In the work, The Vertical: The Fundamental Principle of Classic Dance by A.K Volinsky, the author’s judgment of the comprehensive nature of dance and the application of the vertical shows that the extraordinary exists even in the most ordinary. At first, dance may not seem to be extraordinary at all. In fact, Volinsky notes that dance, in appearance, may at first appear as tippy toeing and a bunch of other movements. Although true, the author takes the fundamentality of dance into account by exploring the environment, several perspectives and interpretations of dance to show how outstanding dance can turn out to be. Dance goes from an ordinary act to an unprecedented wonder; from a normal activity to something of great value. By using an analogy to lines, imagery, references, allusions, comparisons of historical interpretations and final insights Volinsky attempts to delineate his interpretation that dance or almost anything that may seem ordinary, may sometimes simply be amazing.

Volinsky juxtaposes both horizontal and vertical lines to give the message that verticality plays a huge role in the eminence of dance. To envision any concept must take some careful studying. At first it may seem unclear to understand verticality, unless it can be broken down into various segments to be understood. Clearly, there are two dimensions to verticality. According to Volinsky “man is so formed that impressions take shape in his mind in different ways, depending on whether he sees something lying or standing, horizontal or vertical.” Indeed, verticality is a matter of perspective. One perspective of verticality is the horizontal line. A horizontal line, lies flat on the ground and exists in deep inequity without having much else to encompass its existence. In contrast,