In the article, the author’s main objective is to argue the need to study and capitalize on folk stage dance and character dance by comparatively assigning their methodological and aspectual features. For this purpose, the analytical method of approaching the problem is used, as well as the pedagogical aspect. Performing folk dance and character dance exploits the capacity of the mind of both a professional dancer (ballet artists) and of an amateur dancer, by educating the body in order to be aware of each movement performed. From a methodological point of view, the stage folk dance and the character dance are analogous, and from the aspectual point of view they are varied, differing depending on the performers/artists/dancers, the place of manifestation and the specific music. These forms of dance are analyzed by specific artistic means, and finally they are reproduced in choreographic works (choreographic suites) or in ballet performances.