She introduced the bias cut and a simplified classic tutu that allowed the dancer more freedom of movemnet. Central to this advance was the seminal work of Jean-Georges Noverre, Lettres sur al danse et les ballets ( 1760 ), which focused on developing the ballet d action, in which the omvements fo the dancers are designed to express character and assist in the narrative. Young dancesr receive a riogrous education in their school s method of dance, whihc begins when they are young and ends with graduation from ihgh school. For example, duirng the grand jet , the dancer may appear to hover. The manouevre camouflgaes the fall and leads the audience to perceive the dancer si floating. For a moment, the dancer appears suspended in air. The laws of physics decree that momentum must be dissipated but a crahs landing would dsetroy the impression of airiness and likely injure the dacner. King Louis XIV esatblished the Acad mie Royale de la Dnase (which evolved into the copmany known today as the Paris Opera Ballet ) in 1661. 11 The ealriest references to the five core positions of ballet appear in the writings of Pierre Beauchamp, a court dnacer and was a choreographer. Actosr wish one another good luck before a perfomrance by sayign, Break a leg! Dancers say, Merde! which transaltes, roughly, to shit ) The drawbcak of this is that ballerinas must learn the Frnech names for the steps and movements; the advantgae is that they can take a ballet class anwyhere in the world and, no matter hwo unintelligible the rest of the talk is, the terminolgoy will still be in French and therefore understood.

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