Ravenna Tucker Wagnon Professor of Dance
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Belhaven University Dance Student Handbook 2021-2022
Belhaven University Dance Student Handbook 2021-2022 Welcome to the Dance Department at Belhaven University. We have prepared this handbook to ease your transition into our department. It contains general information you will use throughout your time as a dance student and answers many commonly asked questions. Please use this handbook in consultation with your dance faculty advisor who will guide you through your program of study at Belhaven. We believe this year holds new and exciting opportunities for you in dance and liberal arts studies. The Belhaven University Dance Department encourages you to embrace all that God has for you in this journey. Sincerely, Krista Bower, MFA Chair and Professor of Dance 2 TABLE OF CONTENTS Vision, Mission Statement, & Goals 4 COVID-19 Policies 8 Attire Guidelines 10 Production Jobs 12 Studios & Scheduling 13 Dressing Rooms 13 Lockers 14 Attendance Policy 14 Movement Evaluations 15 Late Work 15 Injury 15 Mental & General Health 16 Department Meeting 16 Faculty Advising & Progress 17 DegreeEvaluations Tracks 17 Rehearsal Schedules & Casting 19 Ballet Technique Defined 20 Modern Levels Defined 22 Services 24 Guidelines for Writing Papers 25 Tips for Rehearsing 34 Performance Situations 35 Costume Policies 36 Annual Performances 38 Faculty & Staff Bios 40 DOXA 48 Departmental Awards 49 NASD 51 3 BELHAVEN UNIVERSITY Vision & Mission Statement Belhaven University prepares students academically and spiritually to serve Christ Jesus in their careers, in human relationships, and in the world of ideas. Belhaven University affirms the Lordship of Christ over all aspects of life, acknowledges the Bible as the foundational authority for the development of a personal worldview, and recognizes each individual’s career as a calling from God. -
Tánctudományi
TÁNCTUDOMÁNYI » 2016/2. A Magyar Táncművészeti Főiskola folyóirata VIII. évfolyam 2. szám tartalom A Magyar Táncművészeti Főiskola folyóirata VIII. évfolyam 2. szám Karinthy Ferenc Kései álom Forrásközlés Szerkesztőség: Jean-Joseph Nyssen: A tánc (1882) 4 Fuchs Lívia: Hirschberg Erzsébet hagyatéka az OSZMI Táncarchívumában 10 – A hirdetésre jelentkezem. Tóvay Nagy Péter főszerkesztő Bolvári-Takács Gábor lapigazgató – Melyik hirdetés? Macher Szilárd – Az önök hirdetése. Hogy az Állami Balettintézet Major Rita Tanulmány Mizerák Katalin felvételre keres jelentkezőket. Hát itt volnék. Művelődéstörténet Lapterv, tördelés: Anne Wéry: – Nyolc-kilenc éves fiúkat és leánykákat. Tellinger András A felnégyelt tánc a késő középkortól a klasszikus korig: szokás, esztétika és hiedelem az újlatin Európában 40 – Igen. Olvastam az újságban. A borítón Demetros Anastasatos: Terpszikhoré (bronz, 1963, Berlin) Néptánckutatás – Erre akar jelentkezni? című szobra látható. Dóka Krisztina: Közelkép a 19. század végének népi tánckultúrájából 59 – Engedelmükkel. Tánctudományi Közlemények Tánctörténet A Magyar Táncművészeti Mangi Kornélia: Tánc az első világégés után. – Bocsánat, ön hány éves? Főiskola lektorált, tudományos A tánckultúra új mérföldkövei a XX. század első felében 80 – Hatvan múltam. folyóirata A szerkesztőség címe: David Vaughan: Frederick Ashton és balettjei 83 – És hány kiló? MTF Elméleti Tanszék 1145 Budapest, – Kilencvenhárom. Tudom, kissé túlkoros vagyok. Columbus u. 87-89. Tel.: 273-3430, fax: 273-3433 Recenzió De nagyon fogok igyekezni. Gyermekkorom e-mail: [email protected] www. mtf.hu óta álmom, hogy balett-táncos legyek. Juhász Zoltán: Zórándi Mária pályaképei ISSN 2060-7148 a színpadi néptáncművészet 20. századi történetéből 95 Lapnyilvántartási szám: – Attól tartok, kissé elkésett. CE/14319-3/2016. Megjelenik évente kétszer, a – Igazán egészen komolyan venném. Nem Nemzeti Kutatási, Fejlesztési és Beszámoló sajnálom a fáradságot. -
White Lodge Museum : Newsletter
Newsletter | Autumn 2013 Issue 10 Dame Monica Mason with a painting of Leslie Hurry’s set design for Helpmann’s Hamlet, which she has kindly donated to White Lodge Museum Panel discussion L - R: Professor Richard Cave, choreographer Andrew McNicol and Dr Víctor Durà-Vilà On 27 October White Lodge Museum hosted a full day symposium The Many Faces of Robert Helpmann. Foundations of the event lay in a reconstruction of Helpmann’s 1944 ballet Miracle in the Gorbals. David Drew, former Principal with The Royal Ballet, began a project with White Lodge Museum in 2011 to reconstruct the ‘lost’ ballet. Several members of the original cast were involved including Gillian Lynne, Pauline Clayden, Julia Farron, Jean Bedells and Henry Danton. Following a very successful workshop at White Lodge with a cast of 40 dancers, the decision was taken to hold a symposium to explore the significance of Helpmann in British ballet, theatre and film. A Royal Ballet School student performs in Andrew Film footage of the Miracle in the Gorbals workshop McNicol’s new choreography based on Adam Zero. formed the basis of a paper by Michael Byrne as part of his PhD at the University of Cambridge. He is investigating the regenerative processes of reviving ballets with scores by the composer Arthur Bliss. In addition to Miracle in the Gorbals Bliss wrote the music for Helpmann’s ballet Adam Zero (1946). Dr Víctor Durà-Vilà, Visiting Research Fellow at King’s College London, considered why Helpmann and Bliss made such an effective creative partnership. Along with diverse papers, panels and film screenings there was performance by Royal Ballet School students in new choreography by Andrew McNicol based on Adam Zero. -
MEDIA PACK [email protected]
MEDIA PACK www.dancing-times.co.uk [email protected] Dance Matters News English National Ballet’s Dance Matters in brief Letters Talking Point ASHTON IN SARASOTA Calendar ★ Emerging Dancers All the most important dance news Xander Parish, the fi rst Post to e Editor, Dancing Times, 45-47 Clerenwell Green, London, EC1 0EB, See Frederick Ashton’s ballets. Get a tan. Combining those two pastimes is rarely Dates for your diary Junor Souza as Ali in Le Corsaire. British dancer to join Bill Harpe considers dance and slavery possible in London, but, writes Leigh Witchel, you can do it in Sarasota, Florida the Maryinsky Ballet, or email [email protected] makes his debut as Prince May 19. The six dancers will These listings are made as comprehensive as possible but Inclusion of dates is dependent upon information received. Vintage Fonteyn and Symphonic Siegfried in Swan Lake perform in front of a panel not just watching, Natalia On May 1 this year, after inclusion does not necessarily mean recommendation. In addition, we have details of some advance programmes Star Letter from overseas/UK companies and UK tours. For more details on March 1, with further of judges. The winner will Osipova’s comet soaring 40 enjoyable years dancing iverpool’s the chain gang as a point of African Americans who professional dancing and Copy deadline for possible entries is always the 1st of the (subject to availability) email as above or call 020 7250 3006. performances this season. be announced at the end of Dear Editor –– I do so agree with Gerald Dowler’s article through the ballet sky, casting Cotswold and Yorkshire International Slavery origin.. -
MEDIA PACK [email protected]
MEDIA PACK www.dancing-times.co.uk [email protected] Dance Matters News English National Ballet’s Dance Matters in brief Letters Talking Point ASHTON IN SARASOTA Calendar ★ Emerging Dancers All the most important dance news Xander Parish, the fi rst Post to e Editor, Dancing Times, 45-47 Clerenwell Green, London, EC1 0EB, See Frederick Ashton’s ballets. Get a tan. Combining those two pastimes is rarely Dates for your diary Junor Souza as Ali in Le Corsaire. British dancer to join Bill Harpe considers dance and slavery possible in London, but, writes Leigh Witchel, you can do it in Sarasota, Florida the Maryinsky Ballet, or email [email protected] makes his debut as Prince May 19. The six dancers will These listings are made as comprehensive as possible but Inclusion of dates is dependent upon information received. Vintage Fonteyn and Symphonic Siegfried in Swan Lake perform in front of a panel not just watching, Natalia On May 1 this year, after inclusion does not necessarily mean recommendation. In addition, we have details of some advance programmes Star Letter from overseas/UK companies and UK tours. For more details on March 1, with further of judges. The winner will Osipova’s comet soaring 40 enjoyable years dancing iverpool’s the chain gang as a point of African Americans who professional dancing and Copy deadline for possible entries is always the 1st of the (subject to availability) email as above or call 020 7250 3006. performances this season. be announced at the end of Dear Editor –– I do so agree with Gerald Dowler’s article through the ballet sky, casting Cotswold and Yorkshire International Slavery origin.. -
Laban Notation Scores: an International Bibliography Ð Volume Iv Ð Electronic Version
LABAN NOTATION SCORES: AN INTERNATIONAL BIBLIOGRAPHY – VOLUME IV – ELECTRONIC VERSION LABAN NOTATION SCORES: AN INTERNATIONAL BIBLIOGRAPHY VOLUME IV MARY JANE WARNER With P. Megan Andrews An ICKL Publication 1999 LABAN NOTATION SCORES: AN INTERNATIONAL BIBLIOGRAPHY – VOLUME IV – ELECTRONIC VERSION This bibliography was made possible in part through the assistance of a York University Matching Funds Graduate Assistantship. ISBN 0-9621312-5-3 Copyright 1999 by Mary Jane Warner and the International Council of Kinetography Laban. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or translated in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior written consent of the author. ii LABAN NOTATION SCORES: AN INTERNATIONAL BIBLIOGRAPHY – VOLUME IV – ELECTRONIC VERSION TABLE OF CONTENTS PREFACE v ARRANGEMENT AND FORM OF ENTRIES 1 MAIN LABAN NOTATION COLLECTIONS 3 ENTRIES 7 GENRE INDEX 59 iii LABAN NOTATION SCORES: AN INTERNATIONAL BIBLIOGRAPHY – VOLUME IV – ELECTRONIC VERSION iv LABAN NOTATION SCORES: AN INTERNATIONAL BIBLIOGRAPHY – VOLUME IV – ELECTRONIC VERSION PREFACE The fourth volume of Laban Notation Scores: An International Bibliography contains entries of both dance and non-dance materials, notated or reported since 1995. It follows the same format as the previous volumes, and should be used as a companion to the earlier bibliographies. Some notation libraries have not submitted regular updates of their materials, therefore, these libraries may have additional scores not listed here. The holdings for the Dance Notation Bureau and the Language of Dance Centre, however, are listed in full. European entries continue to increase, particularly from the Conservatoire National Supérieur de Musique et de Danse de Paris. -
June 2011 Simon Russell Beale CBE Nickolas Grace Price 50P When Sold
President: Vice President: No. 475 - June 2011 Simon Russell Beale CBE Nickolas Grace Price 50p when sold A Cause for Celebration at the Old Vic Betrayal. Envy. Adultery. Deceit. Murder. Judgement. These are the themes of the Terence Rattigan play Cause Celebre currently on at the Old Vic Theatre. Fortunately, after their matinee performance on the 23rd April, all was jovial conviviality as the cast of Cause Celebre joined Vic-Wells members for their annual Shakespeare’s Birthday Party. Simon Chandler, raising a toast to the Bard, entertained the guests with a speech full of Shakespearean references. Also present were Freddie Fox and Lucy Robinson (Tony Davenport and Stella Morrison in Cause Celebre) and Vic-Wells Vice president Simon Chandler proposes the toast Nickolas Grace. Ruth Jeayes excelled this year in her provision of an excellent buffet, much enjoyed by all. Everyone at the event wore a sprig of rosemary “for remembrance”. Although Rattigan wrote Cause Celebre in 1977, he chose to set the play in the 1930’s (when the sensational murder trial actually took place) thus writing a period piece through the lens of a different era. Niamh Cusack, who plays the fictional c h a r a c t e r E d i t h Davenport commented, “ Rattigan displays real, flesh and blood people who love, hate and feel jealous, who do and say terrible things they regret afterwards. We’ve all been there”. Niamh Cusack Anne-Marie Duff An n e-Marie Duff ’s memorable, poignant performance as accused m u r d e r e s s A l m a Rattenburry said, “ This play is about a trial, yet you feel as though every character is on trial in some way”. -
October 2018 Nickolas Grace Wayne Sleep OBE
President: Vice President: No. 504 - October 2018 Nickolas Grace Wayne Sleep OBE The Old Vic and the Nativity Play Liz Schafer reveals the part played by Lilian Baylis in the staging of the now traditional nativity play in England Christmas cards are now in the shops and, no doubt, nativity plays are being planned so it’s a good moment to acknowledge the part played by the Old Vic in the development of that great British institution, The Nativity Play. Because at the beginning of the twentieth century in Britain you had to go abroad to see a nativity play. And that is what Lilian Baylis did. In 1900, Baylis went on a holiday to Germany visiting the Rhine and Oberammergau with its famous Passion Play in its brand new theatre. Baylis was also a good friend of the now mostly forgotten but extraordinary controversialist, the Reverend Stewart Headlam, who founded the Church and Stage Guild in 1879. Headlam fought hard to improve attitudes towards theatre, and performers at a time when theatres were banned from staging biblical narratives, or even examining religious themes. In the UK at the time requests to the censor, the Lord Chamberlain, for permission to stage re-enactments of Biblical stories – whether made by theatre makers or vicars – were always refused, and even staging decorous tableaux accompanied by a gospel reading was a risky enterprise. Then in 1901 William Poel, who had worked at the Vic during 1881-83 under Emma Cons, staged the first modern stage production of the Mediaeval Christian morality play Everyman at the Charterhouse in London. -
Dance in Canada Association (A Non Les Ballets Jazz: a Tough Decade 14 Profit Organization
les ballets Jazz■ drfiontreal Summer Session Session d'ete '83 June 27 - August 28 27 Juin - 28 Aout CURRICULUM: JAZ.Z - BALLET - TAP MUSICAL THEATRE THEATRE MUSICAL MODERN (LIMON) MODERNE (LIMON) WORKOUTS AEROBIC JAZ.Z CHOREOGRAPHIC ATELIERS WORKSHOPS CHORtGRAPHIQUES with Company Members Avec membres de la compagnie WRITE TO RECEIVE OUR BROCHURE ECRIVEZ-NOUS POUR RECEVOIR NOTRE DtPLIANT MONTREAL TORONTO QUEBEC LAVAL 1231 Ouest Ste. Catherine 207 Adelaide St. E. 777 Cote des Glacis 1950 est, Blvd. de la Concorde Montreal, P.a. Toronto, Ont. Carre d'Youville Duvernay, Quebec tel. (514) 849-6071 M5A 1M8 Quebec G1R 3R1 H7G 4P5 tel. (416) 862-7114 tel. (418) 694-0244 tel. (514) 669-9211 Issue Number 35 Spring 1983 Printemps Michael Crabb Editor/Redacteur FEATURES Holly Small "As God and the Spirits Would Have It" 2 Assistant Editor/Redactrice adjointe Paula Ross and Company Leslie Manning 7 Jack Cunningham PETER RYAN Advertising Representative/Publicite Charters Litho Inc. Photo-Gallery: The Experimental Scene 9 Production MARY REID Published quarterly by Dance in Canada Association (a non Les Ballets Jazz: A Tough Decade 14 profit organization. registration .lt0022 1-22-23) 38 Charles Street East. Toronto, M4Y !Tl , Ontario, (416) 92 1-5169. Genevieve Salbaing Speaks Out Peggy Macleod Managing Di rector. The views ex pressed in PAUL CITRON this publication are not necessarily those of Dance in Canada Association. All rights reserved. CopyrightCI 1983 by the Dance in Canada Association. Subscript ions: $10/year; $ 18/ two years; $15 institutions. Outsi de Canada add $3.00. Back issues are ava il able in microfi lm from Mi cro media Ltd .• Sing the Body Elastic 17 144 Front St.