Training shapes the body and ultimately influences interpretation.

Sylvie Guillem was trained by the Paris Opera Ballet.  Her carriage is erect and vertical.

Makarova uses her torso with more epaulement. She was trained by Vaganova for the Kirov.

Natalia Osipova was trained by the Bolshoi school which can almost exaggerate flexibility but Osipova’s interpretation can be breathtaking.

This earliest Makarova in Les Sylphides demonstrates Vagonova’s sensitivity to training the back.

Makarova in Raymonda shows the body which is especially  Kirov. Again note the use of the long spine.

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