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Lar Lubovitch to Create a Full‐Length Narrative Dance, Inspired By
01/29/16 EMBARGOED FOR RELEASE UNTIL FEBRUARY 2, 2016 Lar Lubovitch to create a full‐length narrative dance, inspired by Alexander Pushkin’s “The Bronze Horseman,” which will receive its world premiere on May 25, 2016 at the Mikhailovsky Theater in St. Petersburg, Russia New York, NY, January 29, 2016 – The internationally renowned choreographer Lar Lubovitch is creating a full‐length narrative ballet inspired by Alexander Pushkin’s beloved poem The Bronze Horseman: A Petersburg Tale. The world premiere will take place on May 25, 2016 at the renowned Mikhailovsky Theater in St. Petersburg, Russia. The Russian title of the new dance (“Lublu tebia, Petra tvorenie…”) is a well‐known line from the poem that translates inadequately into English as “I love you, Peter’s great creation…” The poem, written in 1833, is a story of love and loss in which the equestrian statue of Peter the Great in Saint Petersburg plays a major role. It is widely considered to be Pushkin’s most successful narrative poem and has had a lasting impact on Russian literature. The statue (sculpted by Étienne Maurice Falconet and completed in 1782) became known as The Bronze Horseman due to the great influence of the poem. Regarded as the greatest Russian poet and the founder of modern Russian literature, Pushkin’s works have served as the inspiration for many ballets and operas, among them Eugene Onegin, Boris Godunov, Rusalka and the Golden Cockerel. The poem is especially resonant for the Mikhailovsky Theater, one of Russia’s oldest and most venerated theaters, because the theater’s curtain rose for the very first time in 1833 – in the same year and in the same city the poem was created. -
Reviving Ballet in the Nineteenth Century: Music, Narrative, and Dance in Delibes's Coppélia by Arthur E. Lafex Submitted To
Reviving Ballet in the Nineteenth Century: Music, Narrative, and Dance in Delibes’s Coppélia By Copyright 2013 Arthur E. Lafex Submitted to the graduate degree program in Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Music. ________________________________ Chairperson Alicia Levin ________________________________ Paul R. Laird ________________________________ David Alan Street Date Defended: April 15, 2013 The Thesis Committee for Author (Arthur E. Lafex) certifies that this is the approved version of the following thesis: Reviving Ballet in the Nineteenth Century: Music, Narrative, and Dance in Delibes’s Coppélia ________________________________ Chairperson Alicia Levin Date approved: April 15, 2013 ii Abstract Léo Delibes (1836-1891) wrote ballet scores that have inspired composers and have entertained generations of ballet lovers. His scores have been cited for their tunefulness, appropriateness for their narrative, and for their danceability. However, Delibes remains an obscure figure in music history, outside the musical canon of the nineteenth century. Likewise, his ballet music, whose harmonic resources are conventional and whose forms are variants of basic structures, has not received much scholarly and theoretical attention. This thesis addresses Delibes’s music by examining his ballet score for Coppélia, its support of narrative and also its support of dance. Chapter 1 begins with a historical view of ballet and ballet music up to the time of Delibes. Following a biographical sketch of the composer, a review of aspects of the score for Giselle by his mentor, Adolphe Adam (1803-1856) establishes a background upon which Delibes’s ballets can be considered. -
Narrative Variants and Theatrical Constants: Towards a Dramaturgy O F Theballet Fantastique (1830- 1860 )
University of Surrey Department of Dance Studies School of Arts Narrative Variants and Theatrical Constants: Towards a Dramaturgy o f theBallet Fantastique (1830- 1860 ) by MgA. Astrid Bemkopf September 2005 Thesis submitted in fulfilment of the requirement of the degree of Doctor of Philosophy © Astrid Bemkopf 2005 ProQuest Number: 27557546 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 27557546 Published by ProQuest LLO (2019). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLO. ProQuest LLO. 789 East Eisenhower Parkway P.Q. Box 1346 Ann Arbor, Ml 48106- 1346 Abstract Ballet is often perceived as a danced fairy tale and, therefore, considered to be like the fairy tale. In this research, the literary form of the fairy tale is compared with the narrative of the ballet fantastique in two acts. The analytical method of Vladimir Propp’s Morphologie des Màrchens (1975) serves as starting point for an investigation into storytelling and the narrative of the ballet scenario. Until now, narrative analyses have been overlooked by dance analysis. Therefore, the task of this study is to propose the first dramaturgy of the ballet fantastique and, thus, a first independent model of narrative analysis for dance. -
Between Stage and Literature
European Narratology Network Working with stories: Narrative as a Meeting Place for Theory Analysis and Practice 10 – 11 March 2011 Denmark Between Stage and Literature: Romantic Ballet’s Narrative Strategies. Astrid Bernkopf Middlesex University London, UK Present-day dance research allows analytical investigations into various features and elements of the performance. However, a dogmatic and ideological attitude towards research topics and their treatment can be observed. Movement and choreography are the most prominent themes of research, followed by the body and issues relating to the performer. Such selective view has catered for one essential feature of theatre performances to be overlooked: namely, the stories that are told onstage. Hence, although dance analysis has developed research tools to study various elements, there is a lack of dance specific theory relating to danced narratives. Through this theoretical vacuum, the commonly accepted and traditionally upheld focus on movement and choreographic analysis has been further cemented in the discipline. The aim of this article is to introduce a method to investigate the narrative of the Romantic two-act ballet fantastique. This model of analysis may stand alone or may work in co-operation with other analytical tools. Theories on fairy tales and modes of Astrid Bernkopf storytelling in literature and theatre form the theoretical basis for the construction of this dance-orientated method of narrative analysis. Such approach stems from the erroneous perception/notion of the nineteenth-century ballet plot as a danced fairy tale. Moreover, the constant repetition of stories, and therefore actions, suggests that it may be treated in similar ways as the fairy tale. -
Sowing the Seeds of Contemporary American Ballet: Immigrant Artists and Their Pedagogies Linda Caruso Haviland Bryn Mawr College, [email protected]
Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Arts Program Faculty Research, Scholarship, and Arts Program Creative Work 2017 Review: Sowing the Seeds of Contemporary American Ballet: Immigrant Artists and Their Pedagogies Linda Caruso Haviland Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/arts_pubs Part of the Arts and Humanities Commons Custom Citation L.C. Haviland 2017. Review: Sowing the Seeds of Contemporary American Ballet: Immigrant Artists and Their eP dagogies. Dance Chronicle 40.2: 238-242. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/arts_pubs/2 For more information, please contact [email protected]. 1 SOWING THE SEEDS OF CONTEMPORARY AMERICAN BALLET: IMMIGRANT ARTISTS AND THEIR PEDAGOGIES Linda Caruso Haviland Title: Shapes of American Ballet: Teachers and Training Before Balanchine Author: Jessica Zeller. Illustrated New York: Oxford University Press, 2016. $35.00 ISBN 978-0-19-029669-8. Perhaps you’ve seen the photographs or caught glimpses in Fred Astaire movies of Harriet Hoctor, floating en pointe and backwards across the stage in tiny bourrées, arching gracefully and sensuously into an impossibly deep backbend. As years passed and contexts faded, this iconic image often elicited snickers usually reserved for kitschy ballet. It also belied Hoctor’s training and talent, transforming this dancer, whom Lillian Moore once claimed brought "the more perfect beauty of artistic creation to the dance," into little more than a joke.1 Little wonder then that, nowadays, those who taught Hoctor and others of her generation are as frequently forgotten. -
Narrative Aspects of Kenneth Macmillan's Ballet the Invitation
DOCTORAL THESIS Narrative Aspects of Kenneth MacMillan’s Ballet The Invitation de Lucas Olmos, Maria Cristina Award date: 2017 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: 24. Sep. 2021 Narrative Aspects of Kenneth MacMillan’s Ballet The Invitation by Cristina de Lucas BA Law, BA English and Literature, MA Ballet Studies A thesis submitted in partial fulfilment of the requirements for the degree of PhD Department of Dance University of Roehampton 2016 To my father and to the memory of my mother, with love. ABSTRACT: The British choreographer Kenneth MacMillan (1929-1992) has a prominent place in the narrative tradition of the Royal Ballet. As a major storyteller in the history of the company, his ballets with intense, dramatic stories are an important part of the dance heritage of British ballet. This thesis focuses on one of MacMillan’s first narrative achievements, the one-act ballet The Invitation (1960), and studies the main thematic concerns and stylistic strategies that it deploys. -
Eva Evdokimova (Western Germany), Atilio Labis
i THE CUBAN BALLET: ITS RATIONALE, AESTHETICS AND ARTISTIC IDENTITY AS FORMULATED BY ALICIA ALONSO A Dissertation Submitted to the Temple University Graduate Board in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY by Lester Tomé January, 2011 Examining Committee Members: Joellen Meglin, Advisory Chair, Dance Karen Bond, Dance Michael Klein, Music Theory Heather Levi, External Member, Anthropology ii © Copyright 2011 by Lester Tomé All Rights Reserved iii ABSTRACT In the 1940s, Alicia Alonso became the first Latin American dancer to achieve international prominence in the field of ballet, until then dominated by Europeans. Promoted by Alonso, ballet took firm roots in Cuba in the following decades, particularly after the Cuban Revolution (1959). This dissertation integrates the methods of historical research, postcolonial critique and discourse analysis to explore the performative and discursive strategies through which Alonso defined her artistic identity and the collective identity of the Cuban ballet. The present study also examines the historical context of the development of ballet in Cuba, Alonso’s rationale for the practice of ballet on the Island, and the relationship between the Cuban ballet and the European ballet. Alonso defended the legitimacy of Cuban dancers to practice ballet and, in specific, perform European classics such as Giselle and Swan Lake. She opposed the notion that ballet was the exclusive patrimony of Europeans. She also insisted that the cultivation of this dance form on the Island was not an act of cultural colonialism. In her view, the development of ballet in Cuba consisted, instead, of an exploration of a distinctive Cuban voice within this dance form, a reformulation of a European legacy from a postcolonial perspective. -
Alexander Ekman
CONTENTS INTRODUCTION What is a Student Matinee? 3 Learning Outcomes 5 TEKS Addressed 6 PRE-PERFORMANCE INFORMATION Attending A Ballet Performance 16 Rock, Roll & Tutus: Program 17 What’s That?!: Mixed Repertory 19 Meet the Creators: Choreographers & Composers 20 Rock, Roll & Tutus: Tutu Exhibit 28 It Takes Teamwork: Pas de Deux 29 My Predictions: Pre-Performance Activity 30 POST-PERFORMANCE ACTIVITIES Dancing Shapes 32 Found Sound 34 Show What You Know 35 Word Search/Crossword 36 Review & Reflect/Discussion Questions 39 LEARN MORE! All About Arms 41 All About Legs 42 Why Do They Wear That? 43 Houston Ballet: A Brief History 44 Glossary 45 2 WHAT IS A STUDENT MATINEE? Student Matinees are full length performances by Houston Ballet with live orchestra held during school hours. Your students experience these professional performances with interactive intermissions at significantly discounted ticket prices. This study guide has information and activities for before and after the performance that are intended to extend the learning experience. WHAT TO EXPECT Arrival and Departure As a result of the damage from Hurricane Harvey, Houston Ballet’s performance home, the Wortham Theater, has been closed until further notice. Consequently, Houston Ballet is on a “Hometown Tour” for its 2017-18 season. The Rock, Roll & Tutus Student Matinee will be held in Hall A at: George R. Brown Convention Center 1001 Avenida De Las Americas Houston, TX 77010. Your bus will drop off and pick up students in the bus depot in theNorth Garage on Rusk Street. 3 If you are arriving by bus: You will enter bus parking on the north side of Rusk Street. -
Diaghilev's Ballet Russes Sanatsal Bir Devrim Fenomeni
_____________________________________________________ ART-SANAT 5/2016 _____________________________________________________ AN ARTISTIC REVOLUTION PHENOMENON: DIAGHILEV’S BALLET RUSSES SEDA AYVAZOĞLU Ass.Prof., Adana Çukurova University State Conservatory Performing Arts Department [email protected] ABSTRACT The Ballet Russes (1909-1929) was the revolutionary Russian ballet company under the direction of Russian impresario Serge Diaghilev (1872-1929). The Ballet Russes took an important role as a new art form as rarely taking the old traditions. Before the Ballet Russes, the costumes were nearly uniformity. Not only costumes and scenery newly designed but the music was composed as a new music by commissioned composers such as Stravinsky, Debussy and Ravel. The ballet technique was limited as well. The revolutionary choreographs of Ballet Russes’, such as Fokine and Nijinsky were employed and they no longer limited body movements in dance. The choreographers extended those innovations and brought their modern spirit to large ensemble productions. Ballet Russes wasn’t just a new type and level of ballet performances that surpassed contemporary European ballet, but also a unique artistic phenomenon that shaped the development of Western European in the 20th century. The legacy left by Diaghilev and the Ballets Russes still has an influence on modern ballet companies today. Keywords: Diaghilev, Ballet Russes, choreography, Russian Art, The World of Art. SANATSAL BİR DEVRİM FENOMENİ: DİAGHİLEV’İN RUS BALESİ ÖZ Ballet Russes (1909-1929) Rus menejer Sergei Diaghilev’in (1872-1929) yönetiminde devrimci bir Rus balesi grubuydu. Bale Russes eski geleneklere nadir olarak yer veren yeni bir sanat formu olarak önemli bir rol aldı. Ballet Russes öncesinde kostümler neredeyse tekdüzeydi. -
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. -
Dance Studies
CONVERSATIONS ACROSS THE FIELD OF DANCE STUDIES e Talking Point s . Society of Dance History Scholars Newsletter Illustrations: © Bibliothèque nationale Rethinking de France 19th Century Dance2011 | VolumeXXXI www.sdhs.org PAGE 1 A Word from the Guest Editors | Sarah Davies Cordova & Stephanie Schroedter ................. 3 Remembering The socio-political Fault-lines While Dancing at Quebec’s Winter Carnival | Charles R. Batson ............................................................... 4 Giselle at Mabille: Romantic Ballet and the Urban Dance Cultures of Paris | Stephanie Schroedter ........ 6 At Work on the Body: 1860s Parisian Tutus and Crinolines Or Women’s Silhouettes on Stage, at Fashionable Gatherings and in the Streets | Judith Chazin-Bennahum .................................................... 8 Why bother with Nineteenth-Century Ballet Libretti? | Debra H. Sowell ............................................ 12 CLOWNS , EL E PHANTS , AND BALL E RINAS . Joseph Cornell’s Vision of 19th Century Ballet in Dance Index (as collage) | Eike Wittrock ................. 14 From the Romantic to the Virtual | Norma Sue Fisher-Stitt ...................................................... 24 Notes & Pointεs from the field ................................ 26 Contributors .................................................................. 30 News SDHS Awards ............................................................................. 31 SDHS Publications. ..................................................................... 33 Forthcoming -
The Choreography of Space: Merce Cunningham and William Forsythe in Context
The Choreography of Space: Merce Cunningham and William Forsythe in Context Arabella Stanger Goldsmiths, University of London PhD April 2013 1 I hereby declare that the work presented in this thesis is my own and has not been and will not be submitted, in whole or in part, to any other university for the award of any other degree. Arabella Stanger 2 Acknowledgements First and foremost, I would like to thank Professor Maria Shevtsova for her rigorous supervision of this thesis. She has shown me the importance, and the enjoyment, of a way of thinking, and how ‘the art’ must lead in the scholarship of dance. Mentorship of this kind is invaluable. I would also like to thank my fellow postgraduate students at Goldsmiths, University of London for on-going conference around our shared and diverse subjects, and Dr Seb Franklin, for some inspiring conversations. I am extremely grateful to Freya Vass-Rhee of The Forsythe Company and David Vaughan of the Merce Cunningham Dance Company for giving me access to real treasures. The archives that have generously facilitated my research are: the Merce Cunningham Dance Company Archive, New York City; the Jerome Robbins Dance Division of the New York Public Library; the Judson Memorial Church Collection, Fales Library, New York University; the Laban Archive, London; the National Resource Centre for Dance, University of Surrey, Guildford; and the Bauhaus-Archiv, Berlin. My sincerest thanks go to the Arts and Humanities Research Council, for supporting this project and sponsoring a research trip to New York in 2009. This thesis is dedicated to the memory of Holly Webber.