Serge Lifar in the context of Danseur étoile

Danseur étoile (for men) or danseuse étoile (for women), literally "star dancer", is the highest rank a dancer can reach at the Paris Opera Ballet. It is equivalent to the title "principal dancer" used in English or to the title "primo ballerino" or "prima ballerina" in Italian.

The term étoile had been used to designate the best soloists of the Paris Opera Ballet since the 19th century, but it was only in 1940 that ballet master Serge Lifar decided to codify the title at the top of the company's hierarchy. Unlike all lower ranks in the Ballet (quadrille, coryphée, sujet, premier danseur), promotion to étoile does not depend on success in the annual competitive examinations. Dancers have to perform in leading roles, sometimes for many years, before they can be accorded the rank by the director of the Paris Opera, after nomination by the head of the ballet (directeur de la danse), in recognition of outstanding excellence and merit.

The positions of the feet in ballet is a fundamental part of classical ballet technique that defines standard placements of feet on the floor. There are five basic positions in modern-day classical ballet, known as the first through fifth positions. In 1725, dancing master Pierre Rameau credited the codification of these five positions to choreographer Pierre Beauchamp. Two additional positions, known as the sixth and seventh positions, were codified by Serge Lifar in the 1930s while serving as Ballet Master at the Paris Opéra Ballet, though their use is limited to Lifar's choreographies. The sixth and seventh positions were not Lifar's inventions, but revivals of positions that already existed in the eighteenth century, when there were ten positions of the feet in classical ballet.

Neoclassical ballet is the style of 20th-century classical ballet exemplified by the works of George Balanchine. The term "neoclassical ballet" appears in the 1920s with Sergei Diaghilev's Ballets Russes, in response to the excesses of romanticism and post-romantic modernism. It draws on the advanced technique of 19th-century Russian Imperial dance, but strips it of its detailed narrative and heavy theatrical setting while retaining many key techniques, such as pointe technique.