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#TBT: Svetlana Zakharova and Roberto Bolle in "Swan Lake"

Swan Lake's Black Swan pas de deux may be a chance for stars' technique to shine, but it's the acting—Odile's wicked seduction of the blindly loving Siegfried—that gives me chills. In this clip from a 2004 recording of La Scala Ballet, Svetlana Zakharova finds fresh moments in Vladimir Bourmeister's 1953 choreography to bewitch Roberto Bolle—and her audience. She undulates her arms and unfurls her legs delicately, mimicking Odette's graceful wings, then entices him by crisply rebuffing her prince's offered attentions. Did you shiver when she flicked her wrists and widened her eyes piercingly in her variation preparation? Bolle, meanwhile, dances with incredible fluidity. His open, easy carriage reveals both the dancer's seasoned strength and his character's vulnerability.


Bourmeister's Swan Lake is less popular than the classic Petipa/Ivanov staging, but it actually uses Tchaikovsky's original composition. Music sound familiar? Balanchine used sections cut from the classical version for his Tschaikovsky Pas de Deux (1960).

Swan Lake's steps and structure may be altered in different versions for years to come, but the fascinating white swan/black swan dichotomy, which has inspired choreographers and even Hollywood directors, is likely to endure. Happy #ThrowbackThursday!

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Rachel Neville, Courtesy Ellison Ballet

If you've got your heart set on dancing for, say, San Francisco Ballet, you should attend a school that specializes in Balanchine, right? Not necessarily: It's actually a misconception that you have to train in a particular style or technique in order to pursue a career in that style. Ellison Ballet in New York City—which specializes in Vaganova technique—is living proof: Graduates of Ellison's year-round program and summer intensives go on to ballet companies that perform in a wide range of styles, and use what they've learned from Vaganova to land jobs.

Here are five reasons why studying Vaganova technique can actually make you a sought-after dancer for any number of ballet companies:

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Karina González in Ben Stevenson's Coppélia. Amitava Sarkar, Courtesy Houston Ballet.

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I've always said that my favorite role is Juliet, because of her vulnerability and maturity throughout the ballet. But now that I've performed Giselle, I find her so incredibly enjoyable, from being a village girl who falls in love for the first time to the most tender, almost weightless dancing in Act II.

Are you more at home in the studio or onstage?

I love the time in the studio. The process of starting from zero to getting better each day is so rewarding. My favorite phrase in rehearsals is "Let's do it again, so I can sleep in peace tonight." I need to feel so comfortable in the studio so that when I am onstage there are no bad surprises.

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Dancers certainly don't need anyone to tell them how physical their profession is. But now, we have the data to prove it.

Researchers at InsuranceProviders.com analyzed data from the Occupational Information Network (O*NET), a national organization developed through support from the U.S. Department of Labor/Employment and Training Administration, to determine the 20 most physically demanding jobs in the country. They analyzed the level of strength, stamina, flexibility and coordination required for a host of jobs, and each category was assigned

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