The first week of Level 4 is one of my favorites. Dancers dedicate time in their pliés to inhale and allongé, exhale and lower the arm, and the impact is stunning: chronically-lifted shoulders relax, someone stands an inch taller, another dancer seems to transform from mechanical to sylph-like in an instant. It's as if they'd been wearing heavy overcoats, and now you can see their ball gowns underneath. So if breath makes that much of a difference, why wait until age twelve to teach it?

Turns out the answer isn't a ballet called Diana and Actaeon at all — it's a showpiece tucked inside La Esmeralda, rebuilt in 1935 as a technical calling card. Here's the real history, plus four artistry elements that separate a goddess enacting divine justice from just another regal variation.

Sometimes a stubbornly shallow plié isn't a correction problem — it's anatomy. Here are three ways to help a dancer get the most range out of the plié they actually have, even when "bend your knees more" has stopped working.