Audition for Fall 2011 Pre-Professional Training Program
French Academie of Ballet
THE FRENCH ACADEMIE OF BALLET IS HOLDING AUDTIONS FOR DANCE STUDENTS AGES 10 TO 19 FOR ITS YEAR-ROUND 2011/2012 PRE-PROFESSIONAL TRAINING PROGRAM BEGINNING THIS FALL. ??
MANHATTAN (August, 2011) – The French Academie of Ballet, founded by Artistic Director Francois Perron, will hold auditions for dance students ages 10 to 19 for its year-round 2011/2012 pre-professional training program starting September 12, 2011.
Auditions take place Thursday, September 8, 2011 at 6:00pm at Dance Art New York (DANY) Studios, 305 West 38th Street, New York, New York (located at the corner of 8th Avenue). For further information, please visit www.FrenchAcademieofBallet.org or call the school at (646) 703-0414.
Founded in 2011 by François Perron, the French Académie of Ballet is a unique pre-professional training program that had not previously existed in the United States. Based on the French School of classical technique, the French Académie of Ballet trains pre-professional dancers in the tradition of classical technique, promoting ballet in its purest form; placing emphasis on precision and elegance.
Beginning this fall, the Académie will officially begin its year-round pre-professional program with three levels of training, Elementary, Intermediate and Advanced. Each level will be closely supervised by François and taught by himself and his faculty.
The curriculum created by Francois Perron, graduate of the Paris Opera Ballet School, is based on the French School of classical technique. The curriculum is designed to develop strength and flexibility through a pure classical technique. At each level, a schedule of classes has been created to develop the physical and technical strength that propel a dancer toward artistic growth and prepare dancers for the demands of a professional dance career.
WHAT PEOPLE ARE SAYING
Philip Gardner author of the online blog, Oberon’s Grove wrote in his May 21, 2011 posting, “Francois has a very sharp eye and is quite strict in handing out corrections, which is exactly what good dancers need to become great ones. Although they are young, the dancers took his critical remarks in the best sense and strove to deliver the desired improvements. His style calls for elegant, seamless transitions and he could immediately determine the source of any flaws and explain what the dancer needed to do to achieve the proper execution. One might think that that would be a given in ballet training at this level, but you'd be surprised at some of the things that have passed uncorrected in classes and rehearsals that I've watched. “