The Nutcracker
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Valerie Roche ARAD Director Momix and the Omaha Ballet
Celebrating 50 years of Dance The lights go down.The orchestra begins to play. Dancers appear and there’s magic on the stage. The Omaha Academy of Ballet, a dream by its founders for a school and a civic ballet company for Omaha, was realized by the gift of two remarkable people: Valerie Roche ARAD director of the school and the late Lee Lubbers S.J., of Creighton University. Lubbers served as Board President and production manager, while Roche choreographed, rehearsed and directed the students during their performances. The dream to have a ballet company for the city of Omaha had begun. Lubbers also hired Roche later that year to teach dance at the university. This decision helped establish the creation of a Fine and Performing Arts Department at Creighton. The Academy has thrived for 50 years, thanks to hundreds of volunteers, donors, instructors, parents and above all the students. Over the decades, the Academy has trained many dancers who have gone on to become members of professional dance companies such as: the American Ballet Theatre, Los Angeles Ballet, Houston Ballet, National Ballet, Dance Theatre of Harlem, San Francisco Ballet, Minnesota Dance Theatre, Denver Ballet, Momix and the Omaha Ballet. Our dancers have also reached beyond the United States to join: The Royal Winnipeg in Canada and the Frankfurt Ballet in Germany. OMAHA WORLD HERALD WORLD OMAHA 01 studying the work of August Birth of a Dream. Bournonville. At Creighton she adopted the syllabi of the Imperial Society for Teachers The Omaha Regional Ballet In 1971 with a grant and until her retirement in 2002. -
Finding Aid for Bolender Collection
KANSAS CITY BALLET ARCHIVES BOLENDER COLLECTION Bolender, Todd (1914-2006) Personal Collection, 1924-2006 44 linear feet 32 document boxes 9 oversize boxes (15”x19”x3”) 2 oversize boxes (17”x21”x3”) 1 oversize box (32”x19”x4”) 1 oversize box (32”x19”x6”) 8 storage boxes 2 storage tubes; 1 trunk lid; 1 garment bag Scope and Contents The Bolender Collection contains personal papers and artifacts of Todd Bolender, dancer, choreographer, teacher and ballet director. Bolender spent the final third of his 70-year career in Kansas City, as Artistic Director of the Kansas City Ballet 1981-1995 (Missouri State Ballet 1986- 2000) and Director Emeritus, 1996-2006. Bolender’s records constitute the first processed collection of the Kansas City Ballet Archives. The collection spans Bolender’s lifetime with the bulk of records dating after 1960. The Bolender material consists of the following: Artifacts and memorabilia Artwork Books Choreography Correspondence General files Kansas City Ballet (KCB) / State Ballet of Missouri (SBM) files Music scores Notebooks, calendars, address books Photographs Postcard collection Press clippings and articles Publications – dance journals, art catalogs, publicity materials Programs – dance and theatre Video and audio tapes LK/January 2018 Bolender Collection, KCB Archives (continued) Chronology 1914 Born February 27 in Canton, Ohio, son of Charles and Hazel Humphries Bolender 1931 Studied theatrical dance in New York City 1933 Moved to New York City 1936-44 Performed with American Ballet, founded by -
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 -
Award Syllabus
South Island Ballet Award and PW Dance & Sportswear Junior South Island Ballet Award Friday 20th May to Sunday 22nd May 2016 | CHRISTCHURCH [Date and Time] [Street Address] Award Syllabus Table of Contents Page Award Overview 3 Conditions of Entry 4 Entry Form 5 Junior Criteria 6 Senior Criteria 7-8 Adjudicators 9-11 Sponsorship 12-13 Hotel Flyer 14 SOUTH ISLAND BALLET AWARD 2016 The Christchurch Ballet Society is proud to present the South Island Ballet Award for 2016. This major event will be the highlight of the South Island competition dance calendar. The Christchurch Ballet Society is offering a significant cash incentive to talented and dedicated dancers whose tuition is or has been provided by a ballet tutor located within the South Island. It is intended that by offering a cash scholarship this will assist the recipients of the award in furthering their training and studies in classical ballet. th nd Friday 20 May to Sunday 22 May 2016 | CHRISTCHURCH Senior Award Junior Award First Place $5000 Tuition Scholarship First Place $3000 Tuition Scholarship Silver Challenge Cup and Sash Silver Challenge Cup and Sash Second Place $2000 Tuition Scholarship Second Place $1000 Tuition Scholarship and Sash and Sash Third Place $1000 Tuition Scholarship Third Place $500 Tuition Scholarship and Sash and Sash **Finalists may also receive a cash incentive** Senior Age Group Junior Age Group 15 to 19 years as at 20th May 2016 12 to 14 years as 20th May 2016 ENTRY FEE and CLOSING DATE An entry fee of $150 (Non-refundable) will be required upon receipt of entry form. -
The Symphony in C Saga
Volume IX No. 4 Summer 2015 From the Dance Notation Bureau INSIDE THIS ISSUE THE SYMPHONY IN C SAGA by Ann Hutchinson Guest • The Symphony in C Saga For a long time the USA copyright law did not include dance. Dance was Dance Notation Bureau Library considered as a form of ballroom dance, which the copyright powers considered to Monday - Friday 10 am – 5 pm be below the dignity of being given copyright protection. If considered at all, it Advance Notification by Phone/Email came under the heading of a Dramatico-musical composition. It had to have a Recommended story. Then the copyright law changed; dance was considered as a serious art, but 111 John Street, Suite 704 Pure Dance choreography, abstract composition without a story, was still New York, NY 10038 debatable. Phone: 212/ 571-7011 Fax: 212/571 -7012 Copyright registration of Balanchine’s ballet Symphony in C became quite a saga. Email: [email protected] But let us go back to the beginning. Website: www.dancenotation.org Facebook: NOTATING FOR BALANCHINE 1948 -1961 www.facebook.com/dancenotationbureau Library News is published four times a year John Coleman took my hand. "Come," he said, "You've got to meet Balanchine!" in New York It was the Fall of 1946, I was at the San Francisco Opera House seeing a performance of the Ballets Russes. John Coleman, musician, composer, teacher, Editors: and expert on Dalcroze, was a crazy, endearing man who knew everyone. He had Senta Driver worked with Balanchine and also with Kurt Jooss and so knew me from Dartington Mei-Chen Lu Hall days. -
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). -
Commence to Dancing by David Vaughan Introduced by Alastair Macaulay
QUESTIONS OF PRACTICE Commence to Dancing By David Vaughan Introduced by Alastair Macaulay THE PEW CENTER FOR ARTS & HERITAGE / PCAH.US / @PEWCENTER_ARTS Commence to Dancing The Senior CriTics AwArd, delivered By David VaughAn at The DanCe CriTics AssoCiation at DanCe new AmsterdAm, new york CiTy, on 17 June 2007 Introduction by Alastair Macaulay This is the Dance Critics’ Association; and I hope that many of you here first got to know David the way I did—by reading him in print. In 1965, he was a founding figure at Ballet Review and, alone of that magazine’s founders, he still contributes regularly to it. In fact, its “Annals of The Sleeping Beauty” department would scarcely exist without him. For many years, he was the Financial Times’s distinguished New York dance correspondent. His book Merce Cunningham: Fifty Years (Aperture, 2005) is indispensable to anyone writing on the subject, and I say that as someone who has sometimes groaned at its sheer weight across my knees. I myself came to know him through his book Frederick Ashton and His Ballets (A & C Black, 1977)—“the Ashton book,” as it was known for many years. For me, this came at an opportune moment: I was twenty-two, and the two Royal Ballet companies staged an unusually large number of Ashton ballets in the year it was published. I had read the book from cover to cover the moment it came out; then I read it again from cover to cover; and then, every time I went to see any Ashton performance, I would read the relevant section both before setting out and then on returning home. -
Making an American Dance
Making an American Dance: Billy the Kid, Rodeo, and Appalachian Spring LYNN GARAFOLA Few American composers had a longer or more intimate association with dance than Aaron Copland. He discovered it as an exciting form of thea ter art in Paris during his student years, which coincided with the heyday of Serge Diaghilev's Ballets Russes and Rolf de Mare's Ballets Suedois. In the Paris of the early 1920s new music and ballet were synonymous. Stravinsky, Prokofiev, and Falla were stars of the "Russian" troupe; Satie, Milhaud, and Honegger of the "Swedish" one. In 1923, like so many other young composers, Copland attended the revival of Stravinsky'S Rite of Spring and the first performance of his Les Noces, as well as the premiere of Milhaud's La Creation du Monde. Copland's first orchestral score, which he began in Paris, was a ballet. Although it was never produced, he recy cled parts of it in his 1929 Dance Symphony, an independent orchestral work, and his 1934 ballet for Ruth Page, Hear lef Hear lef. "Ballet was the big thing in Paris during the 1920s," he told Phillip Ramey in 1980. "One of the first things I did upon arriving in Paris in 1921 was to go to the Ballets Suedois, where I saw Milhaud's £Homme et son Desir."] Copland discovered ballet in the aftermath ofDiaghilev's modernist revo lution. Through his successive choreographers-Michel Fokine and Vaslav Nijinsky before World War I, Uonide Massine, Bronislava Nijinska, and George Balanchine during and after the war-Diaghilev transformed not only what ballet looked lil(e but also how it sounded. -
Graeme Murphys Romeo and
DANA STEPHENSEN, CORYPHÉE 2011 SEASON MELBOURNE 13 – 24 September the Arts Centre, State Theatre with Orchestra Victoria SYDNEY 2 – 21 December Opera Theatre, Sydney Opera House with Australian Opera and Ballet Orchestra Mum’s lounge room Cavendish Road High School Davidia Lind Dance Centre The Australian Ballet The Arts Centre, Melbourne TELSTRA IS PROUD TO SUPPORT DANCERS AT EVERY STAGE It’s a long journey from those first hesitant steps to a performance on the world stage. Telstra proudly supports Australian dancers through community grants, the People’s Choice Award, and as principal partner of The Australian Ballet. Broadcast Sponsor Supporting Sponsor Supporting Sponsor Principal Sponsor Cover and above: Madeleine Eastoe and Kevin Jackson Photography Georges Antoni TCON1179_D Madeleine Eastoe Photography Georges Antoni NOTE FROM THE ARTISTIC DIRECTOR If you ask any dancer, they’ll say that Romeo This production will be such a valuable and Juliet is a ballet they aspire to dance. To addition to the repertoire and will give us a have the opportunity to have this classic tale new way to engage with this timeless story. created for you by one of the world’s great It is also a wonderful vehicle for the artistry narrative choreographers would be a dream of our talented dancers. Equally it has been come true. That is just what’s been happening an amazing showcase for the artisans who for the last few months! It has been so exciting make the sets, props and costumes, as to watch this new production take shape well as the technical staff who bring them across the company, in the rehearsal rooms, to the stage. -
An Analysis of the Pedagogy for the Training of Young Dancers
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE CLASSICAL BALLET PRE-POINTE EDUCATION: AN ANALYSIS OF THE PEDAGOGY FOR THE TRAINING OF YOUNG DANCERS A THESIS SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of MASTER OF FINE ARTS IN DANCE By ROSE E. TAYLOR-SPANN Norman, Oklahoma 2016 CLASSICAL BALLET PRE-POINTE EDUCATION: AN ANALYSIS OF THE PEDAGOGY FOR THE TRAINING OF YOUNG DANCERS A THESIS APPROVED FOR THE SCHOOL OF DANCE BY ______________________________ Mr. Jeremy Lindberg, Chair ______________________________ Ms. Rebecca Herrin ______________________________ Dr. Lara Mayeux ______________________________ Ms. Clara Cravey Stanley © Copyright by ROSE E. TAYLOR-SPANN 2016 All Rights Reserved. Acknowledgements A significant work is the culmination of experiences and achievements realized only through the support and guidance of family, friends, mentors, and colleagues. That said, I would like to express my deepest appreciation to my thesis committee for their guidance throughout this process: my chair Jeremy Lindberg for his steady reassurance, enthusiasm, and utmost professionalism during my graduate career; Clara Cravey Stanley, a mentor of mine for nearly two decades who will always be an irreplaceable source of wisdom, advice, incredible stories, and laughter; Lara Mayeux for her outside perspective and guidance; and Rebecca Herrin who was instrumental through all phases of this project from concept to completion – her influence and attention to detail greatly aided in the realization of my vision. I would like to thank Mary Margaret Holt for the many opportunities and the University of Oklahoma’s School of Dance faculty and staff for their influence and support through this process. -
Ballet Basics Handbook
BALLET BASICS HANDBOOK INTRODUCTION Numerous reasons lead people to participate in dance as dance students, performers, and patrons. Dance students experience the satisfaction of finally conquering a difficult dance combination. Performers live for the thrill of stepping out into the bright lights and exciting an eager audience. Dance patrons enjoy the exquisite expression of the well‐conditioned body through movement. It is then no wonder that dance itself is found in the roots of every culture, and that dance is a celebrated artform throughout the world. The following pages provide general information about ballet. We begin with the evolution of ballet, from the early court dances to the precise performing art that exists today. Next we describe the study of classical ballet and the intense training that is essential to the development and life of a professional dancer. We then venture into the studio and describe a typical day in the life of a dancer. Finally, we conclude with the excitement of production week, when the dancers head into the theater and everyone makes the final preparations for performance. Clayton Sydnor, Ballet Austin II dancer, 1999‐2001 Michelle Martin, Associate Artistic Director Pei‐San Brown, Community Education Director Cover: Ballet Austin’s Aara Krumpe, photo by Hannah Neal More information available online at www.balletaustin.org. Questions and registrations, contact Pei‐San Brown, Community Education Director, at pei‐[email protected] or 512.476.9151 ext. 178. ‐ 2 ‐ HISTORY OF BALLET Early Court Dances Humans expressed thoughts and emotions through movement long before the development of speech. However, for our purpose, we will begin at the point where dance was relied upon as a form of entertainment. -
The History of Ballet 5
Contents: 1.Introduction 3 2.Main part 2.1 The History of Ballet 5 2.2 When did Dance Start? 6 2.3 The Greeks and Romans 6 2.4 The Middle Ages 8 2.5 The Reniassance 9 2.6 Louis XIV and the French Influence 11 2.7 1740 to Pre-Romantic 14 2.8 Pre-Romantic Era 15 2.9Romantic Era 16 210 Petipa and the Russian Ballet 17 2.11 Ballet in Britain 19 2.12The Russian Revolution and Nureyev 20 2.13 America 21 3. Conclusion 22 4. Tables and pictures 23 5.Bibliography 23 1.Introduction Ballet is a form of dancing performed for theatre audiences. Like other dance forms, ballet may tell a story, express a mood, or simply reflect the music. But a ballet dancer's technique (way of performing) and special skills differ greatly from those of other dancers. Ballet dancers perform many movements that are unnatural for the body. But when these movements are well executed, they look natural. Pic.1 Ballet dancers seem to ignore the law of gravity as they float through the air in long, slow leaps. They keep perfect balance while they spin like tops without becoming dizzy. During certain steps, their feet move so rapidly that the eye can hardly follow the movements. The women often dance on the tips of their toes, and the men lift them high overhead as if they were as light as feathers. The dancers take joy in controlling their bodies, and ballet audiences share their feelings. The spectators can feel as though they are gliding and spinning with the dancers.