Balanchine technique

[4] During his time in Europe, Balanchine had begun to develop his neoclassical style, partially as a reaction to the Romantic anti-classicism that had led to increased theatricality in ballet.

Balanchine’s vision demanded extreme thinness and emphasized specific physical attributes that he believed would best support the distinctive style, acrobatic partnering, and speed his choreography required.

As a result, he very outwardly preferenced a particular body type– a slender, elongated form with slim hips and long legs –which ultimately set a new standard for American ballerinas.

Consequently, the thinness he demanded of his company quickly became integral to his stylistic expectations and due to his influence, ultimately expanded into the culture of ballet training as a whole.

According to student accounts, he often encouraged dancers to maintain extremely low weights, telling them that he “must see [their] bones” and to “eat nothing”[12] believing that it would enhance their agility and make for a more beautiful performance.

His body ideals and training methods have influenced the expectations of many elite ballet companies, where his preference for speed, lines, and thinness are still seen as desirable traits.

The subculture of Balanchine-trained companies, where physical appearance is tied to the dancer’s role and opportunities, has contributed to a broader cultural narrative that equates thinness with discipline, control, and professional success.

As a result, the cultural expectations of thinness in ballet remain pervasive and ultimately, these reinforce aesthetic ideals that prioritize an ultra-thin physique as a hallmark of the art form’s elite tier.

The standards he established have, according to first-hand accounts from former students, pushed dancers to achieve remarkable physical feats, but have also highlighted mental and physiological dangers that come with maintaining such an exacting ideal.