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| Acknowledgments | |
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| Introduction | |
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| To Be a Dancer | |
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| Getting Started | |
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| Selecting a Ballet School | |
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| Choosing Your Level of Commitment | |
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| Ballet Moms and Dads: Sine Qua Non | |
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| What to Expect of Class | |
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| What Class Expects of You | |
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| Getting the Most Out of Class | |
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| When to Begin Pointework | |
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| All That Jazz, Modern, and More | |
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| Ballet at Any Age | |
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| Getting Serious | |
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| Backstage and Onstage | |
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| Summer Intensives | |
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| Auditions | |
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| Advanced Classes: Partnering and Variations | |
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| Men's Training | |
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| Competitions | |
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| The Curious Dancer | |
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| Studio Attire | |
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| Ribbons and Elastics | |
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| The Ballet Bun | |
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| Stage Makeup | |
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| Ballet's Courtly Origins | |
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| Tour de Force | |
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| Catherine de Medici and Le Ballet Comique de la Reine | |
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| Rebels, Rivals, and the "Shakespeare of Ballet" | |
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| Louis XIV and the French Tradition | |
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| Romanticism | |
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| Extraordinary Partnership: Fonteyn and Nureyev | |
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| Ballet Basics | |
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| Major Schools of Ballet | |
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| The French School | |
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| Bournonville (Denmark) | |
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| Cecchetti (Italy) | |
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| Royal Academy of Dance (England) | |
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| Vaganova (Soviet Russia) | |
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| Balanchine | |
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| Fundamentals of Technique | |
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| Alignment | |
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| Lift | |
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| Turnout | |
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| Positions and Orientations | |
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| Positions of the Feet | |
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| Positions of the Arms | |
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| Sur le Cou-de-Pied | |
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| Passe or Retire | |
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| Arabesques | |
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| Attitude | |
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| Orientations of the Body | |
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| The Curious Dancer | |
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| Dance Notation | |
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| Through the Ranks | |
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| Tour de Force | |
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| Tutu Much: Ballet Costumes | |
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| Bournonville and the Danish Tradition | |
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| Ballet Blanc: The Corps de Ballet's Triumph | |
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| Pas de Quatre (not Pas de Cinq) | |
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| Livry's Shroud | |
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| Ballet Class | |
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| Before Class | |
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| Warm Up | |
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| Stretch | |
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| At the Barre | |
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| Plie | |
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| Releve | |
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| Cambre | |
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| Battement Tendu | |
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| Rond de Jambe par Terre | |
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| Fondu | |
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| Battement Frappe | |
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| Developpe | |
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| Grand Rond de Jambe | |
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| Petit Battement sur le Cou-de-Pied | |
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| Rond de Jambe en l'Air | |
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| Barre Stretches | |
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| Grand Battement | |
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| Center Floor | |
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| Adagio/Adage | |
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| Allegro: Petit and Grand | |
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| Turns | |
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| Reverence | |
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| Musicality | |
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| All About Pointe | |
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| The Rise of the Ballerina | |
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| How a Pointe Shoe Works | |
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| How to Select and Fit Pointe Shoes | |
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| Pointe Training and Technique | |
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| The Curious Dancer | |
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| Pirouette Tips from the Pros | |
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| Anatomy of a Pointe Shoe | |
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| Foot Types | |
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| Tour de Force | |
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| Pioneers of Pointe: Taglioni and Legnani | |
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| Petipa and the Tsars' Ballet | |
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| Pavlova | |
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| Modern Dance | |
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| Nijinsky | |
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| "Astonish Me." Diaghilev, Fokine, and the Ballets Russes | |
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| The Healthy Dancer | |
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| Respect Your Body; Dance Forever | |
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| Eating Well to Dance Well | |
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| Body Esteem: Dealing with the Mirror | |
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| Eating Disorders | |
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| Puberty and Dancing | |
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| Anatomy Illustrated | |
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| Injury Prevention | |
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| Avoiding Burnout | |
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| Ballet Injury "Hot Spots" | |
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| Muscles-Pulls and Tears | |
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| Anatomical Terms | |
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| Daily Care For Dancing Feet | |
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| If You Are Injured | |
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| Cross Training | |
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| Pilates | |
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| Yoga | |
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| Resistance Training | |
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| Floor-Barre | |
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| Gyrotonic | |
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| Swimming | |
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| The Curious Dancer | |
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| Ballet's Folk Dance Tradition | |
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| Ballet on Broadway | |
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| Mime | |
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| Tour de Force | |
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| A Tale of Two Cities: The Kirov and the Bolshoi | |
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| Balanchine, Kirstein, and New York City Ballet | |
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| American Ballet Theatre | |
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| Ashton, de Valois, and the Royal Ballet | |
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| The Dance Boom of the '60s and '70s | |
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| Ballet Literacy | |
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| Must-See Ballet | |
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| The Curious Dancer | |
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| Must-See Ballet at a Glance | |
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| Historical Time Line | |
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| Glossaries | |
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| Ballet Terms | |
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| Music Terms | |
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| Theater Terms | |
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| Social Dances | |
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| Dancer Slang | |
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| Further Reading | |
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| Resources | |
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| Videos | |
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| Organizations | |
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| Magazines and Publications | |
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| Index | |