At age 15, competition veteran Hannah Bettes traveled to the Prix de Lausanne, her sights set on getting into The Royal Ballet School. The teen left the competition with a scholarship—and the Audience Choice Award, to boot. That same year, Bettes won the gold medal in the senior division at Youth America Grand Prix and the bronze at The Beijing International Dance Invitational, adding to her already impressive resumé of YAGP and World Ballet Competition accolades. Yet by the time she signed a contract with Boston Ballet in 2014, the glamour of the competition stage seemed a distant memory. “Joining a corps de ballet was a huge change,” says Bettes. “I’d be lying if I said it was easy.”

While most young professionals expect to pay their dues in the corps, the contrast can seem especially stark for dancers emerging from the competition circuit. Beyond adjusting to fewer solo opportunities, they no longer have the personalized attention of a private coach. Furthermore, many start company life with a preexisting fan base, whose high expectations may increase pressure to progress quickly through the ranks. As the accolades and YouTube fame begin to fade away, competition dancers who approach company life with a fresh perspective will ultimately make the most successful transition.

Boston Ballet's Hannah Bettes (photo Ernesto Galan, courtesy Boston Ballet)

Finding Your Piece of the Puzzle

When competing a variation, dancers have certain artistic liberties with regard to expression of character. But corps work is about blending in. “I can’t always interpret the movement the way I’d like to artistically, because it will throw everything off,” says Bettes. She hasn’t found the change discouraging, though. “Sure, I miss having the entire stage to myself,” she says. “But the corps is so essential. Without it, no one can see the talent of the principals.”

Birmingham Royal Ballet artist Alys Shee, who won medals at the International Ballet Competitions in Helsinki, Moscow, Cape Town and Jackson, as well as the grand prix at the Star of the 21st Century IBC, quickly learned to approach group work practically: To maximize efficiency, corps dancers must commit to a ballet’s cohesive picture. “Sometimes, we only have two weeks to pull together a production,” says Shee. “If each dancer tries to get her leg a little higher than the one next to her, it’s never going to come together.”

Joffrey Ballet artist and fellow IBC alum Cara Marie Gary had a somewhat different transition into company life. Because Joffrey doesn’t have a traditional hierarchical structure, she was cast simultaneously in soloist and corps roles during her first season. “I’d sharpen my peripheral vision in one piece, then have my moment to shine in another,” says Gary. “When you think of big productions as puzzles, you appreciate every single piece.”

Becoming Your Own Coach

A private coach can feel like a life force to competitive dancers. But most companies won’t be able to provide that kind of one-on-one attention to corps members. “It was a shock at first,” says Gary, who deeply misses working with coach Vlada Kysselova on a regular basis. “I was so used to relying on her unique eye for detail, and her ability to pinpoint corrections to suit my body.”

For Shee, who trained one-on-one with Nadia Veselova Tencer and Evelyn Hart, the toughest aspect of self-coaching is staying motivated in class. “You can’t expect anyone else to push you and make you want to come in and work.” She finds it helpful to work with a private strength-and-conditioning coach to supplement her training.

Bettes focuses on being especially observant in class. “There are still corrections given, but they’re more general,” she says. “You have to watch other people, and apply their corrections to yourself.” She also finds it helpful to study the principals, to try to distill and apply the distinct qualities that make them great.

And there are unique benefits to less individual attention. Gary, for one, eventually found artistic freedom in the absence of a watchful eye. “By approaching things from within, you explore your own limits and learn to find the nuances that help you develop as a professional artist,” she says.

Pressure to Succeed

For many, winning a medal is a sign of future success—a tall order for competition dancers to live up to. In addition, fans often follow competitors’ careers with high expectations and vocal opinions. Shee doesn’t view this added attention as a negative. “I’d like to think that true ballet lovers wouldn’t say anything spiteful about a dancer who encounters obstacles during her career—because they understand how difficult a career it is,” she says. “Knowing I have fans out there only inspires me to continue pushing toward my goals.”

Bettes found that joining a company helped subdue outside expectations. “Back when videos of my competition performances were constantly being uploaded to YouTube, I felt the need to impress my fans,” she remembers. “Now, I focus on the expectations of the artistic staff, the other dancers and myself.”

And unlike competition accolades, artistic decisions in companies aren’t made on the basis of a scoring system. “There are so many variables to company life,” says Shee. Bettes remembers to pause and appreciate her surroundings. “When you’re constantly striving to win that contract, it’s easy to get caught up in goal-setting,” she says. “Now that I’ve signed with Boston Ballet, I’m where I want to be, and I can focus on developing into the professional adult I’d like to become. I’m dancing at my own pace.”

If you're in the NYC area and are in need of weekend plans, you might want to consider heading to the Film Society of Lincoln Center to see Jean-Stéphane Bron's documentary, The Paris Opéra. While the film was originally released in France this past spring, it just made its way to the US on October 18th, and it chronicles the 2015-2016 season at the Paris Opera.

Encompassing the entire institution (which was founded in 1669 by King Louis XIV!), dancers will particularly enjoy an inside look at the Paris Opéra Ballet—both in rehearsals and onstage. Most notably, Bron captures the then POB director Benjamin Millepied as he decides to leave his position with the company barely a year after his appointment.

Check out the full trailer below, and the Film Society of Lincoln Center's full listing of showtimes here.

Your Training
Thinkstock.

Bianca Bulle was always prone to ankle sprains. When she was 18, her recoveries became more complicated: She started experiencing Achilles tendonitis due to muscle weakness and fluid buildup in the ankle. "The last thing to get back to normal would be my Achilles, which was so incredibly tight and painful," says Bulle, now a principal at Los Angeles Ballet.

The Achilles is the body's largest tendon, attaching the bottom of the calf muscles to the back of the heel. It contracts and releases as you relevé and plié, as well as when you jump and even walk. Tendonitis, or inflammation, of the Achilles is one of the most frequently reported overuse injuries among active people, according to the American Physical Therapy Association. You'll know it by the pain or tightness at the back of the heel. If the condition gets bad enough, the tendon can rupture, which requires surgery to fix.

Achilles tendonitis is especially common among dancers on pointe, but it's not inevitable. With rest and proper conditioning, you can work to avoid it with careful technique and a commitment to cross-training.


Boston Ballet School pre-professional students. Photo by Igor Burlak Photography, Courtesy Boston Ballet.

What Causes It?

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New York City Ballet in Marc Chagall's costume designs for Balanchine's "Firebird."

I am a self-confessed costume nerd who really needs little persuasion to travel nearly 3,000 miles to see a costume exhibition—which is what I did when I set off for California for the new exhibition at Los Angeles County Museum of Art: Chagall: Fantasies for the Stage. I knew Marc Chagall primarily for his sumptuous blue swirling paintings featuring violin-playing goats, his incredible ceiling at the Paris Opéra's Palais Garnier, and murals at the Metropolitan Opera House in New York City, so I was intrigued to see his work with ballet.

Marc Chagall (1887–1985), was born Moishe Zakharovich Shagal in Belarus. He later moved to St. Petersburg, Russia, to study art, apprenticing under famed Ballets Russes designer Leon Bakst. Chagall's work in ballet and opera, however, did not begin until he and his wife Bella arrived in the U.S. as World War II refugees in 1941.

Chagall: Fantasies for the Stage, adapted from an earlier exhibition at the Montreal Music of Art and curated by Yuval Sharon and Jason H. Thompson, is an exciting opportunity to see 41 costumes and nearly 100 designs. But it is the costumes that really steal the show. You won't see any tutus here, but instead amazing, almost cartoon-like realizations of Chagall's artwork. LACMA's exhibition runs through January 7, 2018. For those of you who can't make the trip like I did, here's a rundown of highlights.

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Tiler Peck in "Who Cares?". Photo by Paul Kolnik, Courtesy NYCB.

New York City Ballet principal Tiler Peck and Emmy-winning actress Elisabeth Moss (of Mad Men and Handmaid's Tale fame) may seem like unlikely friends, until you dig a little deeper into their backgrounds. Both attended Westside School of Ballet in Santa Monica and spent summers at the School of American Ballet in their youths. Moss and Peck's career paths diverged when the former fell in love with acting and Peck went on to study at SAB full time, eventually becoming the star we know today. Now, the pairs' artistic pursuits are uniting in an exciting new project.

According to Deadline.com, Moss will produce a documentary featuring Peck and her work curating BalletNOW, last summer's star-studded, critically acclaimed program at Los Angeles's Dorothy Chandler Pavilion. Peck was the first woman to lead BalletNOW's programming, and she brought together dancers from companies including The Royal Ballet, Miami City Ballet, American Ballet Theatre and the Paris Opéra Ballet, putting them on stage with tappers, clowns and break dancers (sometimes simultaneously).


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Your Best Body

Looking for creative and healthy ways to get your pumpkin fix this fall? First, back away from the pumpkin-spiced latte—the season's unofficial drink is often laced with sugary syrup and comes with a complimentary mid-rehearsal crash. Instead, try these simple snacks with puréed pumpkin. It's high in beta-carotene, which converts to immunity-boosting vitamin A, and is a good source of vitamin K, iron and fiber. You can buy it canned or make the purée from a "sugar" or "pie" pumpkin (they're commonly available at grocery stores or farm markets).

Fruit-and-Spice Toast

- Spread purée onto whole-grain toast.

- Top with sliced pear.

- Add a dash of cinnamon.

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Pointe Stars

When Maya Plisetskaya first toured abroad with the Bolshoi Ballet, she stunned the world. Her dramatic and technical abilities were far beyond what anyone outside the Soviet Union had seen before. She quickly became an icon, symbolizing Russian ballet.

Plisetskaya was the perfect ballerina to play the Tsar Maiden in The Little Humpbacked Horse when choreographer Alexander Radunsky and composer Rodion Shchedrin recreated the classic Russian folktale in the 1960s. This vintage clip of the ballet offers a glimpse into an era gone by. Although ballet technique has advanced since then, Plisetskaya's performance is still electrifying. She is daring and agile in her manèges and fouettés, while she shows gentle purity and authentic emotion in the pas de deux with the wide-eyed Ivan. Even half a century later, this magnificent artist continues to transfix us with her radiant presence onstage. Happy #ThrowbackThursday!


Pointe Stars
P.O. Alienz in Lavender Leotard; Paulina Waski modelling a Kreature Kulture t-shirt. Photos Courtesy Paulina Waski.

Walk into any ballet class and you're bound to see a row of dancers clad in leotards patterned with dainty flowers and lace. But nearly three years ago, American Ballet Theatre corps dancer Paulina Waski wore a very different kind of leotard to class—and her colleagues loved it. Now an average day at ABT includes any number of dancers in leotards featuring angry aliens, detached eyeballs and grinning monsters.

"My dad, John, is an artist, and he draws all these crazy creatures," Waski explains. "One year he did what he called his paper plate project; he drew a new creature onto a paper plate every single day for 365 days. I thought, 'he should put one on a leotard!' He screen printed one onto one of my old leotards himself, and when I wore it to class everyone was wowed." And so, Kreature Kulture was born.


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