Professional dance careers require years of intensive training. Stress experienced during training must be balanced with adequate recovery to prevent overtraining and burnout. Little is known, however, about how dancers achieve recovery-stress balance. This study examined dancers' recollection of stress and recovery during their vocational dance training to identify potential stressors and recovery behaviors in vocational dance training. Twelve current and ex-professional ballet (n=4) and contemporary dancers (n=8) participated in the study. Four general dimensions, based on the extant overtraining literature in athletes, were identified: dance culture, intrapersonal, interpersonal, and situational factors. Cultural norms, health factors related to injury and illness, and transition periods within vocational dance training were sources of stress for participants. Dancers' responses to stress were categorized as adaptive or maladaptive. Maladaptive behavioral responses (e.g., ignoring injury, pain, and fatigue) were related to negative training outcomes associated with overtraining and burnout. Interventions that encourage adaptive behaviors for dance students to support health and well-being are recommended to address the recovery-stress balance in vocational dance training identified in this study.Vocational dance training programs are a standard, and often prerequisite, pathway for aspiring dancers to develop as professional dancers. Often embedded within a university or conservatory setting, vocational dance training programs focus on equipping students with industry-specific skills to assist with gaining employment. Students must balance the physical stress of high training loads, external stressors (e.g., living away from home for the first time, dealing with academic workloads), and cultural factors specific to the vocational dance environment (McEwen and Young 2011), with adequate recovery to successfully progress through vocational dance training. Performing arts institutions are increasingly providing training programs that promote health and well-being, alongside the development of the skill and artistry required for elite performance (Clark, Gupta, and Ho 2014). However, the application of empirical knowledge relating to dancer health and well-being into dance training environments is still limited (Redding 2010).There is a growing body of research around dancers' experiences of stress in training and performance contexts. Known sources of physical stress, related specifically to dance training, include high physical workloads (Wyon 2010) and the technical requirements of skill mastery and choreographic demands (Grove, Main,