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The silent majority: surviving and thriving in the Corps de Ballet.

Article Excerpt
Imagine a ballet company without its corps de ballet. There would be no lines of wilis in arabesque drawn magnetically together in Giselle, nor any grand polonaise for the ensemble in Theme and Variations. The corps de ballet is to a dance troupe as the spine is to the body: It provides framework, support, context, and aesthetic form. But as dance has moved into the 21st century, the demands on corps dancers have changed, making them more than just a backdrop for the principals. Ever more versatile and virtuosic as individuals, they face more emotional and physical challenges than ever, amplified by heavy work schedules.

Most great ballerinas and principal males started out in the corps--think of Margot Fonteyn, Wendy Whelan, and Ethan Stiefel. But even for those who don't make it to the soloist level, the job description remains daunting. "I look for intelligent, versatile, ambitious, and hardworking dancers who are team-oriented," says Mikko Nissinen, artistic director of Boston Ballet. "Good focus, attention to detail, and an unaffected manner are also important."

Perhaps no one works more intimately with the corps than the ballet masters. Louise Lester, who joined the Houston Ballet as a ballet mistress in 2004, says the importance of the corps can't be underestimated. "Today's companies are often judged by the strength of their corps. They can make or break a performance," she says, adding that the corps is...

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