Kirsova Ballet 1941-1944 2
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Programmes, Visiting Artists and Companies Ephemera PR8492/1950-1959 to View Items in the Ephemera Collection, Contact the State Library of Western Australia
Programmes, visiting artists and companies Ephemera PR8492/1950-1959 To view items in the Ephemera collection, contact the State Library of Western Australia Date Venue Title Author Director Producer Agent Principals D 1950 January Marquee Puss in Boots Bruce Carroll Bruce Carroll Eric Maxon 0 Theatre Edgar Rogers Noreen Rogers ____________________________________________________________________________________________________________________ April 10 His Majesty's "Annie Get Leo Packer Carl Randall J.C.Williamson Victor Carell 1 Theatre Your Gun" Theatres Ltd Wendy Selover Irving Berlin Wilfred Stevens ____________________________________________________________________________________________________________________ May 25 His Majesty's The Mikado Leo Packer Anna Bethell J.C.Williamson Jon Dean 1 Theatre Gilbert & Theatres Ltd Richard Walker Sullivan Leslie Rands Ivan Menzies Bernard Manning Muriel Howard Marjorie Eyre Nancy Rasmussen Evelyn Gardiner Richard Bengar ____________________________________________________________________________________________________________________ June 3 His Majesty's Pirates of Leo Packer Anna Bethell J.C.Williamson John Dean 2 Theatre Penzance & Theatres Ltd Helen Roberts Trial by Jury Evelyn Gardiner PR8492/1950-1959 Page 1 of 40 Copyright SLWA ©2011 Programmes, visiting artists and companies Ephemera PR8492/1950-1959 To view items in the Ephemera collection, contact the State Library of Western Australia Date Venue Title Author Director Producer Agent Principals D Gilbert & Sullivan Leslie Rands Richard -
A.I.C.D. Borovansky Syllabus
A.I.C.D. Borovansky Syllabus The Australian Institute of Classical Dance Inc. ACN: 056 462 036 (NSW) Address: PO Box 193, WINSTON HILLS, NSW. 2153 Email: [email protected] Guidelines for Website: www.ballet.org.au Associate Diploma Applicants Table of Contents Suggested Reading BALLET HISTORY History of the A.I.C.D. 3 Andrews, Shirley, Take Your Partners - Traditional Dancing in Australia. Griffin Press Ltd, Netley, South Australia 1979. The Borovansky Syllabus 4 Bellew, Peter, Pioneering Ballet in Australia. Rationale of the Syllabus 5 Craftsman Bookshop, Sydney, 1945 ed. Brown, Ian F. The Australian Ballet. Aims of the Syllabus 6 Longmans of Australia Pty Ltd 1967. Teaching the Syllabus 7 Challingsworth, Nell, Australia's Dancing Heritage - Stories of the19th Century. Go Dancing Publications, Ringwood, Victoria, 1994. Requirements for Associate Diploma 8 Challingsworth, Nell, Dancing down the Years. The Romantic Century in Australia. Privileges of Associate Diploma 9 The Craftsman Press, Melbourne 1978. Attaining the Associate Diploma Pask, Edward H., Enter the Colonies Dancing. A History of Dance in Australia 1835-1940. Oxford University Press, Melbourne 1979. Through Assessment 10 Pask, Edward H., Ballet in Australia. The Second Act 1940-1980. Through Recognition of Prior Learning (RPL) 16 Oxford University Press, Melbourne 1982. Salter, Frank. Borovansky The Man Who Made Australian Ballet. Wildcat Press, Sydney1980. Suggested Reading 18 SAFE DANCE PRACTICE Arnheim, Daniel D. Dance Injuries, Their Prevention and Care. Third edition, Princeton Book Company, Princeton New Jersey 1991. Brinson, Peter, and Dick, Fiona, Fit to Dance? “The mediocre teacher tells. The good The Report of the National Inquiry into Dancers' Health and Injury. -
Study of the Body Dimensions of Elite Professional Ballet Dancers
View metadata, citation and similar papers at core.ac.uk brought to you by CORE Documento descargado de http://www.apunts.org el 25/01/2011. Copia para uso personal, se prohíbe la transmisión de este documento por cualquier medio o formato. provided by Revistes Catalanes amb Accés Obert 3 ORIGINAL ARTICLES Study of the body dimensions of elite professional ballet dancers HAMLET BETANCOURT LEÓNa, JULIETA ARÉCHIGA VIRAMONTESb, CARLOS MANUEL RAMÍREZ GARCÍAc AND MARIA ELENA DÍAZ SÁNCHEZd aAutonomous Metropolitan University. Iztapalapa Unit. México. bInstitute of Anthropological Research. UNAM. Mexico. bNational Technical Institute. Mexico. cInstitute of Nutrition and Food Hygiene. Cuba. ABstract RESUMEN The similarities and differences in the body dimensions of a Las diferencias o similitudes referidas a los tamaños absolu- group of ballet dancers compared with those of modern or tos de un grupo de bailarines de ballet frente a bailarines de folklore dances are indicators of corporal heterogeneity or danza moderna y folclórica son indicadores de variabilidad homogeneity and of the spatial volume occupied by a group o de la homogeneidad corporal y de la expresión del volu- of dancers. The present study aimed to analyze the kinan- men espacial que ocupa un grupo de danzantes. Este traba- thropometric similarities and differences among elite pro- jo se propuso analizar las similitudes y las diferencias ci- fessional ballet dancers compared with modern and folk- neantropométricas de los tamaños absolutos entre los lore dancers. The anthropometric profiles of dancers from bailarines profesionales de elite de ballet respecto a los de the National Ballet, National Dance and National Folkloric danza moderna y folclórica. -
'In Ballet You Need to Be Perfect'
‘In ballet you need to be perfect’ Ivan Vasiliev Rudolph Nureyev Ivan Vasiliev is a Russian ballet dancer. He is the principal dancer with the American Ballet Theatre. I live in a flat in St Petersburg with my girlfriend. I usually get up at about nine and then I have a shower. In my job I often stay in hotels. When you have a shower in the morning in a hotel you can leave your towel on the floor. I love that! I always have a good breakfast, and I love eggs. When I am very hungry, I sometimes eat five. I like sausages, too. Classes start at 10.30. I practise all morning without a break. I sometimes have lunch, but not always. In the afternoon, I practise more. Of course in ballet, you need to be perfect. Nureyev is my favourite dancer. I have a pair of his ballet shoes. After work I want to eat. I love meat. My favourite is a big steak. No vegetables. Only steak. English File third edition Beginner • Student’s Book • Unit 6B, p.37 © Oxford University Press 2015 1 In the evening we sometimes go out. Before we go out my girlfriend looks at my clothes and she usually says: “No, Ivan. Change!” I’m not interested in clothes, but I love watches. I have seven, including a Montblanc, three Rolexes, and a Maurice Lacroix. Sometimes, I don’t go to bed until 1.00 or 2.00. It’s often difficult to sleep. I have a lot of things in my head. -
Romantic Ballet
ROMANTIC BALLET FANNY ELLSLER, 1810 - 1884 SHE ARRIVED ON SCENE IN 1834, VIENNESE BY BIRTH, AND WAS A PASSIONATE DANCER. A RIVALRY BETWEEN TAGLIONI AND HER ENSUED. THE DIRECTOR OF THE PARIS OPERA DELIBERATELY INTRODUCED AND PROMOTED ELLSLER TO COMPETE WITH TAGLIONI. IT WAS GOOD BUSINESS TO PROMOTE RIVALRY. CLAQUES, OR PAID GROUPS WHO APPLAUDED FOR A PARTICULAR PERFORMER, CAME INTO VOGUE. ELLSLER’S MOST FAMOUS DANCE - LA CACHUCHA - A SPANISH CHARACTER NUMBER. IT BECAME AN OVERNIGHT CRAZE. FANNY ELLSLER TAGLIONI VS ELLSLER THE DIFFERENCE BETWEEN TALGIONI AND ELLSLER: A. TAGLIONI REPRESENTED SPIRITUALITY 1. NOT MUCH ACTING ABILITY B. ELLSLER EXPRESSED PHYSICAL PASSION 1. CONSIDERABLE ACTING ABILITY THE RIVALRY BETWEEN THE TWO DID NOT CONFINE ITSELF TO WORDS. THERE WAS ACTUAL PHYSICAL VIOLENCE IN THE AUDIENCE! GISELLE THE BALLET, GISELLE, PREMIERED AT THE PARIS OPERA IN JUNE 1841 WITH CARLOTTA GRISI AND LUCIEN PETIPA. GISELLE IS A ROMANTIC CLASSIC. GISELLE WAS DEVELOPED THROUGH THE PROCESS OF COLLABORATION. GISELLE HAS REMAINED IN THE REPERTORY OF COMPANIES ALL OVER THE WORLD SINCE ITS PREMIERE WHILE LA SYLPHIDE FADED AWAY AFTER A FEW YEARS. ONE OF THE MOST POPULAR BALLETS EVER CREATED, GISELLE STICKS CLOSE TO ITS PREMIER IN MUSIC AND CHOREOGRAPHIC OUTLINE. IT DEMANDS THE HIGHEST LEVEL OF TECHNICAL SKILL FROM THE BALLERINA. GISELLE COLLABORATORS THEOPHILE GAUTIER 1811-1872 A POET AND JOURNALIST HAD A DOUBLE INSPIRATION - A BOOK BY HEINRICH HEINE ABOUT GERMAN LITERATURE AND FOLK LEGENDS AND A POEM BY VICTOR HUGO-AND PLANNED A BALLET. VERNOY DE SAINTS-GEORGES, A THEATRICAL WRITER, WROTE THE SCENARIO. ADOLPH ADAM - COMPOSER. THE SCORE CONTAINS MELODIC THEMES OR LEITMOTIFS WHICH ADVANCE THE STORY AND ARE SUITABLE TO THE CHARACTERS. -
Publications
Michelle Potter: Publications Michelle Potter: Publications Books and articles (peer reviewed works are marked with an asterisk *) ‘Robert Helpmann: Behind the scenes with the Australian Ballet, 1963–1965.’ Dance Research (Edinburgh), 34:1 (Summer 2016), forthcoming* ‘Elektra: Helpmann uninhibited.’ In Richard Cave and Anna Meadmore (eds),The many faces of Robert Helpmann (Alton: Dance Books, 2016), forthcoming Dame Maggie Scott: A Life in Dance (Melbourne: Text Publishing, 2014), 368 pp, colour and b & w illustrations, ISBN 9781922182388 (also published as a e-book ISBN 9781925095364) Meryl Tankard: an original voice (Canberra: Dance writing and research, 2012), 210 pp, unillustrated, ISBN 9780646591445 ‘Merce Cunningham’, ‘Rudolf Nureyev’. America’s Irreplaceable Dance Treasures (Washington, DC: Dance Heritage Coalition, 2012)* http://www.danceheritage.org/cunningham.html; http://www.danceheritage.org/nureyev.html ‘The Dandré-Levitoff Russian Ballet 1934–1935: Australia and beyond.’ Dance Research (Edinburgh), 29:1 (Summer 2011), pp. 61–96* ‘People, patronage and promotion: the Ballets Russes tours to Australia, 1936–1940.’ Ballets Russes: the art of costume (Canberra: National Gallery of Australia, 2010), pp. 182–193* ‘Tributes: Impressions—Irina Baronova; The fire and the rose—Valrene Tweedie.’ Brolga (Canberra), 29 (December 2008), pp. 6–16 ‘Archive bündeln: Das Beispiel Australien.’ trans. Franz Anton Cramer. Tanz und ArchivePerspectiven für ein kulturelles Erbe, ed. Madeline Ritter, series Jahresmitteilungen von Tanzplan Deutschland (Berlin: Tanzplan Deutschland, 2008), pp. 50–53* ‘Arnold Haskell in Australia: did connoisseurship or politics determine his role?’ Dance Research (Edinburgh), 24:1(Summer 2006), pp. 37–53* ‘Chapter 7: In the air: extracts from an interview with Chrissie Parrott.’ Thinking in Four Dimensions: Creativity and Cognition in Contemporary Dance, eds. -
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. -
How Cuba Produces Some of the Best Ballet Dancers in the World by Noël Duan December 14, 2015 9:01 PM
http://news.yahoo.com/how-cuba-produces-some-of-the-best-ballet-dancers-020100947.html How Cuba Produces Some of the Best Ballet Dancers in the World By Noël Duan December 14, 2015 9:01 PM Recent graduates of the Ballet Nacional de Cuba School performing at the National Theater of Cuba in Havana in February 2015. (Photo: Getty Images) This story is part of a weeklong Yahoo series marking one year since the opening of relations between the United States and Cuba. Cuba is well known for many forms of dance, from the mambo and the tango to salsa, the cha- cha and the rumba. But only ballet enthusiasts know that the dance form is one of the country’s biggest cultural exports. In Cuba, ballet is just as popular as baseball, a sport where players from the Cuban national team regularly defect to the major leagues in the United States. Unlike in the United States, where ballet is generally considered highbrow art and Misty Copeland is the only ballerina with a household name, the Cuban government funds ballet training and subsidizes tickets to ballet performances. “Taxi drivers know who the principal dancers are,” Lester Tomé, a dance professor at Smith College and former dance critic in Cuba and Chile, tells Yahoo Beauty. Like Cuban baseball players, Cuban ballet dancers have made international marks around the world, from Xiomara Reyes, the recently retired principal dancer at New York City’s American Ballet Theatre to London’s English National Ballet ballet master Loipa Araújo, regarded as one of the “four jewels of Cuban ballet.” In September 2005, Erika Kinetz wrote in the New York Times that “training, especially Cuban training, has been a key driver of the Latinization of ballet,” an important note, considering that European ballet companies dominated the dance world for decades. -
Student Matinee Study Guide Ballet History, Trivia and Test Your Knowledge
Student Matinee Study Guide BALLET HISTORY, TRIVIA AND TEST YOUR KNOWLEDGE BALLET TIME LINE Renaissance Period This era was all about also included a solo for each of them and a coda (a short, entertainment. The ballet de court was performed by quick finale). The classic tutu (stiff skirt) became popular; aristocrats from the royal courts of Europe. Ballet was many ballets were choreographed such as Swan Lake, brought in from Italy to France in the 1530’s when Italian The Sleeping Beauty, and The Nutcracker, which are still Catherine Medici married Henry II of France. In 1661, performed today. Baroque Period: 1710 – 1770 Maria Camargo the first ballet school opened in France. It was begun by In 1909, a Russian impresario Louis XIV and called Académie de Royale Danse. The five The Ballet Russes (a person who produces ballets, operas, and basic foot positions were named and are the basis for all concerts) named Sergei Diaghilev created the Ballet classical ballet steps. At first, only men were allowed to Russes and brought them to Paris. They traveled all dance. Women were allowed in 1681 but had to wear full throughout Europe, bringing with them innovative length gowns. new choreography, costumes, and scenery designed by Baroque Period In this era, it was common to master artists. combine opera, ballet, and music into one performance Ballet continued to grow throughout to tell a story. Ballet in Europe Europe, and today we have the Royal Ballet in London Romantic Ballet: 1831 – 1848 Classical Period This era occurred during the late and the Royal Danish Ballet in Copenhagen. -
Queensland Ballet
Queensland Front cover: Rachael Walsh as Fonteyn & Christian Tátchev as Nureyev dance The Lady of the Camellias pas de deux in François Klaus’s Fonteyn Remembered; Photographer: Ken Sparrow Below: Sarah Thompson and children taking class at the Open Day BAllet ANNuAl REPORT 2010 Queensland Ballet Thomas Dixon Centre Cnr Drake St & Montague Rd West End Queensland 4101 Australia Phone: 07 3013 6666 Fax: 07 3013 6600 Email: [email protected] Web: www.queenslandballet.com.au Christian Tátchev and Keian langdon in François Klaus’s Don Quixote (excerpt), 50th Anniversary International Gala; Photographer: Ken Sparrow Christian Tátchev as Romeo & Rachael Walsh as Juliet in François Klaus’s Romeo & Juliet; Photographer: Ken Sparrow Queensland Ballet 2010 AnnuAl RepoRt CONTENTS Company profile 1 2010 highlights 2 50 year chronology 3 Chair’s review 7 Artistic Director’s report 8 Chief Executive Officer’s report 10 2010 performance summary 11 The Company 15 Acknowledgements 17 Directors’ report 19 Lead Auditor’s Independence Declaration 25 Financial report 26 Independent auditor’s report 41 Appendix A: 2010 strategic performance 42 Appendix B: Queensland Ballet Friends 44 QUEENSlAnD BALLET 1 COMPANY PROFILE Queensland Ballet is the advanced dance training to students in ouR DReAm Years 10, 11, and 12 at Kelvin Grove State flagship ballet company of the College as well as the introductory Track By 2013, Queensland Ballet will be State of Queensland, with a Dance and Mid-Trackdance programs for recognised, not only in Queensland but reputation for a fresh, energetic Years 3 to 9. throughout Australia and also overseas, for: and eclectic repertoire ranging Community education and outreach is » creating and presenting a broad from short works for children to achieved through a range of programs. -
Guide to Dance 2019-2020 Study Guide
Dancers: Grace-Anne Powers and Leiland Charles | Photo: Jennifer Zmuda GUIDE TO DANCE 2019-2020 STUDY GUIDE Learn about the art of dance and go behind-the-scenes with a professional dance company. Written and compiled by Ambre Emory-Maier, Director of Education, and other contributors l ©2019 BalletMet Columbus TABLE OF CONTENTS Behind the Scenes ............................................................................................................................................. 2 Brief History of BalletMet ................................................................................................................................. 3 BalletMet Offerings ........................................................................................................................................... 4 The Five W’s and H of Dance .......................................................................................................................... 5 Brief History of Ballet ..................................................................................................................................... 6-7 Important Tutu Facts ......................................................................................................................................... 8 Important Pointe Shoe Facts .......................................................................................................................... 9 Glossary of Dance Terms ........................................................................................................................ -
The History of Russian Ballet
Pet’ko Ludmyla, Ph.D., Associate Professor, Dragomanov National Pedagogical University Savina Kateryna Dragomanov National Pedagogical University Institute of Arts, student THE HISTORY OF RUSSIAN BALLET Петько Людмила к.пед.н., доцент НПУ имени М.П.Драгоманова (Украина, г.Киев) Савина Екатерина Национальный педагогический университет имени М.П.Драгоманова (Украина, г.Киев), Інститут искусствб студентка Annotation This article is devoted to describing of history of Russian ballet. The aim of the article is to provide the reader some materials on developing of ballet in Russia, its influence on the development of ballet schools in the world and its leading role in the world ballet art. The authors characterize the main periods of history of Russian ballet and its famous representatives. Key words: Russian ballet, choreographers, dancers, classical ballet, ballet techniques. 1. Introduction. Russian ballet is a form of ballet characteristic of or originating from Russia. In the early 19th century, the theatres were opened up to anyone who could afford a ticket. There was a seating section called a rayok, or «paradise gallery», which consisted of simple wooden benches. This allowed non- wealthy people access to the ballet, because tickets in this section were inexpensive. It is considered one of the most rigorous dance schools and it came to Russia from France. The specific cultural traits of this country allowed to this technique to evolve very fast reach his most perfect state of beauty and performing [4; 22]. II. The aim of work is to investigate theoretical material and to study ballet works on this theme. To achieve the aim we have defined such tasks: 1.