If you've ever read a ballet program, a class description, or a dance school website, you've probably run into a whirl of labels: classical, neoclassical, contemporary, Vaganova, Cecchetti, RAD. They're often used as if they all mean the same kind of thing. They don't.
Here's the key to untangling them: styles describe what ballet looks like on stage, and methods describe how dancers are trained. A dancer trained in one method can perform in many styles. Once you see the difference, the rest falls into place.
Part one: ballet styles (what you see on stage)
Ballet has changed a great deal over roughly two centuries. These are the four styles you'll hear about most, in the order they appeared.
Romantic ballet (early to mid-1800s)
The Romantic era is usually dated from 1832, when Marie Taglioni danced in La Sylphide. Plots centered on spirits and supernatural beings, such as sylphs and ghosts, who captivated mortal men. This is where we get the image of the ethereal ballerina in a full, bell-shaped white tutu, and the use of pointe work to create a sense of weightlessness. Giselle (1841) is the era's defining work.
Classical ballet (late 1800s)
Classical ballet is defined by formal, rigorous technique: pointe work, turnout, and high extensions, with storytelling carried over from the Romantic era. Choreographer Marius Petipa is the central figure. He blended the Romantic tradition with the athleticism of Russian technique and is credited with establishing the grand pas de deux and the corps de ballet as standard ingredients. Swan Lake and The Nutcracker, both credited to Petipa and Lev Ivanov, are classical ballets. If you've seen a holiday Nutcracker in the US, you've seen this style.
Neoclassical ballet (20th century)
Neoclassical ballet keeps classical technique, including pointe work, but drops the detailed storyline and heavy scenery. The focus shifts to the movement itself and how it relates to the music. George Balanchine is its best-known figure, and his Apollo (1928, originally titled Apollon Musagète) is considered his first neoclassical work. Over time, large sets and traditional tutus gave way to bare stages and simple leotards.
Contemporary ballet (late 20th century to now)
Contemporary ballet combines classical technique, often including pointe work, with ideas from modern dance. Compared with classical ballet, it allows more movement in the upper body and isn't bound by strict classical lines. You may see floor work, turned-in legs, and a more grounded feel. Choreographers often named include Twyla Tharp, William Forsythe, Jiří Kylián, Mark Morris, and Alonzo King. Music and costumes can be anything from classical to pop.
Part two: training methods (how dancers learn)
A training method, sometimes called a syllabus, is a structured system for teaching ballet technique. You'll hear a few names again and again.
Vaganova (vah-GAH-nuh-vuh)
Created by Russian dancer and teacher Agrippina Vaganova (1879 to 1951), who refined it during about 30 years at the school now known as the Vaganova Academy in Saint Petersburg. It grew from the teaching of Marius Petipa and blends French, Italian, and earlier Russian technique. Its goal is to involve the whole body in every movement, with particular attention to back strength and expressive arms. It follows a detailed progression that spells out what to teach and when.
Cecchetti (cheh-KET-ee)
Created by Italian ballet master Enrico Cecchetti (1850 to 1928), who built on the teaching of Carlo Blasis. It is known as a rigorous system designed to develop a virtuoso technique, and it asks dancers to understand the theory behind each movement. Traditionally, the barre exercises follow a set routine for each day of the week.
RAD (Royal Academy of Dance)
Founded in London in 1920, the RAD combines influences from English, Italian, French, Danish, and Russian ballet into its own syllabus. It's known for a gradual progression in difficulty and close attention to fundamentals. In the lower grades, for example, plié is used extensively to build turnout and depth of movement. The RAD offers graded exams, which many dancers around the world work through.
Balanchine technique (BAL-un-cheen)
Developed by George Balanchine, who co-founded the School of American Ballet in New York in 1934. It's associated with speed, deep pliés, and an emphasis on line, with active, sometimes unconventional use of the arms and hands. It's most closely linked with neoclassical ballet, and it's taught in schools across North America.
At a glance
| Name | Type | Known for |
|---|---|---|
| Romantic | Style | Spirit-world stories, pointe, white bell-shaped tutu |
| Classical | Style | Formal technique, full-length story ballets, Petipa |
| Neoclassical | Style | Classical technique without a plot, focus on music and movement |
| Contemporary | Style | Ballet technique with modern-dance influence |
| Vaganova | Method | Whole-body coordination, back strength, expressive arms |
| Cecchetti | Method | Rigorous system, theory behind each movement |
| RAD | Method | Gradual progression, graded exams |
| Balanchine | Method | Speed, deep plié, line |
What this means for adult beginners
Good news: you don't have to choose. Many American studios blend approaches rather than follow a single method, and open adult classes are often built around the basics that all methods share, such as the five positions of the feet. If you're curious which approach your teacher draws on, simply ask. Most teachers love the question.
If you'd like to see the styles for yourself, try watching a short clip of each: a Romantic or classical work like Giselle or Swan Lake, a neoclassical piece like Balanchine's Apollo, and a contemporary work such as Twyla Tharp's In the Upper Room. You'll quickly notice how different ballet can look.
Ready for your first class? Read our guides on what to wear to your first adult ballet class and ballet terms for beginners, or explore the SLÉMON Leotard and Ballet Shoes collections.
