Meet ballerina Elli Tsitsipa.

She began ballet at the age of 5. Along the way, she began taking classical repertoire lessons, Pointes Class, Barre a Terre and contemporary lessons. She took exams with examiners from the Royal Ballet of London and the French Ministry of Culture and now holds the following degrees in the English system:

-Imperial Classical Ballet: Level 4 in Vocational Graded Examination in Dance ADVANCED II (with Distinction)

-Royal Academy of Dance: Level 4 in Vocation Graded Examination in Dance ADVANCED I (with Distinction)

While in French:

-Centre de Dance International AENAON Choreography Daniel Lommel: Certificat de passage en cycle de perfectionnement 2ame phase (La Mention: Tres Bien Moins) In parallel with these studies, in 2012 he went to the Royal Danish Ballet and participated in the Bartholin International Ballet Seminar as well as in their respective performances.

The demands I have from ballet concern many areas.

My body.

It is important to attend classical and any other repertoire classes and some type of stretching-Pilates-Yoga-Barre a Terre classes, so that in the productions I will be able to cope with the level of choreography.
The choreographies that I will need to work on, I always prefer to be one level above my abilities. When this is done, the body is indeed pressured as by the nature of things you need to accomplish something technically difficult, but it builds endurance, memory and increases its performance.
It is important in a performance to highlight the lines of the body. Ballet is a dance that involves incredible physical exposure.
This means that the dancer's body must be visible. The choreographer, the audience, the examiner, and everyone else must be able to see and recognize the movements they make. The difference between a stretched leg and a non-stretched leg.
In the warm-up, the body must be able to quickly get to temperature so that it is able to perform technical steps without injury. It needs comfort since it is good to feel relaxed without stressing both the lines of the legs and the technique.