The Ballet Physique - Celia Sparger

In the young world of British ballet Celia Sparger is a special kind of pioneer. The unmapped territory of her exploration lies between the strictly medical study of physique and the purely artistic judgment of a ballet dancer's quality. It is, of course, a territory where many of the people who are concerned with ballet stray more or less haphazardly.

Teachers, obviously, are interested both in their pupils' physical capabilities and in the artistic instrument which they hope these pupils will become. And when the critic or the public judges a ballet dancer's aesthetic merits or demerits that judgment makes much play with expressions about arms, feet, hands, legs and carriage. Celia Sparger's difference is that she is, at once, highly trained to observe the causes of physical strength, weakness, grace and awkwardness, has had an exceptionally long and cogent experience in applying that training to the fledgling talent of the Royal Ballet School and, in the final issue, is less interested in physique than in artistry.

To find something of this blended outlook in one person is not rare at all. But what is most rare is to find it in so intense a form-so intense, indeed, that it amounts to an almost unique qualification for the task of helping to discover what child is likely to become a fine dancer and what are the particular physical difficulties which need to be overcome if the promising pupil is not to fall by the wayside.

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