Bailarinas Más Relevantes Del S.Xix
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Pre Competitve Classical Top 15
PRE COMPETITVE CLASSICAL TOP 15 1. BRADY FARRAR VARIATION FROM SATANELLA - Stars Dance Company 2. CATHERINE ROWLAND DULCINEA VARIATION DON QUIXOTE - Magda Aunon School of Classical Ballet 3. ASHLEY VALLEJO KITRI VARIATION FROM DON QUIXOTE - Stars Dance Company 4. SCARLETT BARONE BLACK SWAN VARIATION - Impac Youth Ensemble 5. ROMI BRITTON VARIATION FROM LA ESMERALDA - Meg Segreto's Dance Center 6. ERICA AVILA VARIATION FROM LA ESMERALDA - Meg Segreto's Dance Center 7. PABLO MANZO THE NUTCRACKER MALE VARIATION - Vladimir Issaev School of Classical Ballet 8. DESTANYE DIAZ VARIATION FROM GRADUATION BALL - Stars Dance Company 9. MONIQUE MADURO LA FILLE MAL GARDEE – Pointe Centro de Danzas 10. MADISON BROWN PRINCESS FLORINE VARIATION SLEEPING BEAUTY – Lents Dance Company 11. VERONICA MERINO LA FILLE MAL GARDEE - Pointe Centro de Danzas 12. KACI WILKINSON SILVER FAIRY VARIATION SLEEPING BEAUTY – Backstage Dance Academy 13. KAITLYN SILOT DON QUIXOTE VARIATION - Artistic Dance Center 14. SORA TERAMOTO BLUE BIRD VARIATION - Baller Elite Dance Studio 15. RACHEL LEON LA FILLE MAL GARDEE - Stars Dance Company PRE COMPETITVE CONTEMPORARY TOP 15 1. DIANA POMBO BECOMING - TPS (The Pombo Sisters) 2. BRADY FARRAR RESILIENT - Stars Dance Company 3. DESTANYE DIAZ IMPACT - Stars Dance Company 4. ASHLEY VALLEJO TAKE ME - Stars Dance Company 5. RACHEL LEON MOONLIGHT SONATA - Stars Dance Company 6. MADISON BROWN NOUVEAU TANGO - Lents Dance Company 7. ERICA AVILA MIND HEIST - Meg Segreto's Dance Center 8. SCARLETT BARONE HAND IN HAND - Impac Youth Center 9. MONIQUE MADURO CONFUSED - Pointe Centro de Danzas 10. CATHERINE ROWLAND THE GENIE - Magda Aunon School of Classical Ballet 11. ANGELINA SIERRA EVERYTHING MUST CHANGE - Ballet East 12. -
Don Quixote Press Release 2019
January 2019 Carlos Acosta’s celebrated production of Don Quixote returns Friday 15 February – Thursday 4 April 2019 Live Cinema relay: Tuesday 19 February 2019 #ROHDonQ Federico Bonelli and Sarah Lamb in Don Quixote, ©ROH/Johan Persson, 2013 Carlos Acosta’s vibrant dance production of Miguel de Cervante’s classic tale Don Quixote returns to the Royal Opera House this Spring. Created specially for The Royal Ballet in 2013, this stunning production tells the story of the bumbling knight Don Quixote and his ever-faithful squire Sancho Panza, and their efforts to help the young lovers Kitri and Basilio. This revival features exciting debuts from Lauren Cuthbertson, Yasmine Naghdi and Mayara Magri as Kitri and Matthew Ball, Alexander Campbell and Marcelino Sambé as Basilio. Don Quixote For all Royal Opera House press releases visit www.roh.org.uk/for/press-and-media includes a number of spectacular solos and pas de deux as well as outlandish comedy and romance as the dashing Basilio steals the heart of the beautiful Kitri. Don Quixote will be live streamed to cinemas on Tuesday 19 February as part of the ROH Live Cinema Season. Carlos Acosta previously danced the role of Basilio in many productions of Don Quixote. He was invited by Kevin O’Hare Director of The Royal Ballet, to re-stage this much-loved classic in 2013. Acosta’s vibrant production evokes sunny Spain with designs by Tim Hatley who has also created productions for the National Theatre and for musicals including Dreamgirls, The Bodyguard and Shrek. Acosta’s choreography draws on Marius Petipa’s 1869 production of this classic ballet and is set to an exuberant score by Ludwig Minkus arranged and orchestrated by Martin Yates. -
SWAN LAKE Dear Educators in the Winter Show of Oregon Ballet Theatre’S Student Performance Series (SPS) Students Will Be Treated to an Excerpt from Swan Lake
STUDENT PERFORMANCE SERIES STUDY GUIDE / Feburary 21, 2013 / Keller Auditorium / Noon - 1:00 pm, doors open at 11:30am SWAN LAKE Dear Educators In the winter show of Oregon Ballet Theatre’s Student Performance Series (SPS) students will be treated to an excerpt from Swan Lake. It is a quintessential ballet based on a heart-wrenching fable of true love heroically won and tragically Photo by Joni Kabana by Photo squandered. With virtuoso solos and an achingly beautiful score, it is emblematic of the opulent grandeur of the greatest of all 19th-Century story ballets. This study guide is designed to help teachers prepare students for their trip to the theatre where they will see Swan Lake Act III. In this Study Guide we will: • Provide the entire synopsis for Christopher Stowell’sSwan Lake, consider some of the stories that inspired the ballet, Principal Dancer Yuka Iino and Guest Artist Ruben Martin in Christopher and touch on its history Stowell’s Swan Lake. Photo by Blaine Truitt Covert. • Look closely at Act III • Learn some facts about the music for Swan Lake • Consider the way great dances are passed on to future generations and compare that to how students come to know other great works of art or literature • Describe some ballet vocabulary, steps and choreographic elements seen in Swan Lake • Include internet links to articles and video that will enhance learning At the theatre: • While seating takes place, the audience will enjoy a “behind the scenes” look at the scenic transformation of the stage • Oregon Ballet Theatre will perform Act III from Christopher Stowell’s Swan Lake where Odile’s evil double tricks the Prince into breaking his vow of love for the Swan Queen. -
Classical Music Learning Guide for Swan Lake
Classical Music Distance Learning Guide Distance Learning Guide This guide is designed to help you: • Introduce the story and artistry of Swan Lake to students. • Introduce students to classical music in a fun an engaging way. Contributors: Vanessa Hope, Director of Community Engagement DeMoya Brown, Community Engagement Manager Table of Contents About Swan Lake Artistic & Production Team………………………………………………………….……….…………...….3 The Swan Lake Story ………………………………………………………………...………………….….4 The Swan Lake Creators………………………………………..……………………...…………………....5 The History of Swan Lake……………………………………………………….…………………………..6 Set Design ……...…………………………………...………………...……………………………………...7 Characters…………………………………………………………………….……………………………….8 Introduction to Classical Music ………………………………………………………………………………………9 Music of Swan Lake …………………………………………………………………………………..10—11 Music Activities………………………………………………………………………………………...12—14 Community Engagement Mission Intrinsic to The Washington Ballet’s mission to bring the joy and artistry of dance to the nation’s capital, our community engagement programs provide a variety of opportunities to connect children and adults of all ages, abilities and backgrounds to the art of dance. We aspire to spark and enhance a love for dance, celebrate our cultural diversity and enrich the lives of our community members. To learn more visit: www.washingtonballet.org The Washington Ballet’s Community Engagement programs are supported by: DC Commission on the Arts and Humanities John Edward Fowler Memorial Foundation Howard and Geraldine Polinger -
Coppelia-Teacher-Resource-Guide.Pdf
Teacher’s Handbook 1 Edited by: Carol Meeder – Director of Arts Education February 2006 Cover Photo: Jennifer Langenstein – Pittsburgh Ballet Theatre Principal Dancer Aaron Ingley – Pittsburgh Ballet Theatre Corps de Ballet Dancer Ric Evans – Photographer 2 Introduction Dear Educator, We have often thanked you, the academic community and educators of our children, for being partners with us in Arts Education. We have confirmed how the arts bring beauty, excitement, and insight into the experience of everyday living. Those of us who pursue the arts as the work of our lives would find the world a dark place without them. We have also seen, in a mirror image from the stage, how the arts bring light, joy, and sparkle into the eyes and the lives of children and adults in all walks of life. Pittsburgh Ballet Theatre strives not only to entertain but to demonstrate the significance and importance of presenting our art in the context of past history, present living, and vision for the future. In this quest we present traditional ballets based on classic stories revered for centuries, such as Coppelia and Cinderella; and contemporary ballets by artists who are living, working, and creating everyday, such as our jazz program Indigo In Motion and the premiers we have done to the music of Sting, Bruce Springsteen, and Paul Simon. In this way we propel our art into the future, creating new classics that subsequent generations will call traditional. It is necessary to see and experience both, past and present. It enhances our life and stirs new ideas. We have to experience where we came from in order to develop a clear vision of where we want to go. -
Reviving Ballet in the Nineteenth Century: Music, Narrative, and Dance in Delibes's Coppélia by Arthur E. Lafex Submitted To
Reviving Ballet in the Nineteenth Century: Music, Narrative, and Dance in Delibes’s Coppélia By Copyright 2013 Arthur E. Lafex Submitted to the graduate degree program in Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Music. ________________________________ Chairperson Alicia Levin ________________________________ Paul R. Laird ________________________________ David Alan Street Date Defended: April 15, 2013 The Thesis Committee for Author (Arthur E. Lafex) certifies that this is the approved version of the following thesis: Reviving Ballet in the Nineteenth Century: Music, Narrative, and Dance in Delibes’s Coppélia ________________________________ Chairperson Alicia Levin Date approved: April 15, 2013 ii Abstract Léo Delibes (1836-1891) wrote ballet scores that have inspired composers and have entertained generations of ballet lovers. His scores have been cited for their tunefulness, appropriateness for their narrative, and for their danceability. However, Delibes remains an obscure figure in music history, outside the musical canon of the nineteenth century. Likewise, his ballet music, whose harmonic resources are conventional and whose forms are variants of basic structures, has not received much scholarly and theoretical attention. This thesis addresses Delibes’s music by examining his ballet score for Coppélia, its support of narrative and also its support of dance. Chapter 1 begins with a historical view of ballet and ballet music up to the time of Delibes. Following a biographical sketch of the composer, a review of aspects of the score for Giselle by his mentor, Adolphe Adam (1803-1856) establishes a background upon which Delibes’s ballets can be considered. -
Molly Lake and the Founding of the Australian Cecchetti Society - Anne-Patricia Butler © 2011
Shining a Light on the Legacy of Cecchetti in Australia: Molly Lake and the founding of the Australian Cecchetti Society - Anne-Patricia Butler © 2011 During 1934 the Dandré-Levitoff Russian Ballet toured Australia headed by Olga Spessiva, the renowned Russian ballerina. Molly Lake, an English dancer, was also on tour with the company. Lake was engaged by Anna Pavlova, touring the world between 1921 and 1926, then began dancing and teaching for Ninette de Valois and Marie Rambert. She had been a pupil of Enrico Cecchetti and was a founding committee member of the Cecchetti Society established by Cyril Beaumont in London, 1922.i ii Wanda Edwards and Madam Lucie Saronova headed a small group of teachers who were initiating what was to become the Cecchetti Society of Australia. They wasted no time in organizing Molly Lake to conduct the first examinations to be run and approved by an international body in this country. In fact, they predated those of the Operatic Association (now known as The Royal Academy of Dance).iii In a newspaper article headed Ballet Dance Examinations in September 1934: As a result of the efforts of a small body of teachers in various States, the introduction of overseas examinations in dancing, such as have for many years been conducted in music, have been made practicable. The Cecchetti Society has arranged to hold examinations in Grade 1, 2 and 3 in November, and examiners holding the society’s certificate have been appointed by the council at the London headquarters of the society. Major examinations will follow in due course.iv To date it is a little unclear as to actually what happened first. -
Chapter 9 Ballet Edited.Ppt.Pdf
C H A P T E R 9 Ballet Chapter ?? Chapter 9 Ballet Enduring understanding: Ballet is a classic, Western dance genre and a performing art. Essential question: How does ballet help me express myself as a dancer? Learning Objectives •Recognize major ballet works, styles, and ballet artists in history. •Execute basic ballet technique, use ballet vocabulary, and perform barre exercises and center combinations. •Apply ballet etiquette and dance safety while dancing. •Evaluate and respond to classical and contemporary ballet performances. Introduction Ballet began as a Western classical dance genre 400 years ago and has evolved into an international performing art form. The word ballet comes from the Italian term ballare, meaning to dance. Chapter 9 Vocabulary Terms adagio allegro à la seconde à terre ballet ballet technique barre center derrière stage directions Devant turnout en l’air Ballet Beginnings Ballet moved from Italy to France when Catherine de’ Medici married the heir to the French throne, King Henry II. She produced what has become known as the first ballet, La Comique de la Reine, in 1588. Ballet at the French Court Louis XIV performed as a dancer and gained the title The Sun King after one of his most famous dancing roles. A patron of the arts, Louis XIV established the Academy of Music and Dance. In the next century the Academy would become the Paris Opéra. Court Ballets • During the 17th century, court ballets were dance interludes between dramatic or vocal performances or entire performances. • Sometimes ballets were part of themed balls such as pastoral or masquerade balls. -
Yes, Virginia, Another Ballo Tragico: the National Library of Portugal’S Ballet D’Action Libretti from the First Half of the Nineteenth Century
YES, VIRGINIA, ANOTHER BALLO TRAGICO: THE NATIONAL LIBRARY OF PORTUGAL’S BALLET D’ACTION LIBRETTI FROM THE FIRST HALF OF THE NINETEENTH CENTURY DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Ligia Ravenna Pinheiro, M.F.A., M.A., B.F.A. Graduate Program in Dance Studies The Ohio State University 2015 Dissertation Committee: Karen Eliot, Adviser Nena Couch Susan Petry Angelika Gerbes Copyright by Ligia Ravenna Pinheiro 2015 ABSTRACT The Real Theatro de São Carlos de Lisboa employed Italian choreographers from its inauguration in 1793 to the middle of the nineteenth century. Many libretti for the ballets produced for the S. Carlos Theater have survived and are now housed in the National Library of Portugal. This dissertation focuses on the narratives of the libretti in this collection, and their importance as documentation of ballets of the late eighteenth and early nineteenth centuries, from the inauguration of the S. Carlos Theater in 1793 to 1850. This period of dance history, which has not received much attention by dance scholars, links the earlier baroque dance era of the eighteenth century with the style of ballet of the 1830s to the 1850s. Portugal had been associated with Italian art and artists since the beginning of the eighteenth century. This artistic relationship continued through the final decades of the eighteenth and the first half of the nineteenth century. The majority of the choreographers working in Lisbon were Italian, and the works they created for the S. Carlos Theater followed the Italian style of ballet d’action. -
2004 Cecchetti Newsletter V3
CECCHETTI INTERNATIONAL CLASSICAL BALLET Newsletter No. 10, 2004 Mission Statement: to foster the development of the method to develop training for the future to keep alive the essence of the method’s historical tradition Enrico Cecchetti as to raise the profile of the method world-wide Kastchei in L’Oiseau de feu (Firebird) with the to encourage the profession and the art of dance by interaction Ballets Russes, at the between members and the international dance profession Paris Opera, 1910. Photographic negatives to enhance the status of dance in the context by Raffaello Bencini. of the arts and education Photo courtesy of Dance Collection Danse Letter from the Chairman Dear Members and Friends of Cecchetti International - Classical Ballet (CICB) It is with great delight that we can tell you that our international organization is now a legal non-profit entity. We were incorpo- rated in Canada on July 2nd, 2004 and we thank the Canadian delegates for facilitating this. Congratulations to everyone, and welcome to Cecchetti International - Classical Ballet. The Corporate Members of CICB have had an inaugural teleconference. Matters needing clarification were discussed, and over all it was an excellent meeting. Hereunder are set out the categories of membership of our new International Society, so that all our members can understand their standing in the new organization. a) Corporate Members - there are six corporate members who have come together to promote the Cecchetti Method and comprise the Board of CICB. Cecchetti Societies of: Australia, Canada, Southern Africa, and USA Cecchetti Council of America, Danzare Cecchetti - ANCEC Italia also represented are Korea, Malaysia, Namibia, New Zealand Thailand and Zimbabwe b) Represented Members - we are all Represented Members if we belong to one of the six Societies above and are in good standing with that society. -
Eva Evdokimova (Western Germany), Atilio Labis
i THE CUBAN BALLET: ITS RATIONALE, AESTHETICS AND ARTISTIC IDENTITY AS FORMULATED BY ALICIA ALONSO A Dissertation Submitted to the Temple University Graduate Board in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY by Lester Tomé January, 2011 Examining Committee Members: Joellen Meglin, Advisory Chair, Dance Karen Bond, Dance Michael Klein, Music Theory Heather Levi, External Member, Anthropology ii © Copyright 2011 by Lester Tomé All Rights Reserved iii ABSTRACT In the 1940s, Alicia Alonso became the first Latin American dancer to achieve international prominence in the field of ballet, until then dominated by Europeans. Promoted by Alonso, ballet took firm roots in Cuba in the following decades, particularly after the Cuban Revolution (1959). This dissertation integrates the methods of historical research, postcolonial critique and discourse analysis to explore the performative and discursive strategies through which Alonso defined her artistic identity and the collective identity of the Cuban ballet. The present study also examines the historical context of the development of ballet in Cuba, Alonso’s rationale for the practice of ballet on the Island, and the relationship between the Cuban ballet and the European ballet. Alonso defended the legitimacy of Cuban dancers to practice ballet and, in specific, perform European classics such as Giselle and Swan Lake. She opposed the notion that ballet was the exclusive patrimony of Europeans. She also insisted that the cultivation of this dance form on the Island was not an act of cultural colonialism. In her view, the development of ballet in Cuba consisted, instead, of an exploration of a distinctive Cuban voice within this dance form, a reformulation of a European legacy from a postcolonial perspective. -
T H E B a L L E T B L a N
T A C O M A C I T Y B A L L E T L I B R A R Y T H E B A L L E T B L A N C S W R I T T E N B Y E R I N M. C E R A G I O L I The Ballet Blancs The Ballet Blancs or “White Ballets” were christened so because the Ballerina and the Corps de Ballet all wore white tutus, either Romantic or Classical, and so the name of the genre is de- rived from the white tutu. The Ballet Blancs incorporated the Romantic Style of Classical Ballet from the nineteenth century, whose plot was populated by dryads, enchanted maidens, fairies, ghosts, naiads, shades, shadows or other supernatural creatures and spirits.. The Ballet Blancs T H E B A L L E T O F T H E N U N S The Ballet of the Nuns Set Design By Pierre Ciceri “THE BALLET OF NUNS” “By the hundred they rise from the graveyard and drift into the cloister. They seem not to touch the earth. Like vaporous images, they glide past one another… Suddenly their shrouds fall to the ground. They stand in all their voluptuous nakedness, and there begins a bacchanal.” ~Hans Christian Andersen~ After the July Revolution of 1830, a Constitutional Monarchy was established in France under the Reigning Monarch, Louis-Philippe I. Now ruling the nation, French Parliament decided to remove the Paris Opera from the Royal Household and completely withdrew the enormous state subsidy that had been granted the Paris Opera since 1669.