About Theodora Sonnenberg Expertise I am a retired professional dancer and choreographer, and have been teaching all levels of
ballet and jazz for twenty-five years. I can answer all questions relating to technique,
auditioning, stagecraft and finding a good teacher. I can also offer information about
ballet history, pointe shoes and wardrobe.
Experience I have choreographed and been a guest teacher for the Boston Ballet School, the Nevada
Dance Theatre School, the American Festival Ballet School among other professional ballet
schools. In addition I was the director of my own pre-professional studio for ten years.
Question I have been teaching for many years and am trained in Checcetti and French school. I have always taught my students 7 arm positions to go with the 5 feet positions, 2 in 1st (low and on outside of thighs & below chest) and 2 in 5th (low in front of thighs and above head). I find so many variations with Vagonavo,French, Checcetti. So how does one choose, and what do you think is the most common now days?
Answer In my opinion, it is good for students to learn many different styles and to learn all the port de bras and arabesque positions from all the styles. The positions are the same; just the names are different. American dancers especially have to be familiar with different names. Russian technique with a blend of Ceccetti and Balanchine seems to be most prevelant, the thing that annoys me most is teachers teaching "Vaganova" arms by merely moving the arms too far back and not understanding the whole upper body work that goes with it.
