Current Courses

Fall 2020

  • BALLE 220-001
    Pointe/Variations I
  • BALLE 320-001
    Pointe Variations II
    Location: MCD 60 (MCD 60), MCD 80 (MCD 80)
  • BALLE 329-001
    Technique Upper Div I
  • BALLE 420-001
    Pointe/Var Upper Div II
  • BALLE 429-001
    Technique Upper Div II
  • BALLE 450-001
    Pointe/Var Ut Ball Co
  • BALLE 459-001
    Ballet Tech UB
    Location: MCD 60 (MCD 60), MCD 80 (MCD 80)
  • BALLE 2200-001
    Pointe/Variations I
    Location: MCD 20 (MCD 20), MCD 80 (MCD 80)
  • BALLE 3000-001
    Pilates Mat Class
  • BALLE 3200-001
    Pointe Variations II
    Location: MCD 60 (MCD 60), MCD 80 (MCD 80)
  • BALLE 3290-001
    Technique II
    Location: MCD 40 (MCD 40), MCD 80 (MCD 80)
  • BALLE 4200-001
    Pointe/Variations III
    Location: MCD 60 (MCD 60), MCD 80 (MCD 80)
  • BALLE 4210-001
    Pointe Methodology
    Location: MCD 60 (MCD 60)
  • BALLE 4290-001
    Technique III
    Location: MCD 20 (MCD 20), MCD 80 (MCD 80)
  • BALLE 4425-001
    Repertoire: Prof'l
  • BALLE 4500-001
    Pointe/Variations IV
    Location: MCD 60 (MCD 60), MCD 80 (MCD 80)
  • BALLE 4585-001
    Partner Adagio: Pro
  • BALLE 4590-001
    Technique IV
    Location: MCD 60 (MCD 60), MCD 80 (MCD 80)
  • BALLE 4670-001
    Performance Credit: Pro
  • BALLE 4720-001
    Pointe/Variations: Pro
  • BALLE 4725-001
    Men's Class: Prof'l
  • BALLE 4790-001
    Technique: Pro
  • BALLE 4821-001
    Tchg Prac Ballet (HON)
  • BALLE 4826-001
    Tchg. Prac. Other (HON)
  • BALLE 4860-001
    Tchg Practicum Ballet
  • BALLE 4890-001
    Tchg Practicum Other
  • DANC 111-001
    Conditioning for Dancers
  • DANC 1110-001
    Conditioning for Dancer

Summer 2020

Spring 2020

Professional Organizations

  • Corps de Ballet. 01/01/2018 - 02/15/2019. Position : Member.
  • American Ballet Theatre NationalTraining Curriculum Approved Teachers. 09/2012 - 02/15/2019. Position : Member.

Teaching Philosophy

Maggie Tesch

Personal Teaching Philosophy

 

I did not always think I wanted to teach. After retiring from my professional career, I thoroughly understood pedagogy from a professional standpoint but didn’t have experience imparting any methods or theories to students. I received training as a child in all of the most sound and historic pedagogies, but that was different, more personal. While getting my BFA I had pedagogy courses but no practicums and that was eight years prior to becoming an Adjunct Instructor here at the University of Utah as well as a teacher of younger students at Ballet West Academy. Receiving the opportunity to teach the lower division at the U and my first class of beginners at BWA, I did not understand the approach behind how to break down technique for them that was developmentally and technically sound. I sought out mentors who would deepen my understanding.

My approach in the classroom has evolved most assuredly from my time spent being mentored by the likes of Raymond Lukens and Franco de Vita while studying and becoming certified in the American Ballet Theatre’s National Training Curriculum over the course of 18 months. I chose to research the art of teaching from this meticulously developed and medically supported approach because I identified with the logical and methodical approach based on many years of study by the authors, physical therapists, doctors and other professionals. But I was most attracted to the generosity these two masters chose to share of their theories and philosophies. Their unselfish approach and pure desire to help shape the next generation of teachers has continued to have a profound influence on me. These master teachers have sparked in me a love of understanding the depth in all aspects of teaching ballet and in developing the whole dancer. I teach, in part, because I want to instill that spark in the dancers of today.

At the university level, I receive students who, for a variety of reasons, have not chosen or been chosen to dance pre-professionally. Many strongly desire to do so and come with technique that was not nurtured properly from the ground up. I love sharing with them any and all knowledge I have had passed down to me from the various master teachers and artists in the field of dance.  Deepening their understanding of why things work a certain way or helping them understand their options, logically and from a sound scientific approach is the scaffolding upon which dancers need to build their artistry. I love seeing the light bulb moments happen in the classroom. I have them too when I see them approach a step or a role in a way I had not thought of before.

Keeping my hand in the professional world I feel is key to continually educating myself on what is needed to succeed outside the confines of academia. Continuing to teach in some of the finest institutions in the country such as Ballet West, Boston Ballet and University of North Carolina School of the Arts on my off-time has afforded me the opportunity to still study teachers of merit, learn about other curriculums that I can bring back to my classes at the U.

I continue to seek out ways I can instill this passion in the students in the program. I have chosen to research and stage any and all historic works as well as ones that are currently in the repertoires of companies today. Having an understanding of the physical requirements and not just a ‘because I said so’ mentality, creates artists and thinking dancers. I approach all my work from this angle

I am grateful I fell into teaching. I has become a great passion of mine. I will always remain a student at heart. There is always something to learn, and I do learn every day from my students. They continually inspire me to deepen my understanding of the details of this profession, and I hope to instill in them a love of curiosity and investigation.

 

Teaching Projects

  • CoppĂ©lia. Project Lead: Richard Wacko. Collaborators: Cole Adams. Teaching Grant-University of Utah 12/2013 - 04/2014. Total Budget: $15,000.00.
  • ABT National Curriculum Certification. Project Lead: Maggie Wright Tesch. Teaching Grant 02/17/2012 - 07/2012.

Former Students

  • Brenda Butcher, Master of Fine Arts (M.F.A.), Project Type: Thesis. Role: Member.