School situated on Rossi street (after the revolution ballet department was separated from the Drama and Music). Though she did have a respectable career as a dancer, her leadership in teaching classical dance was what gave her one of the most respected places in the history of ballet. Her own early struggle with deciphering ballet technique had taught her much. She taught students who would go on to become legends of the dance. After the October Revolution the future of ballet in Russia looked grim because of its tradition as court entertainment. Vaganova "fought tooth and nail", as she put it, for the preservation of the legacy of Marius Petipa and the Imperial Ballet. From 1931 to 1937 she was an artistic director of the ballet of the Leningrad Opera and Ballet Theater (Kirov Ballet). In 1933, she staged the classical version of Swan Lake by Lev Ivanov and Marius Petipa with Galina Ulanova as Odette, Olga Jordan as Odile and Konstantin Sergeyev as Prince Siegfried. In 1935 she revived La Esmeralda partly with her own choreography. In 1934 she published her famous book Fundamentals of Classical Dance: it has withstood at least six editions in Russia and was translated into many languages. The same year Vaganova (along with Boris Shavrov) initiated the establishing at the Leningrad Conservatory of pedagogic department for training of future ballet teachers which she began to manage. There, some of her dance school alumni became her students. Most important names for the dance teaching are (author of 100 lessons of classical dance), and Varvara P. Mey (authors of the Alphabet of Classical Dance). Among Vaganova's dance alumnae were the distinguished Soviet ballerinas Marina Semyonova, , Galina Ulanova, , , Natalia Dudinskaya, , Alla Shelest, , , , , Ninel Kurgapkina, Alla Osipenko and Irina Kolpakova among many others. Her teaching combined the elegant, refined style of the old French School which Vaganova had been taught by Christian Johansson, the beauty and smoothness of the arms movements of old Russian School, strong and masterly feet technique of Italian School with more vigorous dancing developed in the Soviet Union. Her last school graduation was in 1951 — not long before her death. She also taught the class of perfection for the female dancers of the Kirov Ballet for many years till 1951, when Natalia Dudinskaya succeed her as teacher. Shortly after her death, on 1 November 1951,