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Performance and Discourse of Musicality in Cuban Ballet Aesthetics
Smith ScholarWorks Dance: Faculty Publications Dance 6-24-2013 “Music in the Blood”: Performance and Discourse of Musicality in Cuban Ballet Aesthetics Lester Tomé Smith College, [email protected] Follow this and additional works at: https://scholarworks.smith.edu/dan_facpubs Part of the Dance Commons Recommended Citation Tomé, Lester, "“Music in the Blood”: Performance and Discourse of Musicality in Cuban Ballet Aesthetics" (2013). Dance: Faculty Publications, Smith College, Northampton, MA. https://scholarworks.smith.edu/dan_facpubs/5 This Article has been accepted for inclusion in Dance: Faculty Publications by an authorized administrator of Smith ScholarWorks. For more information, please contact [email protected] POSTPRINT “Music in the Blood”: Performance and Discourse of Musicality in Cuban Ballet Aesthetics Lester Tomé Dance Chronicle 36/2 (2013), 218-42 https://doi.org/10.1080/01472526.2013.792325 This is a postprint. The published article is available in Dance Chronicle, JSTOR and EBSCO. Abstract: Alicia Alonso contended that the musicality of Cuban ballet dancers contributed to a distinctive national style in their performance of European classics such as Giselle and Swan Lake. A highly developed sense of musicality distinguished Alonso’s own dancing. For the ballerina, this was more than just an element of her individual style: it was an expression of the Cuban cultural environment and a common feature among ballet dancers from the island. In addition to elucidating the physical manifestations of musicality in Alonso’s dancing, this article examines how the ballerina’s frequent references to music in connection to both her individual identity and the Cuban ballet aesthetics fit into a national discourse of self-representation that deems Cubans an exceptionally musical people. -
PRESS RELEASE Ballet
PRESS RELEASE Filip Barankiewicz The Artistic Director of The Czech National Ballet ballet ON-LINE WORLD PREMIERE OF THE CZECH NATIONAL BALLET CNB YOUTUBE CHANNEL PUPPET DOS SOLES SOLOS Two choreographies / double experience During 2020/2021 season The Czech National Ballet manages to stimualate creative energy and seeking new artistic impulses. The world online premiere of works by choreographers Douglas Lee and Alejandro Cerrudo ranks among them. We value every moment when we can freely create and thus contribute to the formation of a sensitive and supportive environment… Douglas Lee and Alejandro Cerrudo worked with The Czech National Ballet since August 2020. The dancers learned to exercise in face masks, disinfect their hands, split into small closed groups, take tests, protect themselves and others, watch their health and act as an evidence that the covid era shall not destroy the arts, the live theatre. In November 2020 these artists completed their new choreographies and the works were recorded. All choreographies are part of the Phoenix production which has entered the repertory of The Czech National Ballet (the third part of the premiere is Prelude und Liebestod by Cayetano Soto). We are ready to perform all three creations whenever audiences can return to our historical building. The live premiere is still to come and we hope to reconnect soon. On March 18, 2021 at 7pm we will be showing PUPPET (choreography by Douglas Lee) and on March 25, 2021 at 7pm DOS SOLES SOLOS (choreography by Alejandro Cerrudo); both works on YouTube channel of the Czech National Ballet. Douglas Lee: ‘My ballet is called Puppet. -
Cesare Pugni: Esmeralda and Le Violon Du Diable
Cesare Pugni: Esmeralda and Le Violon du diable Cesare Pugni: Esmeralda and Le Violon du diable Edited and Introduced by Robert Ignatius Letellier Cesare Pugni: Esmeralda and Le Violon du diable, Edited by Edited and Introducted by Robert Ignatius Letellier This book first published 2012 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2012 by Edited and Introducted by Robert Ignatius Letellier and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-3608-7, ISBN (13): 978-1-4438-3608-1 Cesare Pugni in London (c. 1845) TABLE OF CONTENTS Introduction ............................................................................................................................... ix Esmeralda Italian Version La corte del miracoli (Introduzione) .......................................................................................... 2 Allegro giusto............................................................................................................................. 5 Sposalizio di Esmeralda ............................................................................................................. 6 Allegro giusto............................................................................................................................ -
Press Kit for Ballets Russes, Presented by Capri Releasing
PRESENTS BALLETS RUSSES A film by Dan Geller and Dayna Goldfine. A fifty-year journey through the lives of the revolutionary artists who transformed dance. Running Time: 120 Minutes Media Contact: Anna Maria Muccilli AM Public Relations 1200 Bay St., Suite 900 Toronto, Ontario, M5R 2A5 416.969.9930 x 231 [email protected] For photography, please visit: http://www.caprifilms.com/capri_pressmaterial.html Geller/Goldfine P R O D U C T I O N S Ballets Russes Synopsis Ego, politics, war, money, fame, glamour, love, betrayal, grace… and dance. Ballets Russes is a feature-length documentary covering more than fifty years in the lives of a group of revolutionary artists. It tells the story of the extraordinary blend of Russian, American, European and Latin American dancers who, in collaboration with the greatest choreographers, composers and designers of the first half of the 20th century, transformed ballet from mere music hall divertissement to a true art form. From 1909, when Russian impresario Serge Diaghilev premiered his legendary Ballet Russe company in Paris, to 1962 when Serge Denham’s Ballet Russe de Monte Carlo performed for the last time in Brooklyn, Ballets Russes companies brought their popular, groundbreaking and often controversial choreographies to big cities and small towns around the world. Along the way, these artistic visionaries left their mark on virtually every other area of art and culture – from stage design, painting and music to Hollywood and Broadway. Through their inclusive cosmopolitanism, they also put the first African-American and Native American ballerinas on the stage. Using intimate interviews with surviving members of the Ballets Russes companies (now in their 70s, 80s and 90s) as well as rare archival materials and motion picture footage, Ballets Russes is both an ensemble character film and an historical portrait of the birth of an art form. -
Year 8 Dance Project Black History Through Dance
Year 8 Dance Project Black History Through Dance I am trying to show the world that we are all human beings and that colour is not important. What is important is the quality of our work – Alvin Ailey A range of dance styles originated through black history including the tribal dances of Africa, the slave dances of the West Indies and the American Deep South, the Harlem social dances of the 1920s and the jazz dance of Broadway musicals. These styles of dance are hugely influential, inspiring new choreography as well as supporting the story of black history. TASK 1 – Read all of the information below Africa and the West Indies The two main origins of black dance are African dance and the slave dances from the plantations of the West Indies. Tribes or ethnic groups from every African country have their own individual dances. Dance has a ceremonial and social function, celebrating and marking rites of passage, sex, the seasons, recreation and weddings. The dancer can be a teacher, commentator, spiritual medium, healer or storyteller. In the Caribbean each island has its own traditions that come from its African roots and the island’s particular colonial past – British, French, Spanish or Dutch. 18th-century black dances such as the Calenda and Chica were slave dances which drew on African traditions and rhythms. The Calenda was one of the most popular slave dances in the Caribbean. It was banned by many plantation owners who feared it would encourage social unrest and uprisings. In the Calenda men and women face each other in two lines moving towards each other than away, then towards each other again to make contact - slapping thighs and even kissing. -
Remembering Edouard Borovansky and His Company 1939–1959
REMEMBERING EDOUARD BOROVANSKY AND HIS COMPANY 1939–1959 Marie Ada Couper Submitted in total fulfillment of the requirements of the degree of Doctor of Philosophy 2018 School of Culture and Communication The University of Melbourne 1 ABSTRACT This project sets out to establish that Edouard Borovansky, an ex-Ballets Russes danseur/ teacher/choreographer/producer, was ‘the father of Australian ballet’. With the backing of J. C. Williamson’s Theatres Limited, he created and maintained a professional ballet company which performed in commercial theatre for almost twenty years. This was a business arrangement, and he received no revenue from either government or private sources. The longevity of the Borovansky Australian Ballet company, under the direction of one person, was a remarkable achievement that has never been officially recognised. The principal intention of this undertaking is to define Borovansky’s proper place in the theatrical history of Australia. Although technically not the first Australian professional ballet company, the Borovansky Australian Ballet outlasted all its rivals until its transformation into the Australian Ballet in the early 1960s, with Borovansky remaining the sole person in charge until his death in 1959. In Australian theatre the 1930s was dominated by variety shows and musical comedies, which had replaced the pantomimes of the 19th century although the annual Christmas pantomime remained on the calendar for many years. Cinemas (referred to as ‘picture theatres’) had all but replaced live theatre as mass entertainment. The extremely rare event of a ballet performance was considered an exotic art reserved for the upper classes. ‘Culture’ was a word dismissed by many Australians as undefinable and generally unattainable because of our colonial heritage, which had long been the focus of English attitudes. -
Leonide Massine: Choreographic Genius with A
LEONIDE MASSINE: CHOREOGRAPHIC GENIUS WITH A COLLABORATIVE SPIRIT A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THE GRADUATE SCHOOL OF THE TEXAS WOMAN'S UNIVERSITY DEPARTMENT OF DANCE COLLEGE OF HEALTH, PHYSICAL EDUCATION AND RECREATION BY ©LISA ANN FUSILLO, D.R.B.S., B.S., M.A. DENTON, TEXAS Ml~.Y 1982 f • " /, . 'f "\ . .;) ;·._, .._.. •. ..._l./' lEXAS WUIVIAI'l' S UNIVERSITY LIBRAR't dedicated to the memories of L.M. and M.H.F. ACKNOWLEDGMENTS The author wishes to express her appreciation to the members of her committee for their guidance and assistance: Dr. Aileene Lockhart, Chairman; Dr. Rosann Cox, Mrs. Adrienne Fisk, Dr. Jane Matt and Mrs. Lanelle Stevenson. Many thanks to the following people for their moral support, valuable help, and patience during this project: Lorna Bruya, Jill Chown, Mary Otis Clark, Leslie Getz, Sandy Hobbs, R. M., Judy Nall, Deb Ritchey, Ann Shea, R. F. s., and Kathy Treadway; also Dr. Warren Casey, Lynda Davis, Mr. H. Lejins, my family and the two o'clock ballet class at T.C.U. iv TABLE OF CONTENTS DEDICATION • • • . iii ACKNOWLEDGMENTS . iv LIST OF TABLES • . viii LIST OF FIGURES . ix LIST OF ILLUSTRATIONS . X Chapter I. INTRODUCTION . 1 Purpose • • • • • • • . • • • • 5 Problem • • . • • • • • . • • • 5 Rationale for the Study • • • . • . • • • • 5 Limitations of the Study • • . • • • • • 8 Definition.of Terms • . • • . • . • • 8 General Dance Vocabulary • • . • • . • • 8 Choreographic Terms • • • • . 10 Procedures. • • • . • • • • • • • • . 11 Sources of Data • . • • • • • . • . 12 Related Literature • . • • • . • • . 14 General Social and Dance History • . • . 14 Literature Concerning Massine .• • . • • • 18 Literature Concerning Decorative Artists for Massine Ballets • • • . • • • • • . 21 Literature Concerning Musicians/Composers for Massine Ballets • • • . -
Ballets Russes Press
A ZEITGEIST FILMS RELEASE THEY CAME. THEY DANCED. OUR WORLD WAS NEVER THE SAME. BALLETS RUSSES a film by Dayna Goldfine and Dan Geller Unearthing a treasure trove of archival footage, filmmakers Dan Geller and Dayna Goldfine have fashioned a dazzlingly entrancing ode to the rev- olutionary twentieth-century dance troupe known as the Ballets Russes. What began as a group of Russian refugees who never danced in Russia became not one but two rival dance troupes who fought the infamous “ballet battles” that consumed London society before World War II. BALLETS RUSSES maps the company’s Diaghilev-era beginnings in turn- of-the-century Paris—when artists such as Nijinsky, Balanchine, Picasso, Miró, Matisse, and Stravinsky united in an unparalleled collaboration—to its halcyon days of the 1930s and ’40s, when the Ballets Russes toured America, astonishing audiences schooled in vaudeville with artistry never before seen, to its demise in the 1950s and ’60s when rising costs, rock- eting egos, outside competition, and internal mismanagement ultimately brought this revered company to its knees. Directed with consummate invention and infused with juicy anecdotal interviews from many of the company’s glamorous stars, BALLETS RUSSES treats modern audiences to a rare glimpse of the singularly remarkable merger of Russian, American, European, and Latin American dancers, choreographers, composers, and designers that transformed the face of ballet for generations to come. — Sundance Film Festival 2005 FILMMAKERS’ STATEMENT AND PRODUCTION NOTES In January 2000, our Co-Producers, Robert Hawk and Douglas Blair Turnbaugh, came to us with the idea of filming what they described as a once-in-a-lifetime event. -
Miguel Terekhov Collection
Miguel Terekhov Collection Inventory Prepared by Jessie Hopper Last Revision - June 2013 Table of Contents Collection Summary.............................................................................................................. 1 Biographical Note.................................................................................................................. 1 Scope and Content Note....................................................................................................... 1 Organization of the Miguel Terekhov Collection................................................................ 2 Restrictions........................................................................................................................... 2 Index Terms............................................................................................................................ 2 Administrative Information.................................................................................................... 3 Detailed Description of the Collection................................................................................. 4 Ballets Russes Archives at the University of Oklahoma School of Dance Collection Summary Repository Ballets Russes Archives at the University of Oklahoma School of Dance Collection Miguel Terekhov Title Miguel Terekhov Collection Dates 1928-2012 Bulk 1935-1997 Dates Quantity 8 boxes, 5 linear feet Abstract Miguel Terekhov, a Uruguayan dancer, was a member of both de Basil's Original Ballet Russe and the Ballet Russe de -
Ballets Russes
CINEMIEN Film & Video Distribution ABC Distribution Amsteldijk 10 Kaasstraat 4 1074 HP Amsterdam 2000 Antwerpen t. 020 – 577 6010 t. 03 – 231 0931 www.cinemien.nl www.abc-distribution.be [email protected] [email protected] presenteren / présentent: BALLETS RUSSES EEN FILM VAN / UN FILM DE DAYNA GOLDFINE & DAN GELLER Persmappen en beeldmateriaal van al onze actuele titels kunnen gedownload van onze site: www.cinemien.nl of www.abc-distribution.be Link door naar PERS en vul in; gebruikersnaam: ‘pers’, wachtwoord: ‘cinemien’ BALLETS RUSSES– synopsis (NL) Een schitterende documentaire over een revolutionaire dansgroep die bekend staat als het Ballet Russe. De groep is ontstaan uit een groep Russische vluchtelingen die nooit in Rusland hebben gedanst en splitste zich later op in twee rivaliserende dansgroepen: de ‘Original Ballet Russe’ en de ‘Ballet Russe de Monte Carlo’. De documentaire begint bij de oprichting in 1909 door de befaamde Serge Diaghilev, beschrijft de oprichting van de Ballet Russe de Monte Carlo na de dood van Diaghilev in 1929, het ontstaan van een tweede Ballets Russes groep, de voorspoedige jaren ’30 en ’40 toen het Ballet Russe door Amerika toerde, tot de ondergang in de jaren ’50 en ’60 door stijgende kosten, groeiende ego’s, competitie van buiten en intern wanbeleid. Niet alleen choreografen als Balanchine en Massine, maar ook schilders als Matisse, Dali en Picasso werkten voor de revolutionaire Ballets Russes. Om over componisten als Claude Debussy en Igor Stravinsky nog maar te zwijgen. Wereldsterren als Alicia Markova, Irina Baranova en Marc Platt halen herinneringen op. Velen van de Ballets Russes dansers van weleer zijn nu tachtig of negentig, maar zijn nog steeds actief in de balletwereld. -
A Thousand Encores: the Ballets Russes in Australia
PUBLICITY MATERIAL A Thousand Encores: The Ballets Russes in Australia CONTACT PRODUCTION COMPANY flaming star films 7/32 George Street East Melbourne 3002 Tel: +61 3 9419 8097 Mob: +61 (0)417 107 516 Email: [email protected] EXECUTIVE PRODUCER Sharyn Prentice WRITER / DIRECTOR Mandy Chang PRODUCERS Marianne Latham / Lavinia Riachi EDITOR Karin Steininger Ballets Russes dancer Anna Volkova as the Golden Cockerel in Fokine's Le Coq d'Or A Thousand Encores: The Ballets Russes in Australia SHORT SYNOPSIS A Thousand Encores is the story of how the greatest ballet company of the 20th Century - the celebrated Ballets Russes, came to Australia and awoke a nation, transforming the cultural landscape of conservative 30’s Australia, leaving a rich legacy that lasts to this day. EXTENDED SYNOPSIS A Thousand Encores tells the surprising and little known story of how, over 70 years ago, an extraordinary company of dancers made a deep impact on our cultural heritage. In 1936, the celebrated Ballets Russes de Monte Carlo stepped off a boat into the bright Australian sunlight. With exotic sets and costumes designed by cutting edge-artists and avant-garde music by great composers like Stravinsky, the Ballets Russes inspired a nation and transformed our cultural landscape. Over five years from 1936 to 1940 they came to Australia three times, winning the hearts and minds of Australian audiences, inspiring a generation of our greatest artists - Grace Cossington Smith, Jeffrey Smart and Sidney Nolan - and ultimately sowing the seeds for Australian ballet today. The story is bought alive using a rich archival resource. Australia has the biggest collection of Ballets Russes footage in the world and an impressive photographic record - the most famous pictures taken by a young Max Dupain. -
Irina Baronova and the Ballets Russes De Monte Carlo Free
FREE IRINA BARONOVA AND THE BALLETS RUSSES DE MONTE CARLO PDF Victoria Tennant | 256 pages | 17 Oct 2014 | The University of Chicago Press | 9780226167169 | English | Chicago, IL, United States Irina Baronova and the Ballets Russes de Monte Carlo. Victoria Tennant – Michelle Potter Publication supported by the Neil Harris Endowment Fund. Art: Art--Biography Photography. History: General History. Music: General Music. You may purchase this title at these fine bookstores. Outside the USA, see our international sales information. University of Chicago Press: E. About Contact News Giving to the Press. Shaping Society through Dance Zoila S. Infinite Repertoire Adrienne J. Merce Cunningham Carrie Noland. Clicko Neil Parsons. The story of Irina Baronova is also the story of the rise of ballet in America thanks to the Ballets Russes, who brought the magisterial beauty and star power of dance to big cities and small towns alike. Irina Baronova and the Ballet Russes de Monte Carlo offers a unique perspective on this history, sure to be treasured by dance patrons and aspiring stars. Table of Contents. Mikhail Baryshnikov. She was a total pro and an elegant human being. These pages made me realize how lucky we are now, we American dancers, because of the pioneering energy and sheer strength of Baronova and the other great dancers of the Ballets Russes who performed tirelessly night after night, stirring and thrilling hearts in every tiny pocket of America. It is something that should never be forgotten and should be instilled in all young dancers. We could never enjoy the careers we have today without these artists paving the way for us.