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About

Jean Pierre Alexandre Pribilois

Don't expect to see or hear me say great things, even if some people would tell you that I am a good teacher and maybe a wonderful person, it could be true, but this is it, not really to make of it such a great " BLA BLA" story.

I danced yes, but always in Corps de Ballet, I was conscious that my technique had limits and I couldn't pretend to go any further from that code line of what we call in ballet:

The great perfection !

After the eight Academic years, I danced professionally with different Ballet Companies but my goal wasn't really the one to become the great "flashy star of dance" but rather focusing in a good ballet teacher.

Not an easy task of course, as all my life was under pressure dropped or preferably launched by life events into a very difficult and gloomy puzzle frame.

I danced in many roles and ballet of repertoire, that are named below.

I never wanted to become the great star of dance, I was very happy of what I was at that time and I enjoyed my corps de ballet roles and dancing as much I could but on the other hand I was developing in my heart the real dream of becoming a ballet teacher.

With the decades that followed, I was miles away of becoming a good teacher.

Teaching of course is not easy but is completely different from dancing, while you dance you might feel like falling into a "meat shredder machine" people correct you constantly and give you a million of advices, but while you teach instead it "feels more like being under a guillotine" which blade doesn't fall on your neck in a blink of an eye but goes down in slow cutting motion!

People are more keen to destroy you with one single word on the spot while you are struggling and helping a professional or a young dancer in seeking to improve their technique.

If within dancers rank their is a great competition to reach a soloist role or promotion, trust me that also within ballet teachers, this competition is even more cruel and strong. 

Teaching has its own pedagogy which you have to learn on your own expenses, as how to be comprehensive, patient, helpful and becoming an adaptable individual in all type of situations.

Said that you learn how to get more authority but with kindness and not offending dancers during class.

You learn what means when a dancers get an injury, as a teacher you have to feel the dancer's pain, you have to find a way or the right way to cure and find the good medicament to heal this dancer and not kill or destroy him on the go.

When you teach you have to talk, and talk frankly like you really are, and not play the role of the : Grand Teacher or even worst behave as a dictator.

After all as a teacher you only have two eyes to correct a full class of 20 dancers, but on the other hand remember that you have 40 eyes who continuously analyze and scan  each words you say and corrections you give, so it is up to you to take care.

You learn what challenge means, until you become integral part of it or main actor of your own personal life scenery.

You learn what tears and deep wounds means.

This might turn easy for some or difficult for others.

I always had the harsh part of it coming out alive yes but with wounds that targeted my entire dance career.

How do I consider myself?

A limited edition for sure, but probably a good one considering that so far no one came out from my classes holding his head under the shoulder !

What type of person am I really?

Life has taught me that the best tool is: Look, observe, learn, listen, talk little, meditate, be calm, and be wise.

Do good always and never harm to anyone.

Silence is the best weapon you may use, and never revenge.

If you scroll down this page you shall see all my teachers I had in the past, each one was different from the other, different character, different mood, different bodies, different voices, different advices, some where very strict, some were using words like cut glasses, but all of them had something in common:

THE GREAT ARTISTRY  and THE GREAT EXPERIENCE.

Here below are more details of me:

Countries in which I have been travelling for dance work:

Egypt – Morocco – Italy – France – South Africa while my father Claude Pribilois (French) was pursuing his Diplomat career next the French Ministry of Foreign Affairs.

I have been studying ballet with my mother Ada Pisani Pribilois (Italian) until the age of 18 then started my professional dance career in South Africa with Pact Ballet (Performing Art Council of Transvaal) and participated in the Young Choreographer Competition winning 2^nd price nominee for 3 Classical Pas De Deux.

For these Pas De Deux, I had the chance to use the two first Senior Soloist Ballerinas of Pact Ballet:

Maxine Denys, and Beverley Bagg plus two Soloist male dancers: Gary Doherty and Stephen Melvin.

I have danced in many Classic Ballet of Repertoire with Pact Ballet, in Italy Arena of Verona, Teatro San Carlo, Teatro Regio of Turin, and France in Lille and Roubaix and Bordeaux.

Have always danced as member of Corps de Ballet in some occasion in character roles.

I started teaching ballet in 1985 in Morocco Agadir and this for 7 years head of Ballet with 150 ballet students our ballet Academy then I moved to Italy working in various places and this has opened a new input page and now I keep teaching as guest teacher when occasion arise.

Our school was under the patronage and sponsorship of the King of Morocco and Youth Sport Department and every year an annual gala was given to the "Theatre de Verdure" of Agadir.

My teaching is more Vaganova with a mix of RAD as working with many teachers from UK and Russia I gained experience in the past while dancing with various Ballet Companies.

With computer technology, I have created many photographic slide videos representing ballet highlighting the world of dance and promoting the beauty of the art of dance, those video can be seen on Vimeo, You Tube and Dailymotion websites and the title is: Dance Logo Part One or Part Two and includes at least 85 percent of the South African ballet dancers with whom I have been working with in the past.

From 2006 up to 2016 had been a full interval decade with few dance teaching activities.

As I had to take care of my parents illness and loss.

Started again teaching in 2017.

Jean Pierre Alexandre Pribilois

Mobile / Whatsapp: ++39/346 385 4661

Private email: jpp812@yandex.com

Ballet International: balletinternational1@gmail.com

Ballet Teacher - Postural Gym Trainer

Member of CID UNESCO 

Ballet Teachers

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The following are all the list of my ballet teachers who have taught me ballet it is thanks to them that today I can pass on all their know-how (and not really mine) to the youngest generation.

Without their great passion, love for dance and all the hours, days, months we all spent during in rehearsals and classes I became the man that I am today.

Thank you dear teachers, you will remain all in my heart.

Ada Pisani Pribilois

Ada Pisani Pribilois wife of Claude Marius Pribilois and mother of Jean Pierre Alexandre Pribilois studied ballet with Clara and Mària Gorilovich.

She started teaching at her own private Ballet School in Alexandria Egypt.

She was nominated Artistic Director of the Conservatory of Music and Ballet of Alexandria for the Academic Ballet department.

She then moved with her family in Milan where she taught at the C.O.N.I

"Comitato Olimpico Nazionale  Italiano"  (PRO PATRIA)

She then founded and was Head of the Atelier Chorégraphique et Centre de Culture Physique of Agadir Morocco.

The Academy was under the Patronage of his Highness the King of Morocco, the Municipality of Agadir, the Ministry of Youth and Sport, and the Ministry of Culture.

She was Choreographing and Teaching 

She also taught Drama and Corporal expression at the Don Bosco institute of Alexandria Egypt and Maira Ausiliatrice Institute  of Naples Italy.

She was often invited as member of Jury and teacher in Naples.

Irina Hudova

Irina Hudova was a Finnish ballerina and dance pedagogue of Russian descent. She was a principal dancer with the Finnish National Ballet and later became its director.

She also taught internationally, including at La Scala in Milan and the Royal Academy of Dance in London.

She trained in ballet pedagogy at prestigious institutions like the Kirov (now Mariinsky) and Bolshoi Ballet companies and was Finland’s first Professor of Dance.

Her career spanned decades, influencing generations of dancers across Europe and beyond.

Jozo Borčić

Jozo Borčić was a Croatian ballet dancer and pedagogue. He trained at the ballet studio of the Croatian National Theatre in Split and later performed at the Zagreb National Theatre. His career took him to La Scala in Milan, where he danced until 1978.

He also taught ballet at La Scala’s school and in Lugano, and he organized an international summer ballet school in Komiža.

Borčić was recognized for his contributions to ballet, receiving a prestigious award from La Scala for his artistic achievements.

His legacy continues through his influence on generations of dancers.

Isabella Glowacka

Isabella Glowacka was a ballet instructor who has been associated with the Opera of Łódź and was previously the director of the ballet school at Teatro alla Scala in Milan for seven years.

She also trained dancers at the Opera House of Varsavia.

Her expertise in classical ballet has influenced many students across Europe.

André Prokovsky

André Prokovsky was a Franco-Russian ballet dancer, choreographer, and company director. He trained in Paris and became a principal dancer with London Festival Ballet and New York City Ballet, where he worked with George Balanchine.

Later, he formed a celebrated partnership with Galina Samsova, and together they launched the New London Ballet, a touring company. As a choreographer, he created full-length ballets inspired by literary classics, including Anna Karenina, The Great Gatsby, and The Three Musketeers. His works were performed by major ballet companies worldwide, including La Scala, Scottish Ballet, and the Kirov Ballet

Audrey King

Audrey King was a British ballet teacher and choreographer known for her contributions to the Cecchetti method of ballet training. She trained at the Grace Cone School of Ballet in London and later taught internationally, including in Shanghai, where she mentored Margot Fonteyn as a young dancer.

King was deeply involved in ballet education, founding the Johannesburg Youth Ballet and working extensively in South Africa.

She was known for her strict but passionate teaching style and played a significant role in developing classical ballet in multiple countries.

Ashley Killar

Ashley Killar is a British ballet dancer, choreographer, and teacher. He trained at the Royal Ballet School and began his professional career with John Cranko at Stuttgart Ballet. He later became a founding member of Scottish Ballet and a soloist with Sadler’s Wells Royal Ballet.

Beyond performing, Killar worked as a ballet master and served as artistic director for Napac Dance Company (South Africa) and New Zealand Ballet.

Main Choreographer and Ballet Master of Pact ballet in Johannesburg then at the state Theatre of Pretoria.

He and his wife Jane ran the Ecole Ballet and Dance Theatre School in Australia for two decades.

Killar has also written about ballet, including a book on John Cranko’s choreography.

His contributions to ballet education and performance have influenced dancers worldwide.

You will find his interview with Ballet International on this website

Edgardo Hartley

Edgardo Hartley was a Chilean ballet dancer and choreographer.

He trained in Lima, Peru, and later became a soloist at the Ballet Capitole in Toulouse, France.

He was a principal dancer with the Ballet de Arte Moderno (now Ballet de Santiago) and performed internationally, including in Germany, South Africa, and the United States.

Hartley was known for his technical precision and expressive artistry, earning numerous awards, including the Golden Mask (1964), Critics' Award (1965), and APES Prize (1989, 1991).

He staged productions such as Sleeping Beauty and Romeo and Juliet and served as Artistic Director of the Ballet Nacional Chileno (1996–1999).

Jaime Pinto Riveros

Jaime Pinto Riveros is a Chilean ballet dancer, choreographer, and teacher. He trained under René Zarzosa and Charles Zsedenyi before joining the Ballet de Arte Moderno (BAM). His career took him across Europe, performing with Ballet Scala de Milan and Opera House Hannover, among others.

Later, Pinto moved to South Africa, where he became a Principal Dancer, Ballet Master, and Choreographer at PACT Ballet Company. He worked with renowned choreographers like Sir Frederick Ashton, André Prokovsky, and Natalia Makarova. His choreographic works have been staged internationally, including productions of The Nutcracker

Lorna Haupt

Lorna Haupt is a South African ballet teacher, choreographer, and artistic director.

She has played a significant role in ballet education, serving as the Artistic Director of PACT Ballet (Performing Arts Council of South Africa) and the Youth Ballet.

She is also the Artistic Director and Major Exam Teacher’s Assessor at the Dance Academy of South Africa (DASA).

Haupt authored The Dance Book, which is used as a reference in ballet schools and universities across South Africa.

She has choreographed major ballet syllabi and helped reorganize training programs to enhance ballet education

You will find her interview with Ballet International on this website

Carmen Panader Winkler

Carmen Panader Winkler studied ballet in Argentina, she then became Principal Dancer of the Teatro Colòn.

She Danced in Germany and in Italy, she moved with her husband to Bordeaux France where she opened her own Ballet Academy.

She was Ballet teacher associated with the Scuola di Ballo del Teatro San Carlo of Naples, one of the oldest ballet academies in Italy.

She has taught classical ballet and repertoire at the school, contributing to the training of young dancers.

Her daugther Erika Winkler is continuing her dance legacy

Ugo Dell'Ara

Ugo Dell'Ara was an Italian ballet dancer, choreographer, and director.

He trained at the Teatro dell'Opera di Roma and became a principal dancer at La Scala in 1946. He later directed the ballet companies of La Scala, Teatro San Carlo in Naples, Teatro Massimo in Palermo, and Teatro dell'Opera di Roma.

Dell'Ara was known for his expressive style and contributions to Italian ballet.

He choreographed productions such as Excelsior (1967), Carosello Napoletano, and La Giara.

He also co-founded the Festival di Nervi, which hosted legendary dancers like Carla Fracci and Alicia Markova

THE FOLLOWING TEACHERS HAVE NO PHOTO

Nestor Mondino

Néstor Mondino was an **Uruguayan ballet dancer, teacher, and choreographer**. He trained in **Montevideo and Buenos Aires** before joining **Ballet Alicia Alonso in Havana**. His career took him to Europe, where he became a **soloist at Stadttheater Basel** and later performed at **Opernhaus Zürich**.

Mondino was known for his expressive roles, including **Petrushka, Mercutio in *Romeo and Juliet*, and Drosselmeyer in *The Nutcracker***.

He also worked as a **ballet master** at **Teatro San Carlo in Naples, Teatro Massimo in Palermo, and Grand Théâtre in Geneva**.

In 1975, he founded a **Ballet school in Zürich**, which later became a respected institution.

George Houbier

George Houbier was a Belgian ballet dancer who performed with Den Norske Opera & Ballett in Norway.

He was featured in productions such as Swan Lake (1967), Ballettaften (1968), and Aft Vemod (1970).

His career included roles in classical and contemporary ballet, contributing to the Norwegian ballet scene.

Gillian Joubert

Gillian Joubert is a South African ballet teacher who has trained dancers in classical ballet techniques.

She has worked with notable instructors such as Lorna Haupt, Jean Beckley, and Reina Berman, contributing to ballet education in South Africa.

She has been involved in examining and training ballet students, helping shape the next generation of dancers. Her expertise is recognized in ballet syllabi and structured training programs.

Konstantin Damianov

Konstantin Damianov was a ballet master at the Finnish National Ballet during the 1970s. He contributed to expanding the company's repertoire, including Soviet ballets like Fountain of Bakhchisarai and Stone Flower. Damianov was part of a period when Helsinki became a meeting point for American and Russian ballet dancers during the Cold War1.

Additionally, he was associated with the Royal Swedish Ballet and taught at ballet institutions across Europe. His influence extended to training dancers in classical ballet techniques and staging productions.

Bruce Simpson

Bruce Simpson is a Scottish ballet dancer, teacher, and artistic director.

He trained at the Scottish Ballet School and performed with Scottish Opera before joining the Wuppertal Dance Company in Germany.

In 1970, he moved to South Africa’s State Theatre Ballet, where he danced for 30 years, becoming a principal dancer in 1975 and later a ballet master.

Simpson worked with legendary choreographers like John Cranko, Rudolf Nureyev, and André Prokovsky. After retiring from the stage in 1998, he became Artistic Director of Texas Ballet Theater and later Louisville Ballet, where he led the company for 12 years

Ronald Emblen

Ronald Emblen was a British ballet dancer and teacher born in Port-Said in Egypt.

He trained at the Royal Ballet School and became a principal dancer with the Royal Ballet in 1964. He was known for his expressive character roles, particularly his acclaimed portrayal of Widow Simone in La Fille mal gardée, which he performed 269 times at the Royal Opera House2.

Beyond performing, Emblen was a dedicated ballet teacher, mentoring young dancers at the Royal Ballet School from 1976 onward.

His teaching style was praised for being encouraging and uplifting, helping students refine their technique while maintaining confidence.

Nicola Middlemist Snow

Nicola Middlemist Snow is a ballet teacher and former Senior Ballet Mistress with PACT Ballet Company in Johannesburg and Pretoria, South Africa. She has had a long and distinguished career in ballet, working as a Senior Soloist with Principal obligations and mentoring dancers at an international level.

She has been featured in interviews discussing her experiences and contributions to ballet education. If you're interested, you can watch an interview with her here.

Mihai Ciortea

Mihai Ciortea is a ballet instructor who has worked with dancers across Europe. He has been mentioned in connection with ballet training alongside figures like Ricardo Núñez, Alioscha Ponzie Wich, Radu Ciuca, and Diana Ferrara. His expertise has contributed to the development of ballet technique and pedagogy.

Vladimir Pankov

Vladimir Pankov is a Russian theater director, composer, and choreographer known for his innovative approach to performance art. He founded the SounDrama Studio, which blends music, drama, and choreography to create unique theatrical productions.

Pankov has staged numerous works, including adaptations of Chekhov, Bulgakov, and Shakespeare, and has received prestigious awards like the Golden Mask for his contributions to Russian theater. He has also served as the Head of the Variety Show Department at GITIS, Russia’s leading theater academy

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