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THE HOW AND WHY WONDER BOOK OF

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Written by LEE WYNDHAM Illustrated by RAFAELLO BUSONI Editorial Production: DONALD D. WOLF

Edited under the supervision of Dr. Paul E. Blackwood

Washington, D. C. \

Text and illustrations approved by Oakes A. White Brooklyn Children's Museum Brooklyn, New York

WONDER BOOKS • NEW YORK Introduction

The world had known many forms of the dance when ballet was introduced. But this was a new kind of dance that told a story in movement and pantomime, and over the years, it has become a very highly developed and exciting art form. The more you know about ballet, the more you can enjoy it. It helps to know how finished ballet productions depend on the cooperative efforts of many people — producers, musicians, choreographers, ballet masters, scene designers — in addition to the dancers. It helps to know that ballet is based on a few basic steps and movements with many possible variations. And it helps to know that great individual effort is required to become a successful dancer. Yet one sees that in ballet, too, success has its deep and personal satisfactions. In ballet, the teacher is very important. New ideas and improvements have been introduced by many great ballet teachers. And as you will read here, "A great teacher is like a candle from which many other candles can be lit — so many, in fact, that the whole world can be made brighter." The How and Why Wonder Book of Ballet is itself a teacher, and it will make the world brighter because it throws light on an exciting art form which, year by year, is becoming a more intimate and accepted part of the American scene.

Paul E. Blackwood

Dr. Blackwood is a professional employee in the U. S. Office of Education. This book was edited by him in his private capacity and no official support or endorsement by the Office of Education is intended or should be inferred.

© 1961, by Wonder Books, Inc. All rights reserved under International and Pan-American Copyright Conventions. Published simultaneously in Canada. Printed in the United States of America. Contents

Page Page WHAT IS BALLET? 4 How are modern ballet dancers trained to dance? 26 BEGINNINGS OF BALLET What are some modern ballets? 27 How does ballet differ from other dancing? 7 What is character dancing? 30 What was early ballet like? 7 Where did ballet come from? 7 PANTOMIME - A LANGUAGE OF Where was the first ballet school started? 8 THE DANCE 31 How did ballet change? 9 What is pantomime? 31 What was the most important change in ballet? PEOPLE WHO MAKE BALLET 33 Who supports the ballet companies? 33 EARLY BALLERINAS 10 Who supports ballet in the United States? 33 Who was the first leading ballerina? 10 What is the job of the company manager? 34 What contributions did Marie Camargo What job does the artistic director do? 34 make to ballet? 10 What is the role of the choreographer? 34 Who was Marie Taglioni? 10 What is a ballet master? 35 How did Marie Taglioni change ballet How does a composer serve in the ballet? 35 dancing? 12 What is the job of a wardrobe mistress Which ballerinas were commanded to in a ballet company? 35 dance for a queen? 12 What part does a scene designer play Did male dancers perform during this in ballet? 36 period? 13 In what way does a costume designer aid ballet dancers? 36 BALLET IN RUSSIA 13 What does the stage manager do? 37 What contributions to ballet were made Who are some other important backstage by Italian dancers? 13 help? 37 What costume was designed for the classic ballet? 14 PRESENT-DAY BALLERINAS AND DANSEURS 38 RUSSIAN BALLET DANCERS 14 Margot Fonteyn 38 Which ballerina got a special title from Michael Somes 38 the Czar of Russia? 15 Maria Tallchief 38 How did Pavlova become a dancer? 15 Andre Eglevsky 38 What was Pavlova's most famous dance? 17 Alicia Alonso 39 Who was the most famous male dancer Igor Youskevitch 40 of all time? 17 John Kriza 40 How did Nijinsky manage his leaps? 17 Who was Serge Diaghilev? 17 WHAT IT TAKES TO BE A How were ballets created during BALLET DANCER 40 Diaghilev's time? 18 How old should one be to take ballet lessons? 42 THE BALLET RUSSE 19 How does ballet training for boys and Who were the main artists of Diaghilev's girls differ? 42 Ballet Russe? 19 What is the role of the danseur? 42 What contributions did Michel Fokine make to the ballet? 70 BALLET DRESS 43 Who taught the dancers of the What is the costume for the class? 43 Ballet Russe? 20 How are ballet slippers made? 43 What other ballets were presented by the What kind of stage costumes are used? 43 Ballet Russe? 21 BALLET TALK 44 BALLET TODAY 22 What is classic ballet? 22 LABANOTATION - DANCE IN What are some classic ballets? 23 WRITING 46 What are romantic ballets? 25 How can dance movements be written Which is the most popular of the down? 46 romantic ballets? 25 What is modern ballet? 26 HOW YOU CAN ENJOY BALLET 48 The Firebird, a ballet by the choreographer Mi­ chel Fokine, was first done in Paris in 1910. The composer Igor Stra­ vinsky wrote the music for this famous ballet.

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Maria Tallchief, as the magical Firebird, leaps with graceful elegance. Her power and control make her seem almost weightless in the air.

What Is Ballet?

Dancing is not only one of the oldest stage dance that tells a story in move­ arts, but it is also one of our basic in­ ment and pantomime and is performed stincts, and a way to express our feel­ by a group of persons." ings. Even the smallest children dance Anyone who has seen ballet knows — for joy, or with anger, or with pain that this a very plain definition of the — and so do grownups, for the same magnificent spectacle that ballet can be. reasons. Today, almost everyone has seen ballet But that kind of dancing is not bal­ either on television, on the movie let! The dictionary says that ballet is "a screen, or — luckiest of all — on the Suit. * 4 *

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stage, performed by living, breathing dancers, so wonderfully skilled that small children have been heard to ask their mothers, "Are those people really real?" The people are real, indeed. They move with lightness and unbelievable grace and speed because of their many years of special training in a dance form which has a technique all its own. But that is not all that makes ballet so

The Firebird and the hunter-prince who captures her do a Pas de Deux. Shown are the five po­ sitions of the feet and arms on which all ballet movements are based. Every movement in bal­ let starts and ends in one of these basic positions. "Closed" positions: feet touch. "Open" posi­ tions: feet are parted. wonderful to see. The other parts that More than that, ballet speaks to make up the breath-taking whole are everyone who sees it in the language of the finest music in the world, splendid movement, gesture and facial expres­ stage scenery that stirs the imagination, sion, which all the world can under­ glittering costumes that excite our emo­ stand — without words. Therefore, bal­ tions, the drama of the story, or the let is a universal language which girls humor of it — for there are all kinds of and boys in the United States, in France, ballets — or the sheer beauty of the Germany, Spain, Poland, Italy, Russia, movements of the dance. Denmark, Sweden, Japan, Thailand, All the creative arts are represented India, Africa — in fact, everywhere in in ballet. It portrays not only the high­ the world — can enjoy. Even if all the est development of skill, but it is also a children could be seated into some huge means of personal self-expression for theater, each one, no matter what his many artists — those before the foot­ native language, would understand the lights as well as those behind the scenes. story told by the dancers.

Beginnings of Ballet

Although the word "ballet" comes kind of dancing with a technique all its from the Italian ballare, which means own. By "technique" we refer to the "to dance," not all forms of dancing are things that a person needs to know and ballet. This is because ballet is a special practice in order to become skillful in an activity. It takes many years of spe­ boots or shoes. Of course, weighted cial and difficult training to perfect bal­ down like this, the gentlemen had to let technique. dance slowly and sedately, in rows and in interesting patterns. Incidentally, All the principles of ballet movement they did not dance on a stage, but often are based on the mingled with their audience if no space How does ballet plie, or knee-bend, was set aside for them in which to per­ differ from the five formal po­ form. other dancing? sitions of the feet, The first record of such an entertain­ and on the "turnout" of the legs from ment dates back to 1489, a little before the hip. The knee-bend enables the Columbus discovered America. It was dancer to spring high into the air and in honor of an Italian Duke. to land like thistle-down. The all-im­ portant "turnout" allows him to move Ballet was brought to France from Italy gracefully from side to side on the stage, about the time Cather- while facing front. It also makes pos­ Where did ine de M6dicis married sible the beautiful high extensions of * - - King Henry II of come from? «* the legs, as in the arabesque. This is the France. She was an ex­ foundation on which ballet is built. pert dancer herself and adored ballet. At her wish, performers were brought But this was not the ballet of several from her native Italy to entertain the hundred years ago. What was early young queen and the court. The enter­ Then it was a form ballet like? tainment was a huge success. Soon, it of court entertain­ set a new fashion, and before long the ment, really a magnificent pageant. dance was imitated in every European There were no ballerinas, and all the court. But if you were to see this early parts were danced by men wearing dancing, you would never recognize it masks, heavy, colorful costumes and as the ballet you know today! In fact, The seventeenth century court ballets were per­ formed in a large hall, where the king and queen, seated at the head of the room, were surrounded by their household. Nobles and other members of the court sat in long galleries along the sides of the hall.

Female dancers were not permitted to perform at the time. Male danc­ ers, dressed in the cos­ tumes of the period and wearing masks, took the assigned female roles. Male dancers of the eighteenth century, dressed as girls, performed at the court. some of the extravagant performances parts in the entertainments, including lasted as long as six hours! the role of the Sun King. His greatest contribution to ballet, however, was the Long after Catherine's time, in 1645, establishment of the Royal Academy of history records that Dancing and Music in 1661. This was Where was the Louis XIV danced the first school in the world for the in­ first ballet before the royal struction of ballet dancing, and even school started? French court. He more wonderful, it has continued down was then seven years old! He always to the present day at the Paris Opera. loved ballet and himself danced many It was in this academy that the five

8 were never invited to the palace spec­ tacles, were able to see ballet.

Although Louis XIV allowed women to study at the Royal What was the Academy, they most important were not per­ change in ballet? mitted to perform. All the dancers were still masked, and

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positions of the classic dance were established in 1671 by the king's own dancing master, Pierre Beauchamp. It is these basic positions, refined and per­ fected, that are taught today!

Now ballet began to improve rapidly. With a training school for How did dancers, professionals be­ ballet gan to replace the nobles change? of the court, and dancing Ballet changed when women were permitted to study became more lively. Another change at the Royal Academy, and in 1681, to perform. came when dancers were moved from the ballroom floor to a stage. Raised up boys dressed as girls took the female in this way, the audience had an en­ roles. But on May 16, 1681 the most tirely new view of them and the move­ significant change of all took place. ments of the dancers' feet became much Four young ladies danced in a ballet more important. created by the great composer, Jean- Now, along with the palace perform­ Baptiste Lully. These four were his en­ ances, ballet was also performed in tire class, and with them, ballerinas theaters. For the first time, people who took their rightful place in ballet. Early Ballerinas

The girls who studied at the Academy Camargo, who first danced publicly in wore bulky clothing, 1721. She revolutionized ballet by dar­ Who was the tight-boned bodices, ing to shorten her long skirts so that first leading skirts that reached to her feet and lovely ankles could be seen. ballerina? the ground and heeled What's more, she had the high heels re­ shoes — all of which hampered move­ moved from her slippers. All this gave ment. But the very first ballerina was her much more freedom of movement. Mademoiselle Lafontaine, who made a She became quite famous for her triumphant debut in 1681. She was very jumps in the air — something ladies did beautiful and she had great charm and not attempt before her time. So another grace. There is very little information exciting change had come to ballet. Be­ about her, but the great step had been fore Camargo, the dancer scarcely taken — a ballerina was born. moved anything more than her head and arms. She walked gracefully and Other ballerinas followed Lafontaine, she glided, but no one could see her and when they feet. Now some of the ballet steps we What contributions retired frQm ^ know came into being, particularly the did Marie Camargo d , make to ballet? stage they entrechat quatre. This is a jump into taught. One of the air, with a quick changing of the the most famous pupils was Marie legs from front to back — in her case, four times. It is a twinkling, brilliant step that is wonderful to watch. Audiences loved Camargo. Her hair dress was copied by others, hats were named after her, as well as shoes and dresses, and even court ladies imitated her way of walking. Camargo had taken ballet off the ground.

Another famous ballerina was Marie Taglioni, who came from Who was an Italian family of danc­ Marie ers. Her grandfather had Taglioni? been a dancer, her aunts and uncles were dancers. And her father, too, was a dancer, as well as a great teacher. Her mother was Swedish, however, and Marie was born in Stock­ holm, where her father was engaged as Camargo's costume and steps altered the ballet. ballet master for the Royal Opera.

10 Marie Taglioni danced in La Sylphide, a ballet orig­ inally created for the ballerina by her father. The ballet, first performed in 1832, is still done today.

With such a background, it is no wonder that her father decided to make a great dancer of her, even though little Marie was thin and frail. She had rather long arms and such rounded shoulders her. And then a miracle took place. At that she looked almost humpbacked. some time, during these lessons, Marie But none of this concerned Marie's learned to like dancing! father, and he packed his daughter off Her debut was arranged to take place to study with another teacher. after her eighteenth birthday. Her ex­ Marie was a most indifferent pupil cellent training and her unique, airy and managed to learn as little ballet as style of dancing made her an instant possible. A dreadful day of reckoning success. But, actually, the main subjects came, however, when she was sum­ of the ballets of that time were not moned to dance before her father. As suited to her. Greek and Roman myths she stumbled through her exercises, he did not show off her airy grace, and the became more and more horrified. Then costumes, cluttered with drapery and he set up a plan to teach her himself. trimmings, looked much too heavy. The This was the end of nonsense and skip­ ballet shoes were no longer heeled. They ping classes for Maria. were soft slippers, but no one danced The lessons were divided into two- on the toes as yet. hour sessions, given three times daily. Although Marie had captivated her Poor, fragile Marie used to collapse at Paris audience at her debut, she was to the end of the day. But nothing stayed enchant them five years later. An event the demands that her father made upon took place on March 12, 1832, which

11 It is often said that "comparisons are odious." Which ballerinas It means that were commanded to people do not made ballet different forever after — dance for a queen? and Taglioni's dancing did it. That like to be com­ night, at the Paris Opera, she danced in pared to others — especially if the com­ a new ballet, La Sylphide, created for parison is likely to be unflattering! Well, her especially by her father. in her time, Taglioni was not the only famous dancer. There were others Before a stunned audience, the tiny whom audiences adored just as much. dancer floated out There were Carlotta Grisi, Fannie Ce- How did Marie in her white, bell- rito and Lucile Grahn — all of whom Taglioni change shaped dress, tight had earned considerable acclaim in ballet dancing? England in individual performances. in bodice, with Queen Victoria decided that she would neck and shoulders bare. She looked like to see the world's four greatest truly like the nymph whose role she ballerinas perform together! An invita­ was performing. But what added to the tion to perform before royalty is called illusion, besides her totally different "a command performance," and it is costume, was her dancing. She was per­ practically unheard of for anyone or forming on the tips of her toes — so any group to refuse such a command. delicately, so lightly, she did not seem But handling four delicately tem­ to touch the earth. pered ballerinas must have been a great Marie Taglioni had darned the tips ordeal for everyone concerned. The of her limp little slippers until the arch famous ladies danced just one perform­ and toe were firm. With this added sup­ ance of the specially created Pas de port, she revolutionized ballet over­ Quatre — Dance for Four — before the night. Her costume for that night was Queen, and then refused ever to ap­ a long white tutu, which is still stand­ pear together again! ard for what we call the "romantic" ballet. Her shoes have evolved into the Ballerinas now were stars, with de­ toe shoes which are the dream of every voted audiences and important digni­ little girl who takes up the study of bal­ taries vying with each other to bring let. Today, hardly anyone thinks of them tokens of appreciation. Ballerinas ballet without this dancing on the toes, were cheered wildly and sometimes yet not so long ago — less than 150 borne through the streets on the shoul­ years — dancing on the toes was un­ ders of their admirers. Carriage horses heard of! Taglioni was the first to make were unhitched and the carriages drawn toe dancing popular and a required by enthusiastic young men. accomplishment for all ballerinas. One story tells of Taglioni's visit to Russia. After her performance there, some Russians bought her toe shoes for

L a huge price. They then stewed them in Ballet in Russia a pot and solemnly drank the broth in her honor! The Russians were so impressed by Taglioni's dancing that the French bal­ But what had become of the once all- let teachers at the Russian schools important male began to train their own pupils to dance Did male dancers dancers? At this her roles and to duplicate her style. perform during time they seemed this period? to have faded into Then a group of Italian dancers came the scenery. All the public attention was to Russia and What contributions focused on the ballerinas. The magnifi­ astounded the to ballet were made „ - cent strength of the men, their ability by Italian dancers? audiences there to leap high and wide and to support by their tre­ the ballerina while she showed off her mendous jumps and turns and general varied skills, was seldom used. air of liveliness and vitality. Virginia

At the Command Per­ formance for Queen Victoria of England in 1845, four leading bal­ lerinas of the day per­ formed in a Pas de Quatre, especially cre­ ated for them. The dancers were Taglioni, Carlotta Grisi, Fannie Cerito and LucileGrahn. Zucchi's audiences were breathless For many years it was held up as the when she performed her steps. The symbol of ballet perfection to the rest Russians promptly invited Enrico Ce- of the world. cchetti to teach them the brilliant Ital­ ian style of dancing. This kind of dancing became known as After Zucchi came Pierina Legani. the "classic" bal- What costume was ^ She set the dance world agog with her let TQ ft designed for the „> . t - performance of continuous multiple classic ballet? off to its best ad- turns called fouettes. She made a series vantage, a spe­ of thirty-two of these sensational whip­ cial costume known as the classic tutu ping turns around the stage. The peo­ was designed. It was cut so very short ple applauded so enthusiastically that that the dancers' legs were free to exe­ she at once repeated the feat. The cheers cute the new vigorous turns and leaps of that audience have echoed down to devised for the classic ballets. the present time. For many years thereafter, thirty-two fouettes remained the wonder of the ballet world. They were performed by Russian Ballet Dancers only a few accomplished dancers. Today, however, this is no longer con­ The fame of the Italian ballet had sidered extraordinary, though it remains begun to fade when ballet in Russia a part of the dance vocabulary of every took on new life. Russian-born balle­ advanced student. Thirty-two, or even rinas suddenly leaped to stardom in the sixty-four fouettes are still exciting to ballet world. see, even if they are no longer a great wonder. You may have seen a ballerina on television or in a theater who spins about like a top and then stops short, not even out of breath, to take her bow. Well, it takes more than this whipping about the stage without getting dizzy to make a ballerina — but it is showy! The importance of Zucchi and Le­ gani is their effect on Russian ballet. Now the Russian teachers and compos­ ers, many of whom were French or Ital­ ian by birth, combined the old French movements of slow grace and beauty with the vibrant Italian technique. As time went on, this was blended with the native qualities of Russian ballet. Now this is called the Russian style of ballet.

14 An exquisite prima ballerina of the Revolution broke out, she had to flee Russian Imperial Russia. She settled in Paris and opened Which ballerina Ballet was Olga Pre- a ballet school there. got a special obrajenska. But she Many of the ballets perfected in her title from the Czar of Russia? was surpassed by day are still presented, and will most Mathilde Kchessin- probably be enjoyed in future genera­ skaya — tiny, light as air itself, and tions as well. Giselle, The Sleeping perfect. In fact, by order of the Imperial Beauty, Coppelia, and The Nutcracker Court, she was granted the title of prima have qualities to keep them popular. ballerina assoluta, which was another way of saying, "the first and most abso­ The Russian ballerina who became the lutely perfect ballerina." most famous in How did Pavlova Of course, some ballerinas who came the world was become a dancer? after her would have earned the same Anna Pavlova. grand title. But by that time Russia was She is still a household word, and girls in the midst of a terrible revolution and the world over dream of "dancing like the Czar had been killed. As the Im­ Pavlova." Anna was only seven when perial Court no longer existed, no such her mother took her to a ballet perform­ title could be granted by it again. Thus, ance as a Christmas treat. Then and Kchessinskaya was the only dancer to there the child fell in love with the get this title from the Czar. dance. But she was not old enough even She became the wife of a Grand to try to enter the famous Imperial Duke, which gave her added influence School. She had to wait two long years in the ballet world. However, when the to do so. In the Imperial School the children received their training and school les­ sons free, because the school was sup­ ported by the Czar. However, appli­ cants were chosen with the greatest care and had to pass a stiff examination to be admitted. This included appearance, good health, natural grace, a feeling for music and rhythm, and intelligence. The fortunate ones were given a year to prove themselves. They had to show real progress to be allowed to stay. How the frail little Anna ever passed the health test is a mystery, but pass she did. And progress she did. Her

Anna Pavlova (foreground) and other pupils took bal­ let lessons at the famous Imperial School in Russia.

15 Anna Pavlova performed her unforgettable role in the ballet The Dying Swan. It was choreographed by Michel Fokine to the music of French composer Camille Saint-Saens, and was the ballerina's most famous creation.

Vaslav Nijinsky was noted for his sensational leaps, which were un- equaled then as now. At the top of the page are shown Nijinsky and Anna Pavlova in one of their mem­ orable performances with the noted Ballet Russe company in France.

16 fragile, sensitive beauty cast a spell of graved in the public minds, and today enchantment wherever she danced. Peo­ ballet might just as well be spelled ple still speak of her with reverence. "pavlova." Many present-day ballerinas are said to be more perfect than Pavlova. In her Vaslav Nijinsky also studied in the Im­ own day she never performed the showy perial School, and thirty-two fouettes, or multiple pirou­ Who was the he was Qne of pav. most famous , , * ettes. Yet she became the unofficial . . lovas several part- prima ballerina assoluta of the world. male dancer r, ners Hls It never mattered to her public what of all time? ' dancing she danced. It was how she danced that was superb, strong made her the symbol of ballet to mil­ and manly. On stage he seemed illumi­ lions of people throughout the world. nated by some inner fire. The most diffi­ She had a personal magic that trans­ cult steps were easy for him. His leaps ported her audience. She was light, airy, were sensational. When he was asked and danced effortlessly and radiantly. how he performed them, he said that it She could be a sylph, or a cloud or she was quite simple. "You merely pause a could be touched with fire almost real little in the air — and then come down again." He was the most famous male enough to set everything around her dancer of all time. ablaze. Of course Nijinsky was only joking Even reading about the way she per- when he said he How did Nijinsky * . ^ formed The ... * paused in the air. What was Pavlova's ^ . r manage his leaps? * . • xr . ^ Dying Swan most famous dance? « It just happened has brought that he possessed extraordinary physical tears to many an eye. She floated across strength and had splendid training. At the stage in tiny bourres (fluttering, the peak of his leaps, he thrust his legs weaving steps), she curved her lovely out further — and it was this which neck, her body trembled, she sank *. . . made him appear to pause in the air. and died . . . and people wept. He had something else, too, a God- Anna Pavlova brought ballet to the given talent, that special ingredient whole world. She traveled everywhere, which makes people great in their own meeting schedules that would make special fields whether they be dancers, strong men turn pale. This fragile balle­ teachers, musicians, writers or baseball rina was made of something much players. stronger than steel. She took by storm Serge Diaghilev was not a dancer. He England, France, the United States. was a cultured gentle- She went to Egypt, South Africa, Whowas man who loyed baUet Burma, Costa Rica, Malay, Australia, At the turn of the twen Java. Hundreds of thousands of miles, D^ghilev? " tieth century he felt that thousands of performances, millions ballet was no longer making any prog- saw her dance. Her name seems en­

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•i ••• ress. The same things were being done tion, they vied with one another in feats over and over again — long ballets in of technical brilliance. Night after night lavish settings and complicated stories in the famous Maryinsky Theater he of unearthly beings. could hear people softly counting the Ballet had become bogged down by number of pirouettes (a turn or se­ tradition. Tradition is a fine thing to quence of turns on one foot) or fouettes build on, but certainly it is not good to made by their favorite dancers. live completely in the past and ignore Although today we realize that bal­ the needs and developments of the pres­ let is a combination of several arts — ent. technical ballet skill, music and art — True, we still know and love some of in Diaghilev's day no one thought of these ballets and thrill to the beauti­ creating ballet as a combined whole! ful music of Tschaikovsky, as in The Sleeping Beauty. But this ballet has Ballet creators searched for suitable been revamped for the modern taste. stories. Then they How were ballets The same is true of Swan Lake, where arranged steps created during most usually only the second act is that would tell Diaghilev's time? given. these stories. Diaghilev did not like the rivalries When the dancers started to learn the that existed among the ballerinas. In­ steps, costume and scenery designers ( stead of concentrating on fine expres­ went to work. They were told what the sion in their dancing and characteriza­ ballet was about, but they never dis­ cussed any of their plans with the choreographers, who are the creators of the ballet steps. What is more, when the leading dancers learned their parts, they often asked to have steps and move­ ments left out, because these did not happen to show them off to their best advantage. To fill in the gap, sometimes they were allowed to put in steps they liked from some other ballet.

Nijinsky was the slave Zobeldas in the ballet Schehe­ razade, with music by Rimsky-Korsakov, done in 1910.

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;<* Nijinsky's greatest leap was in Spectre of the Rose.

Diaghilev did not approve of this at all. He felt that all the artists who made up a ballet company should work to­ gether and unify all their efforts into one glorious whole. He was not alone in this opinion. A young dancer and choreographer, Michel Fokine, who had created The Dying Swan dance for Pavlova in 1905, felt exactly as Diaghilev did. But when he proposed new ideas to his superiors at the Imperial Theater, they were re­ jected. Thus, when Diaghilev decided - / to form a company of Russian dancers to take to Paris, Fokine was very glad to go along as its choreographer.

The Ballet Russe

Diaghilev was a great and imagina­ sicians were the finest in Russia. Every­ tive impresario. An "impresario" is the one in his company contributed his or organizer or manager of a concert com­ her talent to a final brilliant result. No pany, but Diaghilev was much more wonder their ballet season was such a than that. He was a genius who could tremendous success. Not only the first inspire groups of highly temperamental season, but the next and the next and artists to work together toward a com­ the next — for twenty wonderful years! mon goal. He was not so much con­ It was one great spectacle after another. cerned with box office profits as he was Of course, the company changed with perfection. And his company was from time to time. Dancers accepted artistically perfect. It was on May 18, concert engagements or left to form 1909 that Diaghilev's Ballet Russe companies and schools of their own. opened for its first season in Paris. But wherever they went, they carried with them the Diaghilev influence. Diaghilev's principal dancers were Among the male dancers in Diag­ Anna Pavlova, Ta- hilev's company were Mordkin, Voli- Who were the mara Karsavina and nine, Massine, Dolin, Lifar. Fokine main artists Vaslav Nijinsky. performed as well as created, and Cec- of Diaghilev's Ballet Russe? Young Michel Fokine chetti took on numerous character was his choreogra­ roles, including Charlatan in the ballet pher. His designers, costumers and mu- Petrouchka.

19 The clown Petrouchka was one of the four prin­ cipals of the production.

Diaghilev constantly sought out and initiate the idea of using music as part encouraged talented people. Among his of the ballet itself, rather than a mere composers — and ballet has some of accompaniment to the dancing. the finest music in the world — were A good example of this new way to Debussy, Ravel, Richard Strauss, Stra­ use music is in the ballet Petrouchka, vinsky, Faure, Prokofiev and many which is a story of puppets come to life. others. The music is part of the action itself. His designers included such famous The instruments seem to quarrel when painters as Picasso, Benois, Bakst, Ma­ the characters do. The orchestra tisse and others. "shrieks" when the puppet Petrouchka And among his choreographers were is supposed to shriek. This music is by Fokine, Nijinsky, Massine, Nijinska Stravinsky, and the dances were created and George Balanchine, who became by Fokine. the artistic director of the world-famous New York City Ballet. Dancers never stop learning and trying to perfect their art. It was Fokine who changed the nature Who taught the TV U-I J dancers of the Diaghilev engaged of the stories that What contributions u n u u Ballet Russe? J-J KA- u i c u- ballet told. He the great Imperial did Michel Fokine t % t t School teacher En­ make to the ballet? changed the style rico Cecchetti to instruct his dancers. of dancing, too, Although Cecchetti was delightfully by introducing vivid, living characters sociable in everyday life, in the class­ to the dance. What is more, he helped room he was a strict disciplinarian. He

20 ••••••••i Scenery for the ballet Petrouchka was designed by Alexander Benois and used at the 1911 Paris opening.

Alicia Markova, to men­ tion just a few. (Diaghilev engaged this English girl for his company when she was only fourteen years old.)

One of the most popular productions of the Ballet Russe What other ballets „ * -.« . was700 , nand still is, were presented by Firebird. This is a the Ballet Russe? very colorful bal­ let of a glorious bird with magic powers, of a wicked magician, a princess held captive and a handsome prince who finally rescues and marries her. The ballet Le Spectre de la Rose is was never satisfied with mere technical not so much story as beautiful dancing. perfection. He demanded complete un­ derstanding of their roles from the dancers, coupled with an inner glow, a In Fokine's Petrouchka, with music by fire, which made their dancing memor­ Stravinsky, the Sorcerer (left) brings able. Under his guidance, the dancing to life the puppets Petrouchka, the Ballerina, and the Moor (below). reached the perfection Diaghilev de­ manded, and all the ballets were per­ formed exactly as they were planned by the choreographers! No matter how harsh Cecchetti might have been with the dancers in his classes, all his pupils remembered him kindly. He helped develop the talents of many ballet stars still active today — and through them the talents of younger dancers they, in turn, have taught. A great teacher is like a candle from which many other candles can be lit — so many, in fact, that the whole world can be made brighter. Besides those already mentioned, Cecchetti taught Danilova, Sokolova, A young girl has returned from a ball. Ballet Today When she takes off her cape, we see that she is still holding a red rose that was Because people before us had freed given to her by her sweetheart. Holding ballet of meaningless conventions and it close, she dances dreamily. Then she had not been afraid to experiment with sinks into a chair and falls asleep. At new ideas, we now can enjoy all kinds this moment, the rose comes to life and of ballet — romantic, classic and executes a magnificent dance. Then, as modern. There are ballets which tell dawn lights up the window, the rose says dramatic or tragic stories as well as farewell to the girl and, in what seems ballets which are filled with humor. like a never-ending leap, soars out There are also ballets which express through the casements. This was one of only a mood in music and motion and Nijinsky's famous leaps, and he was the ballets that are rich in color and bril­ first to dance this role to Fokine's chore­ liance. Often you can see examples of ography. The ballerina was Tamara each on the same theater program, as Karsavina. for example, Swan Lake, Firebird, The ballet Prince Igor served to in­ Afternoon of a Faun, and Western troduce Western Europe to the color, Symphony. music and dancing of Russia. The music is from the second act of an opera by All ballet training is classical. That is, Alexander Borodin. This ballet has no it is based on a standard What is connection with the plot of the opera. of rules which evolved classic It is just wonderful music, setting and from the Academy of ballet? dancing, showing dance artists in native Dance established by costume performing with unbelievable Louis XIV. The student learns a basic energy, speed and vigor. "vocabulary" of steps from which count­ Diaghilev toured Europe and Amer­ less variations can be made so that all ica, and everywhere that his troupe kinds of movement are possible. danced, there was both an upsurge of interest in ballet and a tremendous ac­ claim for his company. By the time Serge Diaghilev died in 1929, the whole world had been influenced by his idea of what ballet should be. The seeds for present-day dancing, which he had helped to ripen, were now scattered everywhere in the form of his dancers, musicians and choreographers — and from them grew ballet as we know it today.

22 The classic dance is fundamental ma­ queen. Only at midnight, for one brief terial out of which new ballets can be hour, can she resume her human form. made, and it gives the dancer a sure It is then that a prince and his friends, knowledge to draw on when he is re­ out on a hunt, discover her. As Odette quired to perform a work that is new begs the prince not to shoot her swans, to him. he falls in love with her. Some of the When you see a ballet listed on the most beautiful dancing can be seen in program as "classic," it does not mean, this ballet, and it is the ambition of therefore, that this is going to be some­ every ballerina to dance the role of thing old. What it really means is that Odette. here is an example of the finest of its A motion picture, in color, was made kind. That is precisely what classic of this ballet by The Royal Ballet Com­ means: "a work of the highest class and pany of England, and it affords a mag­ acknowledged excellence." nificent view of classic dancing. Odette Therefore, ballets can be romantic is danced here by Margot Fonteyn, and classic as well as modern and prima ballerina of the company. The classic, because they combine the prince is Michael Somes, also one of knowledge and skills developed over the England's greatest dancers. centuries which have been handed The Sleeping Beauty is a classic bal- down, teacher to pupil, to our own time.

Probably the most popular among the classic ballets is What are some Swan Lake. It is per­ classic ballets? formed by almost every company in the world. The story is about a beautiful girl, Odette, who is transformed by a magician into a swan

The bar helps dancers keep their balance when they learn and practice.

Pupils of a present-day ballet school exercise at the bar — or barre.

23 let which is based on the well-known He takes her to Fairyland, through the fairy tale of the same name. Moira Snow Country and into the Kingdom of Shearer of England makes a beautiful the Sugarplum Fairy. There a grand Princess Aurora. Perhaps you have seen celebration is held in Clara's honor. The her dance in the motion picture entitled subjects of the Queen perform many The Red Shoes. dances toTschaikovsky's beautiful flow­ The Nutcracker is often performed ing music. There are Spanish Dancers, at Christmas time, but if you can't see Candy Canes, an Arabian Dancer, it on a living stage, remember that it is Mother Ginger and her delightful little often given on television during the children, Flowers and Sugar Angels. holiday season. The ballet opens with Finally the Sugarplum Fairy and her a family Christmas party, and there is Prince dance a grand pas de deux — a large, richly decorated Christmas tree a dance for two — and that is when in the setting. The best present, as far children whisper to their mothers, "Are as little Clara is concerned, is a cleverly those people really real?" devised Nutcracker which looks like a With Nicholas Magallanes for a part­ soldier — the gift of her rather myste­ ner, Maria Tallchief as the Sugarplum rious godfather. Fairy exhibits some of the finest classic That night, when the party is over, dancing for which George Balanch- Clara dreams that the Nutcracker has ine's New York City Ballet Company come to life as a charming young prince. is famous.

The Prince falls in love with the Swan Queen in Marius Petipa's Swan Lake. The music is by Tschaikovsky. Clara is taken to the Kingdom of the Sugarplum Fairy in The Nutcracker.

Clara dreams that the Nutcracker, a gift from her godfather, comes alive.

The ballets we call "romantic" are a kind of classical ballet. What are They are romantic in romantic mood. The desire to ex­ Giselle is the story of a peasant girl who ballets? press this mood and to falls in love with Which is the most give the dancers more of the appearance Duke Albrecht popular of the f - t. - of spirit-like creatures was responsible romantic ballets? who has disguised for the development of toe dancing. It himself as a peas­ is in these romantic ballets that dancers ant. When the girl discovers his real first rose to the tips of their toes. identity and learns that he is engaged It was at this time, also, that the to marry a princess, she loses her mind white ballet, or ballet blanc, came into and dies of grief. being — and the delicate, romantic In the second act, the remorseful tutu we know in such productions as prince visits her grave at night. The Giselle, Swan Lake and Les Sylphides cemetery is haunted by the wilis, spir­ was created. its of brides-to-be who have died before

25 Alicia Markova as Gi­ selle and Anton Dolin as Duke Albrecht dance in the ballet Giselle. The romantic ballet was originally performed in the year 1841 in Paris and is the work of the composer A. C. Adam. their wedding day. Now they appear, The movements of many of these with Giselle among them, and force her ballets, at first glance, might look noth­ to dance with Albrecht. Dawn comes in ing at all like those of the classic and time to save him from ill fate. romantic ballets. In some of these bal­ This ballet, the most popular of the lets the dancers use straight movements romantic ones, was first produced in of the arms rather than the rounded Paris in 1841. It is the "Hamlet" of the classic ones. Body lines are sometimes ballet world. Just as every actor wants angular. to play Hamlet, so every ballerina wants to dance the part of Giselle and bring Yet the modern ballet dancer begins to the role her own particular gifts and training in exactly How are modern interpretation. the same way as the ballet dancers In our time, Giselle was danced by earlier dancers did trained to dance? Alicia Markova, Margot Fonteyn, — with the five Alicia Alonso, Moira Shearer, Ulanova, positions of the feet, the ninety-degree the Russian prima ballerina and many turnout of the leg from the hip, and all others. the other exercises which give the body suppleness, grace and balletic ease of Some of the modern ballets of today movement. Then the acquiring of mod­ tell a story. When they do, ern steps to fit the specific new dances What is the costumes and scenery is easy. The vocabulary — or visible modern fit the period and setting of language of ballet — has been used in ballet? that story. Other modern each era to express that particular time. ballets express only a mood or a feeling. Once it was full of pomp and circum­ In that case, the costumes and settings stance. Then it was filled with the ro­ are designed for line and color and to fit mantic qualities of the nineteenth cen­ the mood or feeling to be expressed. tury, followed by the realist presenta-

26 wamm

tions of Fokine and Diaghilev. Now it is crisp with modern designs and the Some of the steps done in ballet are shown be­ dreams and realities of today's world. low. Their names are in French, for it was in Probably the best known modern Amer­ France that ballet grew. ican ballet is Agnes What are some De Mille's Rodeo. modern ballets? PIROUETTE PASSE Set in the Southwest, on a ranch, it deals with a tomboy's des­ perate efforts to attract the attention of the Head Cowboy. All her attempts to charm him with her cowgirl skills fall into ridicule until she sees the error of her ways. Everything changes when she appears dressed as a girl, with becoming feminine manners. Now the Head Cow­ boy dances right up to her, but she chooses the Champion Roper instead. Of all the people on the ranch, he, alone, was kind to her earlier when she be­ haved so foolishly. Rodeo was first presented in New York on October 16, 1942 — and at that moment a great American chore­ ographer was discovered. Nothing like it had ever been seen before, and from that moment, the particular style of dancing presented by Agnes De Mille became part of the American dance scene. She, herself, danced the part of the Cowgirl. Frederic Franklin was the Champion Roper. Other ballets designed by Agnes De Mille were included in the motion pic­ tures Oklahoma and Carousel. These were musical plays first and toured the country, playing before enthusiastic audiences everywhere. The ballets were woven right into the story and many people who had never seen ballet before, DEVELOPPE A LA SECONDE decided that they liked it. It wasn't high­ brow and stuffy at all!

GRAND JETE In Agnes De Mille's American ballet Rodeo, the Cowboys try to impress the Eastern Girls at the Saturday dance.

The Cowgirl, looking like a tomboy, kicks out with dis­ pleasure when she is ignored. A modern ballet that is quite differ­ ent is Graduation Ball. This is set in a fashionable girls' school in Vienna. A The Head Cowboy and the Rancher's Daughter. gala entertainment is arranged for the graduates of a nearby military acad­ emy. When the girls and boys meet, is based on Gilbert and Sullivan oper­ there are some awkward moments. The ettas. The story of this ballet is taken boys are bashful, the girls are shy. from Gilbert's ballad, The Bumboat Somebody falls down and is horribly Woman s Story. A bumboat, by the embarrassed. But then the party gets way, is a boat that carries provisions under way and everyone has fun, includ­ — fruit, vegetables, trinkets — out to ing the headmistress and the pompous ships at anchor. Pineapple Poll is a old general. pretty young girl who stows away The ballet Fancy Free is about three aboard the HMS Hot Cross Bun, in American sailors on shore leave in order to be near Captain Belaye. Then New York. It was created by choreog­ she discovers that also aboard are a rapher Jerome Robbins, with composer number of other very un-sailor-like Leonard Bernstein. The slapstick sailors, who turn out to be girls with humor and clever dance steps always the identical idea she has! It is quite have audiences laughing at the sailors' a situation, especially when the Cap­ antics. tain brings aboard his new bride. The Not to be outdone, the British navy "sailors" fall over in a mass faint — has to be remembered in modern ballet, but eventually all ends well. too. It is done in Pineapple Poll, which Elaine Fifield was the first to dance

28 Pineapple Poll. David Blair was Cap­ tain Belaye. Serge Prokofiev, who wrote Peter and the Wolf as a musical fairy tale to teach children the difference between various instruments in the orchestra, also wrote the music for Gala Perform­ ance. This is a spoof on ballet, a comedy, involving three self-important ballerinas from three different coun­ tries who consent to dance together. Just before the actual performance, the three stars appear on stage one by one. First comes the Russian, the Queen FANCY FREE of the Dance, a haughty overdressed lady. Then the sparkling French balle­ rina runs on, wearing a fluffy costume. She at once tells the conductor what kind of tempo she expects from him. She seems to talk, talk, talk. Now comes the Italian ballerina, famed as Goddess of the Dance. She is overpoweringly dignified, and walks as if not sure the floor beneath is worthy to receive her precious footsteps. All this time the boys and girls of the corps de ballet are watching from the background, con­ vulsed with laughter. The performance of the trio is in keeping with their established char­ GRADUATION BALL acters — exaggerated and ridiculous. PINEAPPLE POLL And at the end, the ladies practically fight over the applause. When first given in the United States, the cast was headed by Nora Kay, Nana Gollner, Karen Conrad, Hugh Laing, and Antony Tudor, who also did the choreography for this ballet.

The popular, modern ballets Fancy Free, Graduation Ball and Pineapple Poll were originally performed in New York, Sydney, Australia and London, respectively. In this scene from Serge Prokofiev's ballet Peter \ and the Wolf, the Wolf is shown chasing the Bird.

The Russian, French and Italian ballerinas have their "say" in the bal­ let Gala Performance. The music is by the com­ t poser Serge Prokofiev.

In ballet, roles which require dramatic father, Drosselmeyer, is a character — interpretation are called white-haired, sinister, with a black What is i 0 , character parts. Some- patch over one eye! In the magnificent r character Firebird, the wicked magician, Kast- times dancing? these roles require chei, was played by the famous Enrico character dancing, com­ Cecchetti of the Diaghilev company. pletely in keeping with the person or In The Sleeping Beauty, Frederick creature being portrayed. Sometimes, Ashton portrays the wicked fairy Cara- no dancing is required, and the char­ bosse. It is a ballet tradition that the acter merely walks about the stage per­ roles of ugly, grotesque or evil old forming his role. In Coppelia, the women should usually be played by owner of the life-size doll is Dr. Cop- men. pelius. This character role has been Character dancing also includes na­ played by the gifted Robert Helpmann. tional folk dances adapted for ballet, Perhaps you have seen him in the mo­ such as the polka or the Italian Taran­ tion picture Tales of Hoffman in which tella. Scottish, Spanish, Russian, Irish he played the character role of the — any kind of national dance may be wicked Dr. Miracle. adapted to give the flavor of those coun­ The Mother in Giselle is a character tries to parts of various ballets. role. In The Nutcracker, Clara's god­ 30 Pantomime—a Language of the Dance

To help the audience understand the An invitation to dance is expressed emotions in a dance, by circling the hands around each other What is many pantomime ges­ above the head. pantomime? tures have been devel­ For a kiss, the lips are touched with oped. That is, gestures of the hands, the finger. facial expressions and the general atti­ Stop is such a universal gesture, it is tude of the body. Done with restraint, the same the world over—and in dance, they can express serious feeling, but a too. Here the performer holds up the clever character dancer can transform hand, palm out. them into anything he wants with a Anger is expressed by raising the slight exaggeration. When you become arms above the head, with the elbows familiar with the pantomime samples to the front, and shaking fists. given here, watch for them in the ballet A command to obey is shown by performances you see and notice how pointing to the floor with a very de­ they are used. This awareness will add cided gesture. greatly to your enjoyment. To say no, the dancer holds the arms For example, to express love, the at the side, then crosses them before the dancer holds both hands over the heart. body in a definite gesture as he shakes A wish to marry is expressed by his head. pointing to the wedding-ring finger with A dancer who wants to say that he the index finger of the right hand. forgot, will hold the hands out loosely, To say /, the dancer points toward palms up, and shake the head slightly. himself with the middle fingers of both When he remembers, he holds the hands. index finger to the temple. For you, he points to the person with To say friends, the dancer clasps the an open hand. If angry, then he points hands together on a level with the waist. with the finger in a violent gesture. For sadness, the dancer traces tears Beautiful or girl is expressed by running down the face with his fingers. circling the face gently with the back For actual weeping, he hides the face of the hand. The back of the middle in both hands, or rubs his eyes with finger outlines the face. clenched fists.

MADGE, THE WITCH, —Sk /,-*• IN LA SYLPHIDE

DR. COPPELIUS IN COPPELIA SPANISH FOLK DANCER

ASTROLOGER IN COQ DOR

31 To beg for mercy, the dancer holds the arms out, palms together as if praying. A blessing is given with the hands touching the head of the person blessed. Sleep is indicated by inclining the head against the back of the hands. A child is indicated with the palms of the hands. The dancer raises the palms in three steps, as if measuring the height of a growing child. Thank you is shown very simply by inclining the head. One hand is brought down from a position on the chest and extended toward the person thanked. A king is indicated by a flourishing gesture and the raising of the right hand above the head to indicate a feather plume, which is usually worn in the hats of nobility. A queen is shown by the index finger of the right hand touching the top of the forehead at points where a crown would touch the head. This type of pantomime is used for the most part in the older, classical ballets and if you know it, you will understand the stories more clearly. Watch for it especially on television and in movies, where the dancers are brought so close to the viewer, you can even see the flicker of an eyelash. People Who Make Ballet

The ballet productions you see from In the United States, dance students "out front" — in the audience — didn't . .. study at their Who supports ballet just happen. They were created and own •in th*Le Unite11 •* dJ Statesc* ?o expenser , made possible by people, many of although many whom are never seen by the public and privately-owned schools offer scholar­ many whose names never appear on ships to promising students. The cost the program. of many years of study is high, and dancing schools are completely sepa­ Producing a ballet, and paying all the rate from institutions of academic stud­ expenses and sal­ Who supports the ies. However, in New York City there aries involved re- ballet companies? are two public high schools which are quires a vast devoted to the arts. One is the High outlay of money. In the past, kings and School of Performing Arts, the other is queens supported royal ballet com­ the High School of Music and Art. panies. Today, many ballet companies Here the arts can be studied and per­ overseas are supported by the govern­ fected while one is still very young. ment. Though governments in those Many people hope that some day countries may have changed from time the United States will have a National to time, each successive one has con­ Foundation for the performing arts, tinued to support not only the ballet which will give qualified young people companies, but ballet schools also. Tal­ from even the smallest towns and ham­ ented young people are able to get a lets a chance to perfect their talents. classic ballet education and an aca­ In the United States, ballet depends demic education on a scholarship basis. on private individuals to underwrite the France, through all her political huge expenses of productions. It also troubles, has continued to maintain the depends on "patrons" — people who academy founded by Louis XIV. The contribute various sums annually to­ Russian Academy, founded by the ward the support of their favorite com­ Czars, continues under Communism. pany. Actually, you also help to support Italy, Denmark, Sweden and Austria a company each time you buy a ticket. give ballet official support. And recently An "angel" in theater language, is a Great Britain has begun to subsidize a person who puts up all or part of the national ballet. money to make a production possible. Some South American countries, The greater his investment in a produc­ which have taken great strides forward tion which becomes a financial success, in many cultural directions, now sup­ the greater his profit. port ballet. And in Mexico, the govern­ ment not only supports the arts, but pays dance students while they go to school.

33 Every company needs an executive di­ human experience of his story. Then rector — a he translates these movements into the What is the job of i- . company meaningful language of ballet. A chor­ the company manager? r J eographer must be a dancer — and a manager good one. This has always been true. — to supervise everything. He usually All the distinguished choreographers of has assistants, for no one person could the past were fine dancers in their own even hope to take care of all the details right. They studied ballet technique for alone. Also, with so many tempera­ many years, joined ballet companies mental artists involved, it is advisable and danced many roles. They associ­ to have a company "Solomon" who is ated with designers, musicians, other tactful enough to settle noisy disputes. dancers — learning all the while, ob­ The manager has that job, too. serving, absorbing all kinds of knowl­ edge. They also studied history, art and music as well as the world of human cr^-*. emotion around them. Whenever pos­ sible, they traveled and studied the The artistic director takes charge of the dances of other lands. The choreogra­ ballet as a work of What job does ^ Re bri ^

the artistic , t .... director do? the beSt m hlS artlStS' overcomes the worst and develops all the potentials. He does not spare himself — or anyone else — pher of today does precisely the same and makes everyone work harder than thing to prepare himself for his pro­ they thought possible. He "lives" each fession. part and helps each dancer interpret his There are no schools in which chore­ or her role properly. They must perform ography can be taught. Schools can up to his ideals and standards, and it teach technique, they can outline a is this factor which gives a particular course of study, but the would-be chor­ company its distinctive character. eographer has to develop his own spe­ cial talents. The choreographer, must have infinite patience and the ability to teach others, because he has to show his dancers how to perform certain movements The choreographer creates the dances. which he has created. He must have a He is an artist who clear understanding of the steps and What is the works with motion. movements a dancer can and cannot do. That is why he must be a dancer cho^Igmpher? He searches for the basic movements himself. which express the emotion behind the In the course of gathering his own

34 experience, the choreographer becomes rapher. Either way, there must be close a walking encyclopedia of dances, association and understanding between dance steps and many ideas for using these two persons. them. He is usually a tireless perfec­ There must be an orchestra to play tionist, as minor faults cause him ago­ the music of the composer. So there nies, even though no one else is aware must be musicians and a conductor to of them. But that is how one arrives at see to it that the music is learned and perfection — by taking infinite pains played in the tempo indicated by the over the smallest details. choreographer. The choreographer is a creative artist, and he is expected constantly to produce something new, something sur­ prising, something beautiful. Very often he does!

Although the choreographer and the It is said that the wardrobe mistress was artistic director can born with a needle What is a What is the job demonstrate the and thread in her ballet master? of a wardrobe steps and move­ hand, but her feel­ mistress in a ments they want from their dancers, it ballet company? ing for and knowl­ is the ballet master — or ballet mistress edge of ballet and — who sees to it that they learn them ballet people sometimes suggests that exactly. Many, many hours are spent there is dancer's blood in her veins. In a in such rehearsals, first in rehearsal ballet company she is indispensable. Her halls, then in the theater itself. rule is over all the costumes — for lords and ladies, witches, knights, goblins and fairies, snowflakes and sunbeams, waltz­ ing flowers, nutcrackers and toys which come to life. She keeps buttons on, moths out, starch in. She folds and packs with secret tricks against crush­ A composer creates or arranges music ing. She labels and puts away — and for the ballet. finds what she wants when she wants How does a composer ., . *u u n *o THoT w this is it. She is ingenious when it comes to serve in the ballet? cleaning, patching or mending. At per­ worked out formance time she hooks, zips, ties, nips depends on how the choreographer gets a waist in, takes a tuck out, fluffs, his idea for the ballet. If the story or mood comes first, then suitable music must either be written or arranged from existing scores. If a ballet is to be written to existing music, then this is arranged to fit the steps devised by the choreog-

35 The scene designer builds a miniature stage for the ballet after he has drawn sketches of the scenery.

smooths down. She scolds, she com­ costumes or change them from beauty forts, she prays, too. One thing is cer­ into ugliness. On the other hand, a tain—without her there would be chaos simple backdrop curtain can be made in the dressing rooms. to look like "scenery" by clever lighting.

The scenery is designed and planned Costumes must be designed to harmo­ by an artist, first nize with the What part does ___ ~ ~**- +i^~ ™ In what way does gce and tQ r _ . on papern , then on a scene designer \ . a costume designer ~ - ~ i i L .1 .11 a mmiature stage. .,, „ , , fit the story. But play in ballet? fe aid ballet dancers 0? J It is very important there are many to have the background suit the story more considerations than this. To begin of the ballet. At the same time, it is with, the designer must remember that very important to have the scenery so a dancer has to move in a costume — designed that dancers can come on and and no matter how forcefully, costume off the stage and perform without catch­ and dancer must not part company. ing their costumes awkwardly. Nor Also, the costume must not be draped must they be crowded or overshadowed in such a way that it becomes a trap by the sets. — catching a foot in a leap, flying Lighting effects are also very impor­ across the face and obscuring vision or tant and are planned most carefully. taking pieces of scenery with it. Incorrect lighting can completely spoil To guard against these nightmares the mood of a ballet, wash color out of that haunt both dancers and designers,

36 many conferences and fittings take place The property man is in charge of the with the designer, dancers, dressmaker, scenery and the Who are some choreographer and the set designer. props. He oversees other important the stage manager, backstage help? The stage manager is completely re­ takes care of the sponsible for the proper lighting effects for each scene What does the operation of and oversees the men working the spot­ stage manager do? each perform­ lights. The carpenter is in charge of all ance. He has to know a great many the carpentry to be done on the sets. things in order to cue the light crew and The flyman oversees the raising and the curtain men. From the moment he lowering of the huge backdrops for the orders, "Places, everybody!" to the settings. The curtainman raises and echo of the last applause, he is like a lowers the curtain at the right moments, captain at the helm, keeping everything on cue from the stage manager. under control and maintaining the pace of the show. His wits must be sharp and ever ready to cope with any emergency that might arise.

Dancers wait for their cue in the wings of the stage or behind the scenery while a performance is in progress.

37 Present-day Ballerinas and Danseurs

The radiant Queen of the Royal Ballet, service in the British army — with no Margot Fonteyn, is impairment to his art. Margot Fonteyn as popular in the United States as she is in England. Her A truly American Queen of Ballet is ballet technique is so perfect that her Maria Tallchief. Maria Tallchief dancing appears effortless and spon­ She was born on an taneous. Osage reservation in Oklahoma. Her Her father, a mining engineer, was father is an Indian, her mother of a Yorkshire man and her mother of Scottish descent. Enormously talented, Brazilian-Irish extraction, which prob­ she first studied piano. At twelve she ably accounts for Fonteyn's exotic began serious study of ballet with the beauty. As a child she traveled over sister of Nijinsky, and before long, the much of the world, but the family finally dance became her first love. Later, settled in England. At thirteen, Margot George Balanchine had much to do with entered the Sadler's Wells School. Her perfecting her technique. first appearance on stage was as one of Maria Tallchief has tremendous the thirty-two snowflakes in The Nut­ power as a dancer, but it is always under cracker. She passed quite unnoticed. perfect control. Her leaps in the air Alicia Markova was her idol and are phenomenal, her entrechats fabu­ ideal, and Margot studied every move lous. She can beat her legs together the great prima made, never thinking eight times in a dazzling twinkle of she could come even close to her in perfect form. Only Nijinsky could performance. When Markova left Sad­ better that, and his record was ten. Her ler's Wells, however, Fonteyn began to style is classic elegance tipped with fire; rise rapidly. At seventeen she danced her performances are unforgettable. Giselle, and her sensitive interpretation of the role left no doubt that here was Although he is considered an American a new prima ballerina. •#m . dancer, Andre Andre Eglevsky ^ . , , Eglevsky was born It might be said that Michael Somes is in Moscow. He studied in Paris with the King of the Michael Somes Volinine, one of Pavlova's partners, Royal Ballet. His and in London with Nicholas Legat, title is premier danseur noble, and he also of Diaghilev's famous company. has been Margot Fonteyn's partner for He made his debut at the age of fifteen many years. He was the first boy to win with the rank of premier danseur. a scholarship to Sadler's Wells. His Eglevsky is tall and rather heavily manly appearance, noble air and skill built, but he has a catlike grace and an have enhanced every role he has under­ exceptional jumping ability. In his soar­ taken. His dancing career was inter­ ing leaps, he, too, can create the illu­ rupted by four years of distinguished sion of being suspended in mid-air. 38 When, at the age of eight, little Alicia Some years ago she was threatened was sent to a ballet with blindness. A series of operations Alicia Alonso school in Havana, it followed, and for a year she lay in bed, was to acquire poise and grace. There her eyes bandaged, forbidden even to was no thought of making a ballerina of cry for fear of the effect of such emo­ her. Such a career was considered un­ tion on the delicate nerves and tissues thinkable for the daughter of a promi­ that needed healing. nent Cuban family. But Alicia's talent Yet she did not waste time in self- could not be denied and eventually she pity. Instead, Alicia visualized in her continued her studies at the School of active mind every role she had danced, American Ballet in New York. She be­ and so clearly that she was able to pick came a prima ballerina of Ballet out what she regarded as flaws in her Theater, but she and her husband also performances. The healing ordeal over, founded the Ballet Alicia Alonso. This there was the matter of restoring her later became known as Ballet de Cuba, flabby muscles. Alicia's courage never which was government-supported. flagged. When she returned to the stage Her artistic range is amazing. She it was to further triumphs as a more can be the glittering Black Swan or the mature, more glorious prima, who had gentle heroine of Romeo and Juliet, for now also earned the title of Dama, the she is an accomplished actress as well highest honor bestowed by Cuba on as a dancer. a civilian.

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MARGOT FONTEYN and ALICIA ALONSO and IGOR YOUSKEVITCH MARIA TALLCHIEF MICHAEL SOMES The Prince dances with Cinderella while her stepsisters observe them.

A virtuoso is one who has special knowledge or skill Igor Youskevitch in any field. In bal­ let, Igor Youskevitch is considered not only a virtuoso but also a genius. He was trained as an athlete in Yugoslavia, but turned to ballet while at the uni­ versity in Belgrade. Although usually it takes years to perfect ballet technique, this young man was able to perform after only a year of formal study. He dances with virile elegance and is the favorite partner of Alicia Alonso. Dur­ ing the war he served with the United States Navy.

Illinois-born John Kriza studied in Chi­ cago and made his debut John Kriza in the Chicago Opera Ballet. His first outstanding success was as one of the sailors in Fancy Free. He is especially well suited to ballets with American themes and has danced in Agnes De Mille's Rodeo and Eugene Loring's Billy the Kid.

What It Takes to

Be a Ballet Dancer

Having read about the dancers of yesterday and today, you know that it is not easy to become a great performer. Since many years of specialized physi­ cal training are involved, one of the requirements is good physical condi­ tion. However, there are exceptions to all rules, and some of our finest dancers began studying because of handicaps. Alicia Markova, one of the greatest John Kriza (right) dances in the ballet Billy the Kid. ballerinas in the world, was ordered to

40 The slipper fits the foot of Cin­ derella — the Prince is overjoyed.

The story of Cinderella, Charles Perrault's beloved fairy tale, has attracted many choreographers and composers. All the ballet versions have comic and dra­ matic differences as well as grand classic dancing.

£*£>•« take ballet lessons by her family doctor. She was frail and had knock-knees. But ballet discipline and carefully super­ Eugene Loring's Billy the Kid is a ^% vised exercises cured her ailments — favorite modern American ballet. and her talent was uncovered for all the world to see. Nana Gollner's limbs had been weak­ so ambitious for her, it may be that he ened by polio and ballet was suggested also knew what ballet training could do as a means of strengthening them. Her for a frail, unbeautiful body. progress was so rapid that by the age of But these are the exceptions. Ordi­ sixteen she attained the rank of prima narily, people don't start ballet studies ballerina. with such handicaps. Certainly one Marie Taglioni, with long arms and should have a good, strong heart, a a hunch in her back, was built all wrong sense of rhythm, a feeling for music and for a ballerina. Although her father was an overpowering desire to dance.

41 Ballet should not be studied before the age of eight. Nine or M How old should ten is nQt tQO late tQ ^ one be to take begin either. Toe ballet lessons? •TL-ji-^J work should never be attempted before the age of ten, and then only after three years of study with a competent teacher. That much time is needed to strengthen the foot, leg and back muscles properly; otherwise, seri­ ous permanent injuries can result.

Boys and girls often take classes to­ lent war records and were decorated gether, but there and accorded other honors for their out­ How does ballet are some things standing courage. training for boys which are taught and girls differ? to them separately. Although at one time the danseur s role Ballerinas should be light and graceful. had shrunk so that What is the role They must be supple and they do, even­ he was called "the of the danseur? tually, dance on their toes. Boys never ballerina's third dance on their toes. Many of the steps leg," times have changed. All he did they learn resemble those of the girl then was to support her and wear an dancers, but they are done in a manly admiring expression on his face. There way. Boys are trained as partners for is much more to being a partner today. the ballerinas. Their muscles are devel­ Of course, the danseur must always be oped so that they can lift a ballerina the cavalier and show a proper gal­ shoulder-high without apparent effort lantry toward the ballerina, but now — not an easy thing to do, for she may there is far greater depth in his roles. weigh one hundred pounds or more. He must not only be an excellent dancer, Being stronger than girls, they can leap but also a dramatic actor—as Albrecht higher and wider. in Giselle or Prince Siegfried in Swan There is nothing "sissy" about ballet Lake, for example. dancing for a boy. If you have the Some of the men, including Eglev­ chance to observe boys taking class, sky and Youskevitch, have such out­ you will see how much endurance is standing talent that parts are especially required of them. Incidentally, many of written for them. A good danseur is our foremost dancers have had excel- a welcome addition to any company. Ballet Dress

The simplest costumes are best for class. into." The black ballet slippers are Girls wear jersey leo­ made of soft leather, with the toes What is the tards over their tights pleated on the bottom, and with flex­ costume for (without feet, because ible, nonskid soles. the class? they last longer that The satin toe shoes should not be way), ankle socks and practice shoes. heavy and hard and stiff. The well-pre­ Some schools favor a short tunic for pared student can easily work in the girls. Boys wear tights also and a jersey soft, Italian-type shoes, which are hand- shirt. Their practice shoes are some­ sewn and only lightly boxed. The dancer times held over the instep by an elastic must at all times be able to "feel" the band. floor. Toe shoes are darned at the tips In order to correct faults, a teacher not only to make them grip the floor must easily see the lines and movements better, but also to make them last of the body. Frills, bows, pleats and longer. Toe shoes are expensive, and ruffles would conceal such faults. And professional dancers sometimes wear tights also serve to keep the leg muscles out several pairs during a single per­ warm. More injuries result from cold formance. muscles than from any other cause. (That is one reason why baseball play­ The stage costumes of today vary ers wear full uniforms instead of shorts greatly in design. What kind of stage and tee-shirts.) Besides the tra­ costumes are used? Another reason why boys wear tights ditional, long instead of regular trousers is to give romantic tutu and the short classic tutu, them unhindered movement. there are hundreds of variations, limited only by the subject of the ballet and the The dancer's feet are her most precious designers' imagination. equipment, and so Costumes for the danseurs are varied, How are ballet dance shoes must al­ too, from the accepted classic tights slippers made? ways fit perfectly. and velvet jerkin to anything the part They must never be bought to "grow may call for — a Roman toga, a full- COPPELIA A light-hearted story and an ex­ cellent example of ballet panto­ mime is Coppelia. It involves a romance between Franz and a life-like doll which almost ends his courtship of Swanilda, a very real young lady. All the difficul­ ties get solved, however, and the ballet closes with a divertisse­ ment or a sequence of steps. •' ' ' .. : '.....:••..

dress suit, a business suit, or a bathing suit as in the ballet Jones Beach. National costumes for character dancing are adapted for ballet use also. Their purpose is only to give an authen­ tic flavor, and they are not intended to be replicas of native dress.

Ballet Talk

Since ballet, as we know it, came to us from France, most of the language of the ballet is also French. But some of the terms are derived from the Italian, because the early forms of ballet were brought to France from Italy. Inevita­ bly, the country where ballet happens to be studied, adds its own vocabulary. In the main, however, students every­ where in the world learn the same terms.

44 ON STAGE! The one-act modern ballet On Stage! will give you a behind-the- scenes glimpse of a rehearsal and an audition. There is a very grand ballerina in it and several young hopefuls, including the one who is not hired at first, but who finally wins a place in the company, too.

COQ D'OR, OR THE GOLDEN COCKEREL The ballet Coq D'or, or The Golden Cockerel, is based on a poem by the Russian writer Aleksander Push­ kin. Old King Dodon is given a marvelous golden cockerel which always warns him of coming dan­ ger. Along with the superb dancing, there are beautiful costumes and scenery; the whole is a spectacle.

45 Therefore, German, Italian, Danish, country and proceed with the lesson in Swedish, Russian and English dancers, progress without too much misunder­ as well as performers from other na­ standing. The teacher will call for the tions, can step into class in any other steps in ballet's universal language.

Labanotation—Dance in Writing

Labanotation is a method for writing in the proper column to show which down dance move- part is to move. How can dance ments, originated by movements be ~> , ir T t - J o Rudolf Laban. It written down? can be compared to writing music, because a staff and sym­ bols are used to "spell out" the move­ Ar m Bod y Ar m Hea d Step s Bod y Step s ments which are to be performed. Hea d Le g Gestur e Le g Gestur e Those who understand this method can read and study dance scores no matter what language they speak. Any and all movements can be re­ Left Right corded — even the fluttering of the fingers. It is hoped in the near future 2. Directions: In the middle, at your to have a whole generation of ballet center is "place" (no direction). This score readers. To that end, young chil­ is shown by a rectangle: | dren in England, Holland, Brazil, Chile, By changing this shape, the symbol is Australia, Iceland and the United made to point to the directions around States are being taught to reconstruct you — forward, backward, right, left dances from Labanotation. Here is a and the four diagonal directions that sample of how it works: are in between. 1. Body: A vertical staff is used to in­ dicate the body. It represents you, the dancer. The center line is your center line, so that the right leg, arm, shoulder, etc., are written on the right side of the staff. The left parts of your body are shown on the left side of the staff. There is a column for each part of the body, and the direction symbol is placed

46 line of the staff also represents time going by as you read it going up the page, and so a slow movement will take IB I a lot of space on the time line. 3. Levels: The level, meaning how high or how low, is shown by shading the symbol. Black is low (down toward the earth); a dot means horizontal or "middle" level; and stripes mean high, upward (toward the sky). 4. Timing: How long a movement lasts is shown by the length of the move­ ment symbol. A slow movement will be written with a long symbol, a fast move­ w 0 ment with a short symbol. The center Slow Fast

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/ 1 • • i / 1X2 X The fivebasi c ballet positions, and all other dance movements, can be recorded in written form by Labanotation.

47 How You Can Enjoy Ballet

To help you become even more famil­ possible for you to borrow a recording iar with this dance form, reading other as you would a book. Some libraries books about ballet, famous ballet danc­ also have facilities for listening to rec­ ers or stories about girls and boys in ords in a music room. ballet can be a worthwhile experience. However, nothing can take the place Several good books are probably avail­ of a real live ballet performance. Good able at your local library and your ballet schools in your vicinity may give librarian will be glad to help you in public recitals. Or there may be a col­ making a selection. lege near you with a dance department Some of the finest music in the world that schedules regular concert perform­ has been written for the ballet, includ­ ances. Best of all, if a ballet company ing Tschaikovsky's Swan Lake, The comes to your town, or nearby, see the Sleeping Beauty and The Nutcracker; production if you can. Rimsky-Korsakov's Scheherazade and But before you go, find out which Snow Maiden; Debussy's The After­ ballet will be performed. Then look up noon of a Faun; Stravinsky's Petrou­ the story of that particular ballet in a chka; Offenbach's Gaite Parisienne; book. Knowing the plot in advance will Chopin's Les Sylphides; Delibes' Sylvia help you to understand the actions of and Coppelia; and Strauss' Pizzicato the dancers. Thus prepared, you will Polka. This music is available on phono­ really be able to enter the wonderful graph records, and since many libraries world of ballet — a world of magnifi­ now have record collections, it may be cent music, drama, art and magical dancing that will hold you spellbound. WESTERN SYMPHONY "Are those people really real?" you, There is no story in the ballet Western Symphony. Rather, it too, may feel like asking. And who is a Western scene depicting cowboy life. Brilliant color, bril­ knows — some day a boy or girl may liant costumes and catchy music give it a special quality. be asking his mother or father the same question about you!

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