Metodo Sava gives teachers complete baggage of knowledge for those who are enduring a training phase but also the fusion of two techniques, Vaganova and Balanchine ones.
it can help to grow a good expressive technical development since the age of six, thanks to a good approach which helps the student to dance immediately while studying an immediate anatomical development, and while using a particularly effective dialectic. The child will work well and with pleasure, making the correct movement unconsciously where normally those joint and muscle parts are difficult to apply.
The Method
The study of the Vaganova technique has given us the opportunity to appreciate the results obtained thanks to the meticulous work of the individual technical elements on the steps of the academic tradition, developing a system of exercises characterized by a crescendo of technical difficulty and compositional complexity graded in eight years of study and organized in such a way as to ensure a risk-free study for students, in relation to age and level of psycho-physical development.
When Maestro George Balanchine created the Balanchine style, also called “neo classical”, he did it specifically for the School of American Ballet and for the New York City Ballet in order to train dancers with particular qualities (musicality, speed, dynamics and purity of lines) necessary to interpret his ballets, addressing only the professional or advanced level dancer.
In my various professional experiences, both in study and on stage, I had the opportunity to analyze steps and positions, techniques and styles, both congenial or particularly difficult for me.
In embarking on the teaching path, I began to consider with particular attention the type of physical structures, comparing them with the executive difficulties, in relation to the improvement of the anatomical structure of the student in his growth phase.
Hence the idea that, from the fusion of the two techniques: Vaganova and Balanchine, an innovative and fully responsive teaching methodology could have been obtained not only to solve the aforementioned problems but also to develop the best technical and artistic qualities in the student.
So I created my own method to bring the students to achieve maximum results in harmony with their psycho-physical personality.
I do not intend to assign strict lesson construction plans, but I want to draw a solid didactic line that each teacher, with his experience and sensitivity, will elaborate during his lesson.
I believe that with this method every teacher will be able to reach an excellent job by focusing the right didactic intervention in every situation and level of study.