Cecchetti Council of America Examiners Meeting Fall 2016…….…
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Noreen Londregan School of Dance
WHY CHOOSE 2019-2020 FALL SCHEDULE NOREEN LONDREGAN Noreen Londregan AWARDS MONDAY SCHOOL OF DANCE School of Dance Achievement awards are presented on the final lesson in 11:00 - 11:45 Terrific 2’s Offering the Best in Dance Techniques 12:00 - 1:00 Preschool 3-5 Yrs. Combo I June for students who have attended the required classes - 3 Spacious Dance rooms and are paid in full. 4:00 - 5:15 7-9 Yrs. Combo II 4:30 - 5:30 6-8 Yrs. Combo II - Limited Class Size 2019-2020 DANCE SEASON 5:15 - 6:15 Preschool 3-5 Yrs. Combo I - Friendly Atmosphere COMPETITION 5:30 - 6:30 Preschool 4-6 Yrs. Combo II - Age appropriate Music, Terrific 2’s • Creative Movement Noreen and Colleen’s dance company has won many 5:30 - 7:30 9-11 Yrs. Combo III Choreography and Costumes Classical Ballet • Combo Classes • Tap • Jazz awards during the past year. Students are accepted into the 6:15 - 7:30 6-8 Yrs. Combo II - Members of Dance Masters of Hip Hop • Street Jazz • Lyrical • Contemporary Dance Company by invitation/audition and are required to 6:30 - 9:00 Advanced B-T-J America, and Ohio be enrolled in ballet, tap and jazz classes. Minimum age is TUESDAY - Students placed by age & ability Adult Ballet & Tap 7 years old. Rehearsals are in addition to their normal class 4:00 - 5:00 5-7 Yrs. Combo I - Many levels of classes - time. Additional fees are charged. 4:30 - 5:30 5 & 6 Yrs. Combo I 2 years to adult 5:00 - 6:00 5-7 Yrs. -
Teachers Handbook July 2020
TEACHERS’ HANDBOOK July 2020 PO Box 425, Clifton Hill, VIC 3068 www.cecchettiballet.org email: [email protected] Ph: 03 9489 5682 Previous Versions 2019 2016 Following the ratification of the new Rules for Cecchetti Ballet Australia Inc. at the July 12th 2014 AGM, these Regulations and Procedures have been collated from previous rules issued by the National Council on behalf of Cecchetti Ballet Australia Inc. Should any alterations or amendments become necessary, these should be submitted in writing to the National Council. After consideration by National Council, any necessary alterations or amendments will be incorporated into the Rules in due course. Some sections of these Rules appear more than once in this Book. The information has been collected into sections and some information is relevant to more than one section. July 2014 CONTENTS EXAMINATION INFORMATION ........................................................................................................................................... 1 PRE-PRIMARY AND PRIMARY .......................................................................................................................................... 1 GRADE EXAMINATIONS .................................................................................................................................................. 1 ASSESSMENTS ................................................................................................................................................................. 3 DANCE SPECTRUM ONE (DS1) -
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. -
Miami City Ballet 37
Miami City Ballet 37 MIAMI CITY BALLET Charleston Gaillard Center May 26, 2:00pm and 8:00pm; Martha and John M. Rivers May 27, 2:00pm Performance Hall Artistic Director Lourdes Lopez Conductor Gary Sheldon Piano Ciro Fodere and Francisco Rennó Spoleto Festival USA Orchestra 2 hours | Performed with two intermissions Walpurgisnacht Ballet (1980) Choreography George Balanchine © The George Balanchine Trust Music Charles Gounod Staging Ben Huys Costume Design Karinska Lighting Design John Hall Dancers Katia Carranza, Renato Penteado, Nathalia Arja Emily Bromberg, Ashley Knox Maya Collins, Samantha Hope Galler, Jordan-Elizabeth Long, Nicole Stalker Alaina Andersen, Julia Cinquemani, Mayumi Enokibara, Ellen Grocki, Petra Love, Suzette Logue, Grace Mullins, Lexie Overholt, Leanna Rinaldi, Helen Ruiz, Alyssa Schroeder, Christie Sciturro, Raechel Sparreo, Christina Spigner, Ella Titus, Ao Wang Pause Carousel Pas de Deux (1994) Choreography Sir Kenneth MacMillan Music Richard Rodgers, Arranged and Orchestrated by Martin Yates Staging Stacy Caddell Costume Design Bob Crowley Lighting Design John Hall Dancers Jennifer Lauren, Chase Swatosh Intermission Program continues on next page 38 Miami City Ballet Concerto DSCH (2008) Choreography Alexei Ratmansky Music Dmitri Shostakovich Staging Tatiana and Alexei Ratmansky Costume Design Holly Hynes Lighting Design Mark Stanley Dancers Simone Messmer, Nathalia Arja, Renan Cerdeiro, Chase Swatosh, Kleber Rebello Emily Bromberg and Didier Bramaz Lauren Fadeley and Shimon Ito Ashley Knox and Ariel Rose Samantha -
In This Issue Spring Showcase
IN THIS ISSUE Spring Showcase: Tickets / Students' Perspective 50th Anniversary: Your Aeroplan Miles / Notecards Staff Campaign | Associates Auditions | Doors Open | Golf Classic Student Council: Red Carpet Dance | Ballet Bites: Rebecca's Recipes SPRING SHOWCASE 2009 TICKETS NOW ON SALE Our renowned, annual performance tradition takes place this year from May 19-23. This is your chance to see students in the School's full-time Professional Ballet Program performing the much-beloved Swan Lake, along with the world premieres of new works by Canadian choreographers and NBS alumni, Sabrina Matthews and Matjash Mrozewski. Photographer: Cylla von Tiedemann Running for five nights at the Betty Oliphant Theatre, with Opening Night an invitation-only event, tickets are on-sale now and are available by calling 416-964-5148. For NBS parents, blocks of tickets are reserved to guarantee you'll see your child perform. For more information, please visit our Spring Showcase webpage. STUDENTS' PERSPECTIVE This year, students in Spring Showcase have written about their experience learning the different choreographies. Read Natalie Ogonek's 30-Minute Beauty Makeover, Jackson Carroll's Sequentia, and Liana Macera's Swan Lake. Back to Top NBS' 50th ANNIVERSARY APPROACHES SUPPORT NBS' 50th ANNIVERSARY WITH YOUR AEROPLAN MILES With the kind support of Aeroplan, your generous transfer of Aeroplan Miles to NBS will support Assemblée Internationale 2009. Your Aeroplan Miles will help to bring approximately 120 ballet students and dance professionals from Canada and around the world to create and perform original choreography for delegates, the public, and participants – all for the benefit of our community. For details on how to donate points or to learn more, please visit our Aeroplan webpage. -
Support the Cecchetti Society Trust
CECCHETTI classical ballet Support The Cecchetti Society Trust The Cecchetti Society founded in 1922 to promote the teaching of the Cecchetti Method www.cecchetti.co.uk The Cecchetti Society Trust Cecchetti Classical Ballet The Cecchetti Society Trust was created to Cecchetti classical ballet is one of the most promote and support the art of classical ballet and respected training methods for young dancers, in particular the Cecchetti Method of training in teachers and professionals both in the UK and classical ballet. The Trust which is a Registered worldwide. The great virtuoso dancer and teacher Charity achieves this aim in a variety of ways - Enrico Cecchetti (1850 – 1928 ) was one of the including offering support to individual young most important influences on the foundation of ballet dancers and teachers to train, and also modern Classical Ballet training. He evolved a through publicising and promoting the Cecchetti method of training that is as relevant today as it was when first created - producing outstanding Method of training and producing educational artistic and technically accomplished dancers able resources. to work with today’s directors across the spectrum of classical and contemporary companies. His The Trust was established through a legacy from influence on British Ballet has been far reaching Cyril Beaumont, the renowned dance historian and resulted in the creation of The Cecchetti and writer, and was formed by a Declaration of Society in 1922. Trust on 20th March 1978 with the object of: Patrons of The Cecchetti Society include Dame “The advancement of the education of the public Monica Mason DBE, David Bintley CBE, Darcey in the art of classical ballet and in particular that art Bussell CBE, Lesley Collier CBE and Kevin as perpetuated by the Cecchetti Method to O’Hare. -
Contribution to Dance (1964-2019)
VERONICA TENNANT, C.C. Contribution to DANCE in CANADA 1964-2018 During her illustrious career as Principal Dancer with The National Ballet of Canada, Veronica Tennant won a devoted following on the national and international stage as a dancer of versatility and dramatic power. At 18, the youngest Principal Dancer in the company Tennant was chosen by Celia Franca and John Cranko, for her debut as Juliet. She went on to earn accolades in every major classical role as well as having several contemporary ballets choreographed on her. She was chosen by, and worked with the legendary choreographers: Sir Frederick Ashton, Roland Petit, Erik Bruhn, John Neumeier and Jiri Kylian – and she in turn nurtured a younger generation of Canadian choreographers including James Kukelka, Anne Ditchburn, Constantin Patsalas and David Allan. For 25 years she danced across North and South America, Europe and Japan, dancing with the greatest male dancers of our time including; Erik Bruhn, Rudolf Nureyev, Anthony Dowell, Mikhail Baryshnikov, Edward Villella, Fleming Flindt, Peter Schaufuss, Niels Kehlet, Fernando Bujones, Ivan Nagy, Jean Pierre Bonnefous and Richard Cragun. She was blessed with her Canadian partners, from Earl Kraul (her first Romeo), to Lawrence Adams, Glenn Gilmour, Frank Augustyn, Sergiu Stefanschi, Kevin Pugh, Rex Harrington and Raymond Smith (her tenth Romeo). Two of the CBC television performances with Tennant in the title role; Cinderella and The Sleeping Beauty, won Emmy Awards. Her first, in Norman Campbell’s 1965 production of Romeo and Juliet won Le Prix Barthelmy in Monte Carlo. Veronica Tennant gave her farewell performances in 1989 – dancing her signature role in, Romeo and Juliet and in the Gala – A Passion For Dance – Celebrating the Tennant Magic. -
Class Descriptions & Required Attire
SHORT DANCE STUDIOS CLASS DESCRIPTIONS, PREREQUISITES & REQUIRED ATTIRE There are required shoes for each class. *Starred classes will also require specific attire. Mommy/Daddy & Me – Movement to music. A great experience to share with your 18mos.-2 yr. old. Creative Dance 1 (CD 1) – Ages 3-4 is an introduction to dance. The primary goal is to foster a love of movement. Although the creative component is quite large, basic fundamentals in Tap, Jazz and Ballet will be covered in this class. Several fun or special activities, many times with props, facilitates expression. It is a means of communicating feelings and actions. The skills covered in Creative Dance 1are all steps which a 3 year old can master as they build self-confidence. Dancers become aware of fast/slow, rhythm, space, directions, right/left, size, and levels. The vocabulary is also set up to prepare students for Creative Dance 2. (CD II) RECITAL= This class will perform one dance in our annual recital. ATTIRE = White Leather Ballet shoes (261W), Tights and Leotard (any color) – Ballet skirts are acceptable at this age. Creative Dance 2 (CD II) – Ages 4-5 (students still in Pre-K) covers a basis of movement found in all dance forms. This class will spend time in both Ballet and Tap shoes working on basic fundamentals in Ballet, Tap and Jazz. The goals of CD II are to foster creativity, freedom and expression in movement, and a love for dance. The class includes concepts that are found in older child’s dance class. This class will prepare the students for the following year when they graduate to Tap/Ballet I. -
Chapter 9 Ballet Edited.Ppt.Pdf
C H A P T E R 9 Ballet Chapter ?? Chapter 9 Ballet Enduring understanding: Ballet is a classic, Western dance genre and a performing art. Essential question: How does ballet help me express myself as a dancer? Learning Objectives •Recognize major ballet works, styles, and ballet artists in history. •Execute basic ballet technique, use ballet vocabulary, and perform barre exercises and center combinations. •Apply ballet etiquette and dance safety while dancing. •Evaluate and respond to classical and contemporary ballet performances. Introduction Ballet began as a Western classical dance genre 400 years ago and has evolved into an international performing art form. The word ballet comes from the Italian term ballare, meaning to dance. Chapter 9 Vocabulary Terms adagio allegro à la seconde à terre ballet ballet technique barre center derrière stage directions Devant turnout en l’air Ballet Beginnings Ballet moved from Italy to France when Catherine de’ Medici married the heir to the French throne, King Henry II. She produced what has become known as the first ballet, La Comique de la Reine, in 1588. Ballet at the French Court Louis XIV performed as a dancer and gained the title The Sun King after one of his most famous dancing roles. A patron of the arts, Louis XIV established the Academy of Music and Dance. In the next century the Academy would become the Paris Opéra. Court Ballets • During the 17th century, court ballets were dance interludes between dramatic or vocal performances or entire performances. • Sometimes ballets were part of themed balls such as pastoral or masquerade balls. -
The Firebird, a Story About a Magical Bird of in 1949 George Balanchine Created a New Firebird Russian Folktales
The a study guide FirebirdNew York Theatre Ballet After a very successful first season in Paris, A famous Firebird was Margot Fonteyn (1954). Serge Diaghilev, the director of the Ballet Russes, Tamara Karsavina, the first Firebird, taught began to prepare the repertoire of new ballets for Margot Fonteyn the role. You can still see her the 1910 season. Diaghilev decided to commission performance on video. a work drawn from Russian Folklore. He decided on The Firebird, a story about a magical bird of In 1949 George Balanchine created a new Firebird Russian folktales. After Anatol Liadov, a famous ballet for Maria Tallchief. composer turned him down, he asked a talented student composer, Igor Stravinsky, to In 1970 George Balanchine returned write the new score. Stravinsky had to The Firebird in collaboration with never before created music for Jerome Robbins. New sets were a ballet. created by Marc Chagall. The role of the Firebird was danced by Gelsey The ballet had its world premiere on Kirkland. June 25, 1910 at the Paris Opera. Diaghilev also commissioned costumes designed by the painter Leon Bakst Other famous birds in ballet and sets were created by Alexandre Golovine. On the opening night, Michel The Swan Queen in Swan Lake Fokine, the choreographer of The Fire- The Bluebird in Sleeping Beauty bird, danced the role of Prince Ivan with Tamara Karsavina as the Firebird. Can you make up a dance about birds? The ballet and its music were an immense success! What steps will you use? How will you move your arms so they look like wings? Are you a big or small bird? Are you a crow, a sparrow, an ostrich, NYTB’s The Firebird a pigeon, a duck? Choreography by Richard Holden The Characters (after Michel Fokine) The Firebird Music by Igor Stravinsky Ivan Tsarevitch Costumes By Sylvia Taalsohn Nolan The Beautiful Tsarevna Set Design by Gillian Bradshaw-Smith The Immortal Kostchei The Bolibotshki Monster The Enchanted Princesses The Story New Words In the dark garden of the Immortal Kostchei, a tree Adage Slow sustained movements in ballet. -
DOCTORAL THESIS the Dancer's Contribution: Performing Plotless
DOCTORAL THESIS The Dancer's Contribution: Performing Plotless Choreography in the Leotard Ballets of George Balanchine and William Forsythe Tomic-Vajagic, Tamara Award date: 2013 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: 02. Oct. 2021 THE DANCER’S CONTRIBUTION: PERFORMING PLOTLESS CHOREOGRAPHY IN THE LEOTARD BALLETS OF GEORGE BALANCHINE AND WILLIAM FORSYTHE BY TAMARA TOMIC-VAJAGIC A THESIS IS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF PHD DEPARTMENT OF DANCE UNIVERSITY OF ROEHAMPTON 2012 ABSTRACT This thesis explores the contributions of dancers in performances of selected roles in the ballet repertoires of George Balanchine and William Forsythe. The research focuses on “leotard ballets”, which are viewed as a distinct sub-genre of plotless dance. The investigation centres on four paradigmatic ballets: Balanchine’s The Four Temperaments (1951/1946) and Agon (1957); Forsythe’s Steptext (1985) and the second detail (1991). -
Prima Ballerina Bio & Resume
Veronica Tennant, C.C. Prima Ballerina Bio & Resume Veronica Tennant, during her illustrious 25-year career as Prima Ballerina with The National Ballet of Canada - won a devoted following on the international stage as a dancer of extraordinary versatility and dramatic power. Born in London England, Veronica Tennant started ballet lessons at four at the Arts Educational School, and with her move to Canada at the age of nine, started training with Betty Oliphant and then the National Ballet School. While she missed a year on graduation due to her first back injury, she entered the company in 1964 as its youngest principal dancer. Tennant was chosen by Celia Franca and John Cranko for her debut as Juliet. She went on to earn accolades in every major classical role and extensive neo-classical repertoire as well as having several contemporary ballets choreographed for her. She worked with the legendary choreographers; Sir Frederick Ashton, Roland Petit, Jiri Kylian, John Neumeier, and championed Canadian choreographers such as James Kudelka, Ann Ditchburn, Constantin Patsalas and David Allan. She danced across North and South America, Europe and Japan, with the greatest male dancers of our time, including Erik Bruhn (her mentor), and Rudolf Nureyev, Anthony Dowell, Peter Schaufuss, Fernando Bujones and Mikhail Baryshnikov (immediately after he defected in Toronto, 1974). She was cast by Erik Bruhn to dance his La Sylphide with Niels Kehlet when Celia Franca brought The National Ballet of Canada to London England for the first time in 1972; and was Canada’s 'first Aurora' dancing in the premiere of Rudolf Nureyev's Sleeping Beauty September 1, 1972 and at the company's debut at the Metropolitan Opera House in New York, 1973.