live-stream reminder on their site. In the meantime, we'll be brushing up on our Cygnets with this PNB sneak peek.

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Rigorous program, check. Well-rounded technical training, check. Purposeful liberal arts curriculum, check. Study your craft abroad, check! If you are looking for all the above, the Joan Phelps Palladino School of Dance at Dean College truly has it all.

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Lopez in Circus Polka. Photo by Alexander Iziliaev, Courtesy MCB.

When Miami City Ballet artistic director Lourdes Lopez was a principal dancer at New York City Ballet, she missed her opportunity to honor Jerome Robbins onstage. "Every time there was a celebration for Jerry, I was either injured or had just retired," says Lopez. "I was never able to publicly thank him onstage for all that he taught us and the beauty he left us."

But when Lopez was planning MCB's Jerome Robbins Celebration for the 100th anniversary of the legend's birth, she saw an opportunity. She asked the Robbins Trust to allow her to perform the Ringmaster in Robbins' Circus Polka, a role the choreographer originated himself.

Keep reading at dancemagazine.com.

Summer Study Advice
Thinkstock.

Videos are a great alternative when auditioning in person isn't possible. Here are some general guidelines for making a good impression.

1. Follow directions. Before filming, research what each school you're interested in requires. "It demonstrates your ability to follow instructions, and schools pay attention to that," says Kate Lydon, artistic director of American Ballet Theatre's summer intensives and the ABT Studio Company. "If the guidelines haven't been followed, your video might not be watched the whole way through." You may need to make multiple versions to accommodate different schools.

2. Videos should be no longer than 10 minutes. "Keep it short, simple and direct," advises Philip Neal, dance department chair at The Patel Conservatory and artistic director of Next Generation Ballet. "You have to be sensitive to how much time the director has to sit down and look at it." Barre can be abbreviated, showing only one side per exercise, alternating. Directors will be looking at fundamentals—placement, turnout, leg lines, stability—but don't ignore musicality or movement quality. Make sure music choices match combinations and are correctly synced in the footage.

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Career
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I want to be a professional dancer, but my parents won't listen. They either don't think I can do it (contrary to what my teachers have said) or they won't let me take the necessary steps to become a professional. Please help. —Audrey

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Videos

They say that pigeons mate for life—perhaps that's why these birds naturally symbolize the young lovers in Sir Frederick Ashton's The Two Pigeons. In these two clips from a 1987 performance in Pisa, Alessandra Ferri and Robert LaFosse—then stars with American Ballet Theatre and New York City Ballet, respectively—dance a rapturous pas de deux at the end of Act II. With tiny pricks of her feet and bird-like flaps of her elbows in Part 1, Ferri marks her anguish, thinking she's been abandoned for another woman. Later, both she and LaFosse grow more and more entangled as they reconcile, Ferri dancing with the passionate abandon she's famous for. I love how in Part 2 (0:20), they can't seem to get enough of each other as their necks arch and intertwine. At the end of the ballet, two pigeons fly in to perch symbolically on the chair—er, there's supposed to be two. It looks like one missed its cue at this performance! No matter—Ferri and LaFosse's dancing make it clear that these young lovers are meant to be together for life. Happy #TBT!

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Summer Study Advice
The author at 13, rehearsing at her home studio, Ballet Arts Theater, in Endicott, NY. Courtesy McGuire.

This story originally appeared in the December 2010/January 2011 issue of Pointe.

As a young student at a small ballet school in upstate New York, I was obsessed with getting into the School of American Ballet. From the age of 10, I entered class each day with the ultimate goal of studying at SAB dangling before me like a carrot on a stick. Every effort I made, every extra class I took was for the sole purpose of getting into what I thought was the only ballet school that really mattered.

I auditioned for SAB's summer program for the first time when I was 12. In the weeks that followed, I became a vulture hovering over my family's mail, squawking at my mother if the day's letters were not presented for my inspection when I walked through the door. The day the letter finally arrived, it was thin and limp. I cried for a week as I dealt with the crushing feeling of rejection for one of the first times in my life.

My mind filled with questions and self-doubt. What was wrong with me? Why wasn't I good enough? I figured I must be too fat, too slow, my feet too flat. I had worked so hard. I had wished on every fallen eyelash and dead dandelion in pursuit of my single goal, just to have a three-paragraph form letter conclude that I was a failure. For a while, I let myself wallow in the comfort of my resentment, content to believe that success should have come easily, and that to fall was the same as to fail.

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