Swiss-born Emilietta Ettlin has danced with major companies in Europe and America beginning with the Basel Ballet, continuing with the Stuttgart Ballet (under the Artistic Directorship of John Cranko) and on to New Jersey Ballet where she was coached in many ballets by Edward Vilella and Melissa Hayden. She has also appeared as a guest artist for the New York City Opera. She has danced roles in Swan Lake
, The Nutcracker
, Sleeping Beauty
and danced many major classical pas de deux including the Black Swan, Don Quixote and Le Corsaire.
Ms. Ettlin has taught open company class for American Ballet Theatre, English National Ballet, Stuttgart Ballet, Australian Ballet, National Ballet of Mexico and Bern Ballet. She has also taught at the Joffrey Ballet School, Alvin Ailey School, Australian Ballet School, Zurich Opera Ballet School and the summer seminar at the Royal Danish Theater, Copenhagen.
BALLET FLOOR TECHNIQUE
Emilietta developed this technique on herself when she was a professional dancer. It is a full ballet barre on the floor using the resistance of the floor and emphasizing the use of the inner thigh, to prevent the over development of the upper thigh. It helps to find correct placement and teaches the correct rotation of the leg in the hip socket to maximize turnout. It simultaneously builds abdominal strength and increases flexibility. Emilietta put it to the test when as a dancer she was injured for five months and was only able to do her Ballet Floor Technique; she returned from the injury stronger and with higher extensions! This technique has been developed to address the needs of ballet technique today, which Ms. Ettlin feels requires quick footwork and working the inside of the thigh to achieve the appearance of a longer leg.
Emilietta Ettlin's ballet class is based on the Vaganova technique, but with fast feet working into the floor; a trick she learned to make herself taller. Emphasis is placed on the presentation of a movement and on musical dynamics to achieve the joy and artistry of dance. A dancer must not pose, but be in continuous movement" she says. This strong class where close attention is paid to clean technique, simultaneously allows the dancer the freedom to dance with elegance and without tension.