Sofiane Sylve in Giselle. Erik Tomasson, Courtesy SFB.

Master Tips for a Picture-Perfect Penché

Penché. So simple, yet so tough. Here, San Francisco Ballet School faculty member Tina LeBlanc offers her tips for a beautifully supported penché.



Think three-dimensionally: "A penché is not just front and back, or down and up," says Tina LeBlanc. "You're wrapping the supporting leg, you're pulling up the tummy, the back is reaching up, the toe is reaching up—you're expanding in all different directions."

Eyes up: For LeBlanc, a tell-tale sign that students will lose their balance in penché is when they drop their eyes. "Your sight is a dominant sense," says LeBlanc. "When you look down, your sight takes over and you're not necessarily feeling the shape." Instead, focus out and over the hand.

Think "up" to go down: As a dancer, LeBlanc used to imagine a giant ribbon tied around her hips, suspended from above. "The image helped keep my pelvis supported, and I could lean over it. It gives that sense of 'up' as you're going down." In addition, "feel your back reaching for the ceiling as you go forward."

Tina LeBlanc. Erik Tomasson, Courtesy SFB.

The back/foot connection: As you penché, feel the arabesque foot pushing upward as you resist with your back. "Then, as you come back up, your foot is going to resist as your back initiates, all while staying forward in the ball of the foot."

Keep square: LeBlanc feels a more squared-off penché yields better results. "If you let your working side open too much, it's like being on a high wire." Pull back on your supporting shoulder to help square off.

Feeling crunchy? To help free up the working side of your back in arabesque, imagine that your leg is coming out of your spine. "If you can create space in your lower back," says LeBlanc, "it's a little easier to keep that working leg turned out and lifted because you're not dealing with flesh or the ribs."

Latest Posts


Getty Images

What's Ahead for Ballet Companies in the Age of COVID-19?

Let's be frank: No one knows what's ahead for the performing arts in the U.S. With COVID-19 forcing the cancellation of nearly a year of performances so far, including many Nutcrackers, ballet companies face a daunting path ahead with no roadmap for how to survive. While schools can offer classes online or in small groups, what does the future hold for companies when it's not safe to gather large audiences or corps de ballet?

"We are in for a very hard set of months," says Michael M. Kaiser, chairman of the DeVos Institute of Arts Management at the University of Maryland. "Nothing will change until there's a vaccine."

Pointe set out to find out what the new normal looks like while the virus is with us.

Keep reading SHOW LESS

#TBT: Sylvie Guillem and Éric Vu-An in "Mouvement, Rythme, Étude" (1985)

Sylvie Guillem and Éric Vu-An, two former leading dancers with the Paris Opéra Ballet, were both muses to Maurice Béjart. The boundary-pushing choreographer created several roles for each of them throughout their careers, including the 1985 duet "Mouvement, Rythme, Étude," when Guillem was just 20-years old and Vu-An just 21. In this excerpt from the ballet, the pair juxtapose technical brilliance and finesse with Béjart's playfully absurd post-modern movement.

Keep reading SHOW LESS
Christopher Duggan, Courtesy Boston Ballet

Tips for Fitting into a Company Setting When You’re in the Junior Ranks

Landing a spot as a second company member or trainee is thrilling—your dream is starting to come true! While you'll still be training intensely, you'll also have opportunities to perform in company productions and take company class. But the newness of professional life can also be nerve-racking. To learn the ropes quickly, you'll need to know what will be expected of you, both in the studio and in your interactions with other dancers and staff. A few simple tips can keep you from making common missteps.

Keep reading SHOW LESS

Editors' Picks