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Though I have only had a few classes, I've noticed that the exercises we do at the barre always seem to follow the same basic regimen.  Will that always happen?

There can be some differences from class to class and from teacher to teacher or even day to day, but mostly it follows the same pattern.  Some teachers do exactly the same exercises, and some change them from day to day.  But the order in which the exercises are done, generally speaking, stay the same. 

Is there a reason for this?

One of the things I quickly learned about ballet class is that there is a reason for everything.  Dancers are too busy to spend their time on exercises that have no meaning or don't help in some way with the learning process.  Dancers and teachers have been working for almost 500 years to come up with a way to prepare the body for dance in the most efficient way possible.  And this applies to the learning process, too.

How does the barre help the body to learn?

The body learns by repetition.  However, too much repetition  tires it.  This is also true for the mind.  If things are repeated too much our minds tend to zero out - we lose our concentration.  So, the teacher has to design the exercises to deal with those problems.  There has to be enough repetition so the body will learn, but not tire and to keep the mind  engaged.  This can be a fine line, and of course, is different for each individual.  It's part of the teacher's challenge.

If you watch a baby learn to walk you will see how hard the baby concentrates on the process of walking, but then as the body learns the baby is able to concentrate on other things.  That's true for dance too.  Once the body learns the basics you can then start to think about other things like - smiling when you dance!

The ballet exercises at the barre are an efficient way to warm the body up so that it can dance more safely and effectively.

How does it do that?  Pliés and such?

The barre starts with slow things and moves into faster things.  It goes from low movements into higher ones.  Gradually the tempo and the dynamic of the movement are accelerated.  Pliés are a crucial part of the warm-up, especially demi-plié. 

When you do a plié the muscles of the thigh begin to massage against the large artery that goes through your leg.  This sends a message to the body that it needs more blood and oxygen in that area.  Consequently the muscles warm up and are ready to contract and expand.  Every exercise at the barre has a definite place and reason. 

Can you give some examples?

Tendu avec (with) demi-plié begins to get the thigh warm, and also begins to use the foot as it presses out to tendu.  The ligaments, tendons and muscles of the foot start to activate.  The student can also begin to work on turnout and at the same time begin working on the alignment and stretch of the spine.  All the components of the ballet stance - alignment - balance - start waking up and getting into place.  It's like an opening prayer at a religious service.  Actually, I always felt that the barre was like a religious ritual.  I would come in leaving the rest of the world behind and begin to communicate with my inner world.

Next is tendu sans (without) plié.  This is usually a bit faster, and the pattern more complex.  The mind begins to wake up and the communication between body and mind is now open.  Perhaps a simple balance on full foot while in retiré, and a simple slow cambré forward and back as a coda

It seems like tendu is pretty important.

Some people feel, and I am one of them, that tendu is one of the most important items in the barre exercises.  Balanchine said he felt it was the most important.

Next generally comes degagé (battement degagé/battement glissé) and this is the first time  the foot is lifted from the floor.  There are usually two sets of degagé exercises: the second a bit faster and more complex than the first set.  The coda here might be a demi-pointe retiré balance.  The dancer should be constantly lifting her hand from the barre both during the exercises and during sustained balance because that's how you really know that you are in balance.  Perhaps also a stretch side to side or over a tendu devant. (foot stretched to the front).

Rond de jambe a terre - is the first time at the barre that the leg is making a circle and this begins to wake up the rotational movement in the hip socket.  Sometimes the teacher will put in a musical test of some kind such as syncopation or having the exercise begin on an " and" count, to remind the mind to listen to the music and wake up that sense.   This exercise is often ended with stretching to the front and back, side to side and a more difficult balance as a coda.

Frappé and petit battement serré, introduce real dynamic movement, with more speed, quick precision and sustained turnout as in serré.  Serré is a real test of isolating the upper leg from the lower leg.  The patterns can be much more complex requiring fore-thought and reflex.  Sometimes there are two different frappé and/or serré exercises, the second one more demanding than the first. Everything should be awake by now and ready for sustained work.

Next comes fondu, which is meant to facilitate smoothness of movement as the legs extend and close, extend and close - going from position to position.  A much more sustained balance as a coda would be appropriate here.

Now rond de jambe en l'air was always the real test of stamina for me - kind of like the " hump" of the barre.  Once I made it through that it was clear sailing probably because I had a particular teacher who seemed to make that exercise particularly difficult and excruciatingly long.  It's a test of sustained strength as well as incorporating smooth execution.  It, too, teaches isolation of the upper and lower parts of the leg.

Adage is often the most beautiful exercise at the barre.  While every exercise should be " danced" - the adage is the place where the dancer can put her heart into the movement.  Here is where strength, balance, alignment, and execution are really learned and tested.  Some people think this is the hardest part of the barre, but I think if one listens to the music and pretends it's a performance, that keeps the mind from harping on the difficulty and satisfaction of accomplishment replaces it.

Finally, grand battement.  Just as the adage is the culminating exercise for sustained extension, the grand battement is the largest in terms of movement at the barre. So now you can see how the exercises at the barre have progressed from small to large and from low to high and from quick to sustained movement.

A good stretch at this point is a wonderful idea.

So, every teacher should follow this format?

No, each teacher makes her choices for what she believes is best for that particular class.  However, for the most part this is the order that is generally followed.  Sometimes a teacher might put fondu before frappé.  Or she might have a balancoire after the rond de jambe en l'air.  That's fine.  However, I would beware if there are any major changes. 

What kind of major changes?

I went to a class once (it was taught by a retired dancer from New York City Ballet) and she started off with grand battement.  I couldn't allow my body to do it.  Beginning with such a large movement is just not a good idea.  I don't think it's a good idea for anyone, but I was especially sure it was not good for me.

Did the teacher say anything when you didn't do it?

Well, she did look at me strangely.  However, at that point in my studies I was sufficiently advanced where the teacher assumed that I probably had a good reason.  However, I have not hesitated when there is a major change to quietly ask the teacher after class for her thoughts on why she had formulated the exercise the way she did.  I did it not to challenge the teacher, but to honestly learn.  And several times, I found it a good learning experience.  It gave me a new way of thinking about things.

Does the teacher make up new patterns for each class?

Depends upon the teacher.  Some keep the same patterns for a couple of classes, some for a week or a month.  And some forever!  Personally, I don't think that's a good idea because the body just gets used to doing the same patterns over and over again and the mind tends to lose concentration.  Or at least, it isn't being challenged to stay alert. Personally, I really didn't like doing the same things over and over.  For my students, I adored choreographing new barre patterns for every class depending upon who was there and what I thought might be helpful. Even when I taught several classes in succession on the same day, I just enjoyed making up new patterns for each particular class.  It's also fun to have a barre with a theme to it.

Theme?

Yes!  If I was going to spend time in the center teaching glissades or pas a bourrées, then I would design a barre with that in mind and incorporate those steps.  Then the students would be better prepared to tackle those problems in the center.

Is the barre supposed to be tiring?

No, the barre is supposed to be a preparation for the center.  Everything should be warmed up - even sweaty - and ready to go.  After barre you should feel invigorated and ready to dance and learn in the center.

Even though you should always aim to dance your barre work, actual dancing takes place in the center.

The thinking behind all those exercises is a bit more complex than I would have guessed.

You could take any of the components of the barre exercises and write a book about each one of them.  Well, at least a fairly lengthy treatise.