One judge may say, “And you’ve got beautiful ballet lines…” when they’re talking about how high they hiked up a bent leg that should have been straight with a barely pointed foot. For example, the judge’s on the popular TV show “So You Think You Can Dance” are repeat offenders. The term line in classical ballet is often misused, as said above, as a line from point a to point b. It would not be uncommon for a high-school ballet student to have very little understanding of classical ballet line. It is one of those aspects of ballet that “you don’t know how much you don’t know” as you are learning the basics, and even advanced, steps and technique because a dancer is usually trying to concentrate on doing a step, staying on balance, or trying to look generally presentable. Understanding line is one of the most important things for a classical ballet dancer and a dancer’s personal understanding usually develops throughout their training. When speaking specifically about “the line of the foot,” you are then speaking specifically about the connection and shape between multiple key points of placement for the toes, ankle, shape of the foot and its relation to the calf.
When speaking generally about a dancer’s line, it is meant that you are speaking about the complete look, from toes to top of the head and everything in between. The term line is sometimes confused with an actual line, meaning how most people use line as “from point a to point b.” Line in classical ballet is much different. Striving for a “good line” is very essential to the success of a professional dancer or advanced student. Line is a classical ballet term that describes the outline of a dancer’s complete body while performing steps or poses.
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