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Audery De Vos Audrey De Vos (1900-1983), born in England, opened her ballet studio in the 1930’s in Linden Gardens, London, where she taught for about 40 years. In her work, De Vos developed a unique approach to the instruction of ballet, an approach revolutionary for its time. Ballet, in those days, was still very much worshiped, and was to be performed only by dancers possessing the specific body anatomy and ability to execute with perfection and unity what the Great Ballets demanded

De Vos was already working then in a method that was considered opposing that of the dance establishment, which did not recognize the method or its innovations. For a short period she danced with the Saddlers Waltz Company, but she soon found herself a professional teacher, and thus supported her family. During the Second World War she worked outside of the art world, as an ambulance driver.

De Vos saw the individual as a unique creation with its own personal beauty, who should not attempt to resemble someone else. She constructed her teaching method accordingly. No one body-structure is identical to another; therefore, in the practice of ballet, each individual should be supported and strengthened through instructions that are suited to his or her body-structure and cognitive perception. This method expresses a pluralist approach in which there is room for many forms of physical expression within the world of ballet.

The British ballet establishment of the time saw the needs of existing ballet companies, and chose dancers with the “right” body structure to fit the company’s needs. As a result, it was necessary only to teach all future dancers a technique that would educated their bodies to the same lines and physical expression. Those who did not fit in physically, had no place in ballet schools and found themselves unable to advance, even if they had great talent. In contrast to the approach of the establishment, De Vos’ starting point in teaching was that the specific traits and characteristics of a student’s body are the foundation for the personal development of a dancer. Physical limitations are not a compromise he or she makes because of inability to perform the technique perfectly, but a base for personal development with in the framework of technique. Audrey De Vos’ pluralistic approach was revolutionary and met with much misunderstanding and strong opposition from the British ballet establishment, yet attracted dancers and ballet students from around the world. Her Israeli students were few: Domi Reiter Sofer, Amira Maroz, Dalia Altman (who works today in the Alexander method), and Dina Shmueli.

She received students from the British Islands, central and northern Europe, the United States, Canada and Israel as well. De Vos abhorred publicity and the press and never gave an interview or contributed to her fame. Only her students, appreciative of what they received from her, told of her when they returned to their own countries.

As a result she was invited to teach courses in the United States, Canada, Denmark, and more. Among her students were many famous dancers, as well as teachers who teach today, such as Maggie Black in New York who, in her teaching, uses much of De Vos’ approach, Dina Shmueli Hinkis who teaches in Israel, Anya Grienstead, who teaches in G.B.

De Vos's approach is most relevant and known today because it helps dancers who perform a wide repertoire of both classical and modern works, and even for those interested in dance as recreation rather than a profession.