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Is extreme technique hurting artistry? Competitions are exciting showcases, but do they emphasize tricks over ballet's finer points? Coaches, teachers, judges, and artistic directors weigh in.

Article Excerpt
Jumps soar higher and higher. Legs fly up to ears. And pirouettes routinely come in fours--or more. Audiences gasp with excitement, and standing ovations are now standard fare. Is this the Olympics, the circus, or just ballet in the era of competitions? Critics, dance teachers, artistic directors, and competitors had ample opportunity this year to debate the impact of competitions. The recently concluded USA International Ballet Competition in Jackson, Mississippi, witnessed more virtuosity than ever before. So have renowned European competitions like Vama and the Prix de Lausanne, and newer competitions like Youth America Grand Prix.

While competitions are venues for discovering exciting young dancers, they are also a controversial topic among ballet's major players. The number of pirouettes a dancer does is quantifiable; how she flirts with her fan in Don Quixote is immeasurable. Judges confronted with Kitri variations need some basis for consistent evaluation. And this may explain why extreme technique has moved...

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