Swan Lake March 11 – 21, 2010
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Classical Music Learning Guide for Swan Lake
Classical Music Distance Learning Guide Distance Learning Guide This guide is designed to help you: • Introduce the story and artistry of Swan Lake to students. • Introduce students to classical music in a fun an engaging way. Contributors: Vanessa Hope, Director of Community Engagement DeMoya Brown, Community Engagement Manager Table of Contents About Swan Lake Artistic & Production Team………………………………………………………….……….…………...….3 The Swan Lake Story ………………………………………………………………...………………….….4 The Swan Lake Creators………………………………………..……………………...…………………....5 The History of Swan Lake……………………………………………………….…………………………..6 Set Design ……...…………………………………...………………...……………………………………...7 Characters…………………………………………………………………….……………………………….8 Introduction to Classical Music ………………………………………………………………………………………9 Music of Swan Lake …………………………………………………………………………………..10—11 Music Activities………………………………………………………………………………………...12—14 Community Engagement Mission Intrinsic to The Washington Ballet’s mission to bring the joy and artistry of dance to the nation’s capital, our community engagement programs provide a variety of opportunities to connect children and adults of all ages, abilities and backgrounds to the art of dance. We aspire to spark and enhance a love for dance, celebrate our cultural diversity and enrich the lives of our community members. To learn more visit: www.washingtonballet.org The Washington Ballet’s Community Engagement programs are supported by: DC Commission on the Arts and Humanities John Edward Fowler Memorial Foundation Howard and Geraldine Polinger -
Cockerel, Pierrette in Harlequinade, Blanche Ingram in Jane Eyre
Founders Stella Abrera is the Artistic Director of Kaatsbaan and a Principal Dancer with American Ballet Gregory Cary Kevin McKenzie Theatre. Ms. Abrera is from South Pasadena, California, and began her studies with Philip and Bentley Roton Martine van Hamel Charles Fuller and Cynthia Young at Le Studio in Pasadena. She continued her studies with Lorna Executive Director Diamond and Patricia Hoffman at the West Coast Ballet Theatre in San Diego. She also spent three Sonja Kostich Artistic Director years studying the Royal Academy of Dancing method with Joan and Monica Halliday at the Stella Abrera Halliday Dance Centre in Sydney, Australia. Board of Trustees Kevin McKenzie, Chair Stella Abrera Ms. Abrera joined American Ballet Theatre as a member of the corps de ballet in 1996, was Christine Augustine Gregory Cary appointed a Soloist in 2001, and Principal Dancer in August 2015. Her repertoire with ABT includes Sandy Choi Sonja Kostich the Girl in Afternoon of a Faun, Calliope in Apollo, Gamzatti and a Shade in La Bayadère, The Chris Omark Bentley Roton Ballerina in The Bright Stream, Cinderella and Fairy Godmother in Frederick Ashton’s Cinderella, Martine van Hamel Moss and Cinderella in James Kudelka’s Cinderella, Aurora in Coppélia, Gulnare and an Odalisque Board of Advisors in Le Corsaire, Chloe in Daphnis and Chloe, She Wore a Perfume in Dim Lustre, the woman in white Dancers Isabella Boylston in Diversion of Angels, Mercedes, the Driad Queen and a Flower Girl in Don Quixote, Helena in The Gary Chryst Herman Cornejo Dream, the first -
Nederlands Dans Theater Bambill
1994 NEXT WAVE FESTIVAL 1994 NEXT WAVE COVER AND POSTER ARTIST ROBERT MOSKOWITZ NEDERLANDS DANS THEATER BAMBILL BROOKLYN ACADEMY OF MUSIC Harvey Lichtenstein, President & Executive Producer presents in the BAM Opera House October 17, 1994, 7pm; October 18-22, 8pm and in the BAM Majestic Theater October 24-29, 8pm; October 30, 3pm NEIERLANIS IANS THEATER Artistic Director: JIRI KYLIAN Managing Director: MICHAEL DE Roo Choreographers: JIRI KYLIAN & HANS VAN MANEN Musical Director: CHRISTOF ESCHER Executive Artistic Directors: GLENN EDGERTON (NDT1), GERALD TIBBS (NDT2), ARLETTE VAN BOVEN (NDT3) Assistants to the Artistic Directors: HEDDA TWIEHAUS (NDT 2) & GERARD LEMAITRE (NDT 3) Rehearsal Assistant to the Rehearsal/Video Director Artistic Director Director ROSLYN ANDERSON ULF ESSER HANS KNILL Company Organization Musical Coordinator/ Manager (NDT 2) (NDT1&3) Pianist CARMEN THOMAS CARINA DE GOEDEREN RAYMOND LANGEWEN Guest Choreographers (1994/95 season) MAURICE BEJART CHRISTOPHER BRUCE MARTHA CLARKE PATRICK DELCROIX WILLIAM FORSYTHE LIONEL HoCtIE PAUL LIGHTFOOT JENNIFER MULLER OHAD NAHARIN GIDEON OBARZANEK PHILIPPE TREHET PATRIZIA TUERLINGS Guest Teachers BENJAMIN HARKARVY (Guest teacher, North American tour) CHRISTINE ANTHONY KATHY BENNETS JEAN-PIERRE BONNEFOUX OLGA EVREINOFF IVAN KRAMAR IRINA MILOVAN JAN NUYTS ALPHONSE POULIN LAWRENCE RHODES MARIAN SARSTADT Technical Director Marketing & Publicity Joop CABOORT KEES KORSMAN & EVELINE VERSLUIS Costume Department Tour Management JOKE VISSER WANDA CREMERS Pianist Dance Fitness Therapist Chiropractor -
University of Oklahoma Graduate College Second and Trainee Companies in the United States
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE SECOND AND TRAINEE COMPANIES IN THE UNITED STATES: AN ANALYSIS OF PAST AND PRESENT MISSIONS A THESIS SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of MASTER OF FINE ARTS IN DANCE By TYE ASHFORD LOVE Norman, Oklahoma 2016 SECOND AND TRAINEE COMPANIES IN THE UNITED STATES: AN ANALYSIS OF PAST AND PRESENT MISSIONS A THESIS APPROVED FOR THE SCHOOL OF DANCE BY ______________________________ Mr. Jeremy Lindberg, Chair ______________________________ Mr. Ilya Kozadayev ______________________________ Mr. Robert Bailey © Copyright by TYE ASHFORD LOVE 2016 All Rights Reserved. Acknowledgements I first want to thank my extraordinary committee members who without their inspiration in class and in life this document could not be possible, chair Jeremy Lindberg, as well as Ilya Kozadayev and Robert Bailey. I also want to thank the faculty of the University of Oklahoma School of Dance for their continuous support throughout my career, and valuable guidance from Dean Mary-Margaret Holt. I am also lucky to have the best family you could ask for, and their support is priceless. The phone call from home everyday is something I always look forward to. Thank you so much Mom and Dad! I also want to salute my amazing wife who is my biggest fan, thesis editor, best friend, and greatest love. I want to dedicate this document to my late mentor, John Magnus. John inspired many, including myself, to pursue a career in dance with his incredible passion and knowledge of guiding dancers. A passion I hope to pass down to future generations. -
Dorathi Bock Pierre Dance Collection, 1929-1996
http://oac.cdlib.org/findaid/ark:/13030/c8pc33q9 No online items Finding Aid for the Dorathi Bock Pierre dance collection, 1929-1996 Processed by Megan Hahn Fraser and Jesse Erickson, March 2012, with assistance from Lindsay Chaney, May 2013; machine-readable finding aid created by Caroline Cubé. UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 Email: [email protected] URL: http://www.library.ucla.edu/libraries/special/scweb/ ©2013 The Regents of the University of California. All rights reserved. Finding Aid for the Dorathi Bock 1937 1 Pierre dance collection, 1929-1996 Descriptive Summary Title: Dorathi Bock Pierre dance collection Date (inclusive): 1929-1996 Collection number: 1937 Creator: Pierre, Dorathi Bock. Extent: 27 linear ft.(67 boxes) Abstract: Collection of photographs, performance programs, publicity information, and clippings related to dance, gathered by Dorathi Bock Pierre, a dance writer and publicist. Language: Finding aid is written in English. Language of the Material: Materials are in English. Repository: University of California, Los Angeles. Library Special Collections. Los Angeles, California 90095-1575 Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact UCLA Library Special Collections for paging information. Restrictions on Access Open for research. STORED OFF-SITE AT SRLF. Advance notice is required for access to the collection. Please contact UCLA Library Special Collections for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UC Regents. Literary rights, including copyright, are retained by the creators and their heirs. -
T H E B a L L E T B L a N
T A C O M A C I T Y B A L L E T L I B R A R Y T H E B A L L E T B L A N C S W R I T T E N B Y E R I N M. C E R A G I O L I The Ballet Blancs The Ballet Blancs or “White Ballets” were christened so because the Ballerina and the Corps de Ballet all wore white tutus, either Romantic or Classical, and so the name of the genre is de- rived from the white tutu. The Ballet Blancs incorporated the Romantic Style of Classical Ballet from the nineteenth century, whose plot was populated by dryads, enchanted maidens, fairies, ghosts, naiads, shades, shadows or other supernatural creatures and spirits.. The Ballet Blancs T H E B A L L E T O F T H E N U N S The Ballet of the Nuns Set Design By Pierre Ciceri “THE BALLET OF NUNS” “By the hundred they rise from the graveyard and drift into the cloister. They seem not to touch the earth. Like vaporous images, they glide past one another… Suddenly their shrouds fall to the ground. They stand in all their voluptuous nakedness, and there begins a bacchanal.” ~Hans Christian Andersen~ After the July Revolution of 1830, a Constitutional Monarchy was established in France under the Reigning Monarch, Louis-Philippe I. Now ruling the nation, French Parliament decided to remove the Paris Opera from the Royal Household and completely withdrew the enormous state subsidy that had been granted the Paris Opera since 1669. -
The Ballet Class: Educating Creative Dance Artist?
DOCTORAL THESIS The ballet class educating creative dance artists? Crow, Susie Award date: 2020 General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 27. Sep. 2021 The Ballet Class: Educating Creative Dance Artists? by Susie Crow, MA, Cert. TLHPE A thesis submitted in partial fulfilment of the requirements for the degree of PhD Department of Dance University of Roehampton 2019 1 2 Abstract The ballet class is the primary means of learning about ballet, shaping not just the dancing but the attitudes and perceptions of dancers throughout their careers. In recent years it has been critiqued for lack of creativity, abusive and authoritarian teaching, and as inadequate physical training for today’s dancers. This research examines the ballet class as a complex pedagogical phenomenon, an embodied tradition transmitted in practice from one generation to the next. It questions whether and in what ways the class has the potential to be an artistic education for ballet’s dancers, teachers and choreographers. -
Alexei Ratmansky on ABT’S Harlequinade
Spring-Summer 2019 Ballet Review From the Sp/Su 2019 issue of Ballet Review Alexei Ratmansky on ABT’s Harlequinade Cover photo by Paul Kolnik, NYCB: Joseph Gordon in Dances at a Gathering. © 2019 Dance Research Foundation, Inc. Ballet Review 47.1-2 Spring-Summer 2019 Editor and Designer: Marvin Hoshino Managing Editor: Roberta Hellman Senior Editor: Don Daniels Associate Editors: Joel Lobenthal Larry Kaplan Ballet Review is a nonprofit Alice Helpern journal pub lished by the Dance 168 Webmaster: Research Foundation, Inc. It David S. Weiss is supported in part by funds from the National Endowment Copy Editor: Naomi Mindlin for the Arts, the New York State Council on the Arts, The Fan Photographers: Fox and Leslie R. Samuels Tom Brazil Foundation, and individuals. Costas Contributions to the Dance Associates: Research Foundation, Inc., Peter Anastos 100 Hudson St. – Apt. 6B, Robert Greskovic New York, NY 10013, are 76 George Jackson tax-deduc tible. Elizabeth Kendall Board ofDirectors: Paul Parish Hubert Goldschmidt, Roberta Nancy Reynolds Hellman, Marvin Hoshino, James Sutton Nancy Lassalle, Dawn Lille, Edward Willinger Michael Popkin, Theodore C. Sarah C. Woodcock Rogers, Barbara E. Schlain, David Weiss. * For the latest information on subscriptions, see our website: balletreview.com. Current 95 double issue: $35. Editorial correspondence, books for review, subscriptions, and changes of address to Ballet Review, 100 Hudson St. – Apt. 6B, New York, NY 10013. Manuscripts must be accom- panied by a self-addressed, stamped returnenvelope. E-mail: [email protected]. * 207 ©2019 Dance Research Foun- dation, Inc. All rights reserved. Printed in China. issn: 0522- 0653. Periodical postage paid at New York, NY, and additional mailing offices. -
3 8 I S S U E 2 — 2 0
38 ISSUE 2 — 2019 FONTEYN OLDER FONTEYN OLDER Margot Fonteyn’s stage career stretched to her 60th birthday. Following in her footsteps, today’s star dancers increasingly defy time. Deirdre Kelly asks if age is just a number. Illustration: Rachell Sumpter for Dance Gazette 40 FONTEYN — OLDER ISSUE 2 — 2019 Having their moment… clockwise from left: Alessandra Ferri in Duse; Sonia Rodriguez; Nazareth Panadero (centre) in Bon Voyage, Bob Photos: Kiran West; Karolina Kuras; Mats Bäcker Margot Fonteyn retired from dancing in 1979 on her 60th birthday, nearly eventually sue for wrongful dismissal and the courts would uphold her 45 years after first joining the Royal Ballet as one of its youngest ballerinas. right to return to the company after establishing that age had not withered She ended up as a national treasure and international star whose impec- her but on the contrary had made her stronger. A precedent-setting case, cable technique, flawless proportions and compelling stage presence were it was possibly responsible for advancing a sea change in people’s thinking as legendary as her longevity and work ethic. Age never fazed her. of older dancers on the stage. The most dazzling chapter of Fonteyn’s storied career, in fact, began Today, with 55-year old Alessandra Ferri guesting with the Royal in her forties, a time when most ballerinas have already quit. The average Ballet and American Ballet Theatre, and Tanztheater Wuppertal’s Nazareth retirement age for a ballet dancer is 29 and around 40 for modern danc- Panadero receiving rave reviews at age 64, senior dancers are having their ers, according to the latest research. -
Dancing Genius: the Stardom of Vaslav Nijinsky
Dancing Genius This page intentionally left blank Dancing Genius The Stardom of Vaslav Nijinsky Hanna Järvinen The Theatre Academy of the University of the Arts Helsinki, Finland © Hanna Järvinen 2014 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6–10 Kirby Street, London EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted her right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2014 by PALGRAVE MACMILLAN Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan in the US is a division of St Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN 978–1–137–40772–6 This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. -
CENTRE GEORGES POMPIDOU En Co-Réalisation Avec Le FESTIVAL INTERNATIONAL DE DANSE DE PARIS FORUM DE LA DANSE Semaine Du '4 Au 1
CENTRE GEORGES POMPIDOU en co-réalisation avec le FESTIVAL INTERNATIONAL DE DANSE DE PARIS FORUM DE LA DANSE Semaine du '4 au 10octobre 1982 /KUMARI SWARNAMUKHI (Inde) .BARATA NATYAM : récital de danse classique de l'Inde du Sud Le Barata Natyam est un art combinant la précision rythmique, l'expressivité du mime et la suggestion symbolique du geste. Ses règles de composition dérivent d'un traité majeur datant d'environ deux millénaires, le NATYA SASTRA, attribué au sage Bharata . Durant les XIXème et XXème siècles, le Barata Natyam s'est cristallisé dans sa forme actuelle, raffinée et structu - rée et il est devenu le style de danse particulier de l'Inde du Sud. Le Natya Sastra fait autorité sur tous les styles de danses indiennes qui l'interprètent selon leur propre originalité. Ce traité répertorie dans son 4ème chapitre 108 unités de mouvement fondamentales appelées "Karanas" . Ces mouvements sont attribués au Dieu Shiva éternellement engagé dans sa danse cosmique avec Parvati son épouse ou Shakti. Swarnamukhi a été formée dès son enfance par son père et Maître Sampatti Bhopal . En étudiant l'iconographie des Karanaè, il a pu redécouvrir et enseigner à sa fille 38 des mouvements abandonnés à cause de leurs difficultés d'exécution et consi- dérés comme mythiques . Elle a suivi ensuite l'enseignement d'un grand maître traditionnel, Chidambaram Kunchitapadam Pillai et appris l'art de l'expression ou "abhinaya" avec Shrimati Kalanidhi Narayanan. Le récital RANGA_POUDJA, la consécration de la scène est un rituel d'ado- ration préliminaire avec invocation initiale à la divinité, hommages et offrandes de fleurs (poushpanjali). -
Farewell & Greetings
INSIDE: th Raleigh on Film; Bethune on Theatre; issue Behrens on Music; Lille on Dance; Trevens on Dance; Our 300 Speak Outs: Pomeroy on Forests, Barron on Art; Seckel on the Cultural Scene; Steiner on Landscape Painting; New Art Books; Short Fiction & Poetry; Extensive Calendar of Events…and more! ART TIMES Vol. 29 No. 4 January/ February 2013 Farewell & Greetings By FrAncinE L. TrEvEnS BiD ADieu to 2012 and happily Luam. they caught the spirit of embrace 2013! each woman’s monologue. in the world of dance, the December was also the month of final month of the year always awards – such as the third annual presents a selection of Nutcracker cLivE BArnES FOUnDATiOn performances throughout the AWArDS held December 10 at world. ever wonder how Walter Reade theater/ Lincoln tchaikovsky would have felt that Center. these Awards were this should be his most performed established by Barnes’ widow composition? i suspect it would Valerie taylor-Barnes, to honor rather astonish and disappoint outstanding young talents from him. But so often creators’ favorite the worlds of theater and Dance. works are not the favorites of the the 2012 nominees for dance public at large. were -Lauren Lovette (New York this December also presented City Ballet), Steven Melendez a number of dance retrospectives (New York theater Ballet), – such as Alpha Omega’s works Ashley Murphy (Dance theater from 1972, 1987 and 1989 as well of Harlem). Winner, chosen by as twenty-first century dances the Selection Committee: edward at their 40th Anniversary Dance Albee, Alexandra Ansanelli, Gwin Program at Ailey Citigroup Joh Chin, Barbara Hoffman, theater.