Dance Troupe 2013 List of Dancers and Schedule by Number

Total Page:16

File Type:pdf, Size:1020Kb

Dance Troupe 2013 List of Dancers and Schedule by Number Dance Troupe 2013 List of Dancers and Schedule by Number DAYS WHERE EVERYONE IS CALLED Review rehearsal – Thursday, August 8, 4:45 to 6:15pm Stage Rehearsal – Monday, August 12, 5:00 to 10:00pm (Younger dancers released at 8:30pm) Tech/Dress Rehearsal – Tuesday, August 13, 2:00 to 10:00pm (Dinner provided) Performance – Wednesday, August 14, 6:00pm call for a 7:30pm performance Finale Choreographed by Kevin Dietzler and Abby Shunskis Every Dance Troupe participant is in the finale number and is asked to attend the following rehearsals. If you are also in Cabaret, you do not have to attend the following rehearsals. Rehearsals: 1. Monday, June 24, 4:45 to 6:15pm 2. Wednesday, July 17, 4:45 to 6:15pm 3. Tuesday, August 6, 4:45 to 6:15pm See the following pages for individual numbers 1 Apprentices & Rising Stars Number Choreographed by Libby Garrity McCampbell Rehearsals: 1. Friday, June 28, 4:45 to 6:15pm 2. Friday, July 12, 4:45 to 6:15pm 3. Friday, July 19, 4:45 to 6:15pm 4. Friday, July 26, 4:45 to 6:15pm (w/ Abby Shunskis) 5. Wednesday, July 31, 4:45 to 6:15pm 6. Friday, August 2, 4:45 to 6:15pm Dancers: Jada Adkins Marissa Kealey Alli Buchanan Olivia Knapp Emma Caughlan Violet Lange Gabriella Cavallaro Mikayla Langford Sophia Cavalli Sarah McGrath Rebecca Clay Liberty Joy Morrissey Caroline Conway Olivia Nast Mikayla Cook Brianna O'Doherty Maggie Cooper Morgan Shull Jordan Cusky Clare Simmonds Yasmine Ferguson-Smalls Matthew Tierney Anthony Flamminio Emily Watson Michaela Henry Lauren Young Zoe Hunchak Janna Jordan 2 Crazy Jazz Choreographed by Devon Fields and Maryleigh Sharp Rehearsals: 1. Wednesday, June 26, 4:45 to 6:15pm 2. Wednesday, July 3, 4:45 to 6:15pm 3. Wednesday, July 10, 4:45 to 6:15pm 4. Wednesday, July 24, 4:45 to 6:15pm 5. Wednesday, August 7, 4:45 to 6:15pm Dancers: Jada Adkins Kaitlyn Hayes Erin Anderson Sam Henderson Hannah Beltrante Zoe Hunchak Sarajane Bradley Jenn Ingling Gracie Burns Early Jackson Matthew Buzzell Trelayna Jackson Jason Buzzell Mikayla Langford Esther Cadet Jackie Loeliger Princess Cadet Allison Magee Gabriella Cavallaro Cayla McDowell Mikayla Cook Farrell McVay Maggie Cooper Lauren Milewski Noah Cox Brianna O'Doherty Daisha Crooks Anna Rudegeair Rylee Curry Morgan Shull Megan DePaul Emmy Steele Morgan Devlin Juliana Strolli Christina Dietzler Matthew Tierney Lauren Dietzler Dazjah Washington Emma Dine Emily Watson Jack Ellis Mike Weir James Everett Lauren Young Helena Fox 3 Lyrical/Jazz Number Choreographed by Joanne McBride Rehearsals: 1. Monday, July 15, 4:45 to 6:15pm 2. Monday, July 22, 4:45 to 6:15pm 3. Thursday, July 25, 4:45 to 6:15pm 4. Monday, July 29, 4:45 to 6:15pm 5. Tuesday, July 30, 4:45 to 6:15pm Dancers: Gracie Burns Daphne Dorsaneo Anastasia Kavalkovich Brianna Kelly Allie Knorr Jackie Loeliger Hannah McGrath Teresa Niznan Gianna Penezic Grace Potter Caroline Roberts Anna Rudegeair Maryleigh Sharp Clare Simmonds Erin Swisher Gillian Watson 4 Tap Number Choreographed by Angela Wertner and Meghan Dietzler Rehearsals: 1. Monday, July 8, 4:45 to 6:15pm 2. Monday, July 15, 4:45 to 6:15pm 3. Monday, July 22, 4:45 to 6:15pm 4. Monday, August 5, 4:45 to 6:15pm Dancers: Mara Baratka Nick Bruce Gracie Burns Matthew Buzzell Megan DePaul Morgan Devlin Daphne Dorsaneo Kylie Dryden Poushali Ghosh Michaela Henry Jenn Ingling Sarah Jordan Anastasia Kavalkovich Annie Loeliger Lauren Marsaglia Marie McVeigh Leslie Monaco Gina Prince Jason Severin Jocelyn Severin Savanna Stanton-Ameisen Molly Thornton Francesca Truax Danny Venini Alicia Weiser 5 Hip Hop and Lyrical Number Choreographed by David Buzzell and Kylie Stetler Rehearsals: 1. Thursday, June 27, 4:45 to 6:15pm 2. Monday, July 1, 4:45 to 6:15pm 3. Thursday, July 11, 4:45 to 6:15pm 4. Thursday, July 18, 4:45 to 6:15pm Dancers: Erin Anderson Kaitlyn Hayes Hannah Beltrante Sarah Jordan Sarajane Bradley Annie Loeliger Matthew Buzzell Cayla McDowell Jason Buzzell Hannah McGrath Noah Cox Lauren Milewski Daisha Crooks Leslie Monaco Rylee Curry Teresa Niznan Christina Dietzler Gina Prince Lauren Dietzler Caroline Roberts Emma Dine Mary Sharp James Everett Emmy Steele Yasmine Ferguson-Smalls Juliana Strolli Helena Fox Francesca Truax Corey Glover Dazjah Washington Toney Goins Mike Weir 6 Lyrical/Contemporary Number Choreographed by Kayla Kelly Rehearsals: 1. Thursday, June 27, 4:45 to 6:15pm 2. Monday, July 8, 4:45 to 6:15pm 3. Thursday, July 11, 4:45 to 6:15pm 4. Thursday, July 18, 4:45 to 6:15pm Dancers: Mara Baratka Camryn Council Poushali Ghosh Sam Henderson Melanie Hill Jenn Ingling Brianna Kelly Allie Knorr Allison Magee Lauren Marsaglia Hannah McGrath Marie McVeigh Maryleigh Sharp Erin Swisher Melanie Weir 7 Jazz/Funk Number Choreographed by Amanda Kelly Rehearsals: 1. Tuesday, June 25, 4:45 to 6:15pm 2. Monday, July 1, 4:45 to 6:15pm 3. Tuesday, July 9, 4:45 to 6:15pm 4. Tuesday, July 23, 4:45 to 6:15pm Dancers: Nick Bruce Sophia Cavalli Camryn Council Megan DePaul Devon Fields Toney Goins Melanie Hill Courtney Kelly Kayla Kelly Lauren Marsaglia Marie McVeigh Gina Prince Jason Severin Savanna Stanton-Ameisen Molly Thornton Danny Venini Alicia Weiser 8 Advanced Jazz Number Choreographed by Sara Mingle Rehearsals: 1. Tuesday, July 2, 4:45 to 6:15pm 2. Tuesday, July 9, 4:45 to 6:15pm 3. Tuesday, July 16, 4:45 to 6:15pm 4. Monday, August 5, 4:45 to 6:15pm Dancers: Danielle Bruce David Buzzell Daphne Dorsaneo Kylie Dryden Sabrina Follo Melanie Hill Courtney Kelly Kayla Kelly Annie Loeliger Jason Severin Savanna Stanton-Ameisen Kylie Stetler Molly Thornton Danny Venini Alicia Weiser 9 Hip Hop Number Choreographed by Becca Phillipson-Weiner Rehearsals: 1. Wednesday, June 26, 4:45 to 6:15pm 2. Wednesday, July 10, 4:45 to 6:15pm 3. Wednesday, July 24, 4:45 to 6:15pm 4. Wednesday, August 7, 4:45 to 6:15pm Dancers: Danielle Bruce Nick Bruce David Buzzell Esther Cadet Princess Cadet Devon Fields Sabrina Follo Early Jackson Trelayna Jackson Janna Jordan Courtney Kelly Sara Mingle Liberty Joy Morrissey Gianna Penezic Jason Severin Jocelyn Severin Savanna Stanton-Ameisen Dazjah Washington 10 Vogue/Hip Hop Number Choreographed by Devon Fields Rehearsals: 1. Tuesday, June 25, 4:45 to 6:15pm 2. Tuesday, July 2, 4:45 to 6:15pm 3. Tuesday, July 16, 4:45 to 6:15pm 4. Tuesday, July 23, 4:45 to 6:15pm Dancers: Mara Baratka Esther Cadet Princess Cadet Camryn Council Poushali Ghosh Corey Glover Toney Goins Early Jackson Trelayna Jackson Anastasia Kavalkovich Kayla Kelly Annie Loeliger Marie McVeigh Gianna Penezic Jocelyn Severin Maryleigh Sharp Emmy Steele Kylie Stetler Danny Venini Gillian Watson Alicia Weiser 11 .
Recommended publications
  • Intelligent System of Visualization and Creation of Choreographic Setting
    Intelligent System of Visualization and Creation of Choreographic Setting Andrii Stefanchuk1, Olga Lozynska[0000-0002-5079-0544]2, Taras Basyuk[0000-0003-0813-0785]3, Oksana Oborska4, Anatolii Vysotskyi5, Khrystyna Mykich[0000-0002-4324-2080]6, Iryna Zavuschak[0000-0002-5371-8775]7 Lviv Polytechnic National University, Lviv, Ukraine [email protected] Abstract. The purpose of this tusk is creation of an intelligent system for visu- alization and creation of choreographic performances, which would enable the user to perform his tasks related to dance performances quickly and convenient- ly. To achieve this goal, the following tasks were set: to carry out researches of the literary sources concerning a subject of work; to carry out the analysis of similar systems and to prove the development of the studied system; to carry out systematic analysis and substantiate the problem; to make the choice of methods and means for solving the problem; implement software implementa- tion of the mobile application to solve the problem; - to test the developed sys- tem. Object of study is the process of visualizing and creating choreographic productions. Subject of study is methods and tools for building an intelligent visualization system and creating choreographic productions. Research methods is application of system analysis methods. The obtained results enable the cho- reographers to visualize their productions quickly and effectively. With the help of a developed system, they can overlay music on their production and arranged pictures. This information will be accessible to them from any device as the da- ta will be stored on the server. Keywords. Visualization, Dance, Choreographic Scene, Information System, Mobile Application, Choreographic productions.
    [Show full text]
  • 'What Ever Happened to Breakdancing?'
    'What ever happened to breakdancing?' Transnational h-hoy/b-girl networks, underground video magazines and imagined affinities. Mary Fogarty Submitted in partial fulfillment Of the requirements for the degree of Interdisciplinary MA in Popular Culture Brock University St. Catharines, Ontario © November 2006 For my sister, Pauline 111 Acknowledgements The Canada Graduate Scholarship (SSHRC) enabled me to focus full-time on my studies. I would also like to express my deepest gratitude to my committee members: Andy Bennett, Hans A. Skott-Myhre, Nick Baxter-Moore and Will Straw. These scholars have shaped my ideas about this project in crucial ways. I am indebted to Michael Zryd and Francois Lukawecki for their unwavering kindness, encouragement and wisdom over many years. Steve Russell patiently began to teach me basic rules ofgrammar. Barry Grant and Eric Liu provided comments about earlier chapter drafts. Simon Frith, Raquel Rivera, Anthony Kwame Harrison, Kwande Kefentse and John Hunting offered influential suggestions and encouragement in correspondence. Mike Ripmeester, Sarah Matheson, Jeannette Sloniowski, Scott Henderson, Jim Leach, Christie Milliken, David Butz and Dale Bradley also contributed helpful insights in either lectures or conversations. AJ Fashbaugh supplied the soul food and music that kept my body and mind nourished last year. If AJ brought the knowledge then Matt Masters brought the truth. (What a powerful triangle, indeed!) I was exceptionally fortunate to have such noteworthy fellow graduate students. Cole Lewis (my summer writing partner who kept me accountable), Zorianna Zurba, Jana Tomcko, Nylda Gallardo-Lopez, Seth Mulvey and Pauline Fogarty each lent an ear on numerous much needed occasions as I worked through my ideas out loud.
    [Show full text]
  • A.S.D. Mondial Dance – Via Fosso Sassetara – Snc 00055 Cerveteri - Roma – Tel
    A.S.D. Mondial Dance – Via Fosso Sassetara – snc 00055 Cerveteri - Roma – tel. +39 347 835 7258 www.worldaballetassociation.it -www.mondialdance.it – e-mail : [email protected] Ritmuscsapatok:[email protected] INTERNATIONAL DANCE COMPETITION Organized by WBA ( World Ballet Association ), in collaboration with AMD Mondial Dance of Rome www.worldballetassociation.it - www.mondialdance.it A.S.D. Mondial Dance – Via Fosso Sassetara – snc 00055 Cerveteri - Roma – tel. +39 347 835 7258 www.worldaballetassociation.it - www.mondialdance.it – e-mail : [email protected] Ritmuscsapatok:[email protected] RULES AND MODULE OF REGISTRATION List of documents to be delivered for registration For registration for the event will need to provide : 1 ) Entry form signed 2 ) List of choreographies 3 ) Release for publication of their images, signed 4 ) Approve and sign the rules 5 ) Payment of subscriptions 6 ) Statement of responsibility and approval of the regulation 7) Complete list of Dancers 8) Two names for the Free Pass (The passes are for the Director of the school / Choreographer / Teacher / Assistant, if there are more than two people, please let us know in the same form, indicating the name and role within the school and the competition) 9) Self-Certification, Minors (under 18) or Older (more of 18) All must sended for e-mail including the music, to [email protected] Payments can be made in the following ways : Account to: Stefano Sellati Codice IBAN: Codice BIC: In the causal you must write: As a voluntary contribution In favor of Mondial Dance, for the realisation and to the participation at Dance Competition at Thema “Dance Trilogy” ATTENTION THE REGISTRATION WILL BE CONFIRMED WITH A OUR E-MAIL, AFTER THAT YOU SENT TO TO US, THE FULL PAYEMENT.
    [Show full text]
  • CE 010743 .AUTEOR Cornell, Richard; Hansen, Mary Lewis TITLE Exploring Dance Careers
    DOCUMENT RESUME ED 137 614 08 CE 010743 .AUTEOR Cornell, Richard; Hansen, Mary Lewis TITLE Exploring Dance Careers. A St-2dent Guidebook. INSTITUTION Technical Education Research Center, Cambridge, Mass. - SPONS AGENCY Bureau of Occupational and Adult Education (DHEW/OE), Washington, D.C. Div. of Research and Demonstration. PUB DATE 76 CONTRACT OEC-0-74-9253 NOTE 32p.; For related documents see CE 010 734-744 AVAILABLE FROM Superintendent of Documents, U.S. Government Printing Office, Washington, D.C. 20402 (Stock Number DI7-080-01638-9, $0.75) t NN N EDRS PRICE MF-$0.83 HC-$2.06 Plus Postage. DESCRIPTORS Ballet; *Career Exploration; *Dance; Education;. Instructional Materials; *Occupational Infermation; Occupations; Resource Guides; Secondary Education ABSTRACT. One of,six student guidebooks in a series of 11 arts and humanities career exploration guides for grade 7-12 teachers, couliselors, and students, this student book on exploration of dance careers presents information on specific occupations in both performance careers and dance education. An introductory section describes the four different dance careers of Carol, Mike, Janice, and Laurie. The main chapters include general discussion of the field and what people in the field do, various specializations, skills and interests that are appropriate, eduOation or experience required, where and how jobs are found and the'job outlook, and suggestions a person in the field would make to students. The first chapter on dance performance careers focuses on the different styles of dance and how the careers are different for ballet, modern dance, jazz dance, and ethlic dance. Also included are notes on choreography as a career and a list of dancers' unions.
    [Show full text]
  • Glenwood High School Dance Team Handbook 2020-2021 Coach: Hannah Phillips Email: [email protected]
    Glenwood High School Dance Team Handbook 2020-2021 Coach: Hannah Phillips Email: [email protected] Auditions will be held on Wednesday August 12 in the GHS Commons from 2:30-5:30pm. MISSION STATEMENT The Glenwood High School Dance Team is committed to representing Glenwood with the highest caliber of school spirit, personal integrity, and dance talent through our high standards of excellence and tradition of teamwork. The Dance Team is dedicated to promoting unity, sportsmanship, and respect by maintaining responsibility and discipline. We will strive to do our best at each performance and demonstrate a positive attitude to represent the community. CODE OF CONDUCT The team will uphold the same guidelines as stated in the Glenwood student handbook. Any violation or deviation from the handbook (i.e.: the use or possession of tobacco, drugs, or alcohol on or off school premises, criminal activity, or other inappropriate behavior) will result in disciplinary action. PROBLEMS & BULLYING Being on a team in a high school setting can be difficult and I understand that problems will arise, however, bullying, gossiping, instigating turmoil, or inappropriate use of social media will automatically result in disciplinary action. If there are ever any problems, I am always here to help and resolve the problem. Teamwork, understanding, compassion, and being open-minded are all qualities we must have as a team in order to succeed together in a cohesive environment. AUDITIONS Auditions will be held on Wednesday August 12 in the GHS Commons from 2:30-5:30pm. All dancers are auditioning for both football and basketball season.
    [Show full text]
  • Chapter 1 Uday Shankar and Locating Modernity
    CHAPTER 1 UDAY SHANKAR AND LOCATING MODERNITY In 1920, a twenty year old, handsome Indian student arrived in London to study painting at the Royal College of Art. Three years later, he made his debut at Covent Garden alongside the legendary Russian ballet dancer, Anna Pavlova, although—quite remarkably—until a few months earlier, he had little to no dance experience. His audiences in England, France, and the United States nevertheless thought he was very talented at what he did. The dancer invented a new style of dance, which purportedly represented Indian culture; his dance looked “foreign” enough that nobody doubted his claim. In the late 1920s, the dancer returned to India, and demonstrated his new style to his fellow compatriots. Most of his compatriots did not care for this new style, but a few prominent figures encouraged him to continue with what he was doing. His family and friends also supported him; some of them even joined his dance troupe as dancers and musicians, including his youngest brother, twenty years his junior. The troupe then returned to Paris. Meanwhile, India was nearing the end of its dramatic transition from a British imperial colony to a newly independent nation. When the dancer returned to settle in India in the late 1930s, he immersed himself in the current debates over India’s future identity and culture. Most people, who believed the essence of Indian culture could be found in its ancient traditions, were looking to the past for the “real” definition of national culture and identity. The dancer, however, proposed that his invented style and eclectic approach to art defined India’s culture instead.
    [Show full text]
  • Society of Dance History Scholars Proceedings
    Society of Dance History Scholars Proceedings Twenty-Seventh Annual Conference Duke University ~ Durham, North Carolina 17-20 June 2004 Twenty-Eighth Annual Conference Northwestern University ~ Evanston, Illinois 9-12 June 2005 The Society of Dance History Scholars is a constituent member of the American Council of Learned Societies. This collection of papers has been compiled from files provided by individual authors who wished to contribute their papers as a record of the 2004 Society of Dance History Scholars conference. The compiler endeavored to standardize format for columns, titles, subtitles, figures or illustrations, references, and endnotes. The content is unchanged from that provided by the authors. Individual authors hold the copyrights to their papers. Published by Society of Dance History Scholars 2005 SOCIETY OF DANCE HISTORY SCHOLARS CONFERENCE PAPERS Susan C. Cook, Compiler TABLE OF CONTENTS 17-20 June 2004 Duke University ~ Durham, North Carolina 1. Dancing with the GI Bill Claudia Gitelman 2. Discord within Organic Unity: Phrasal Relations between Music and Choreography in Early Eighteenth-Century French Dance Kimiko Okamoto 3. Dance in Dublin Theatres 1729-35 Grainne McArdle 4. Queer Insertions: Javier de Frutos and the Erotic Vida Midgelow 5. Becomings and Belongings: Lucy Guerin’s The Ends of Things Melissa Blanco Borelli 6. Beyond the Marley: Theorizing Ballet Studio Spaces as Spheres Not Mirrors Jill Nunes Jensen 7. Exploring Ashton’s Stravinsky Dances: How Research Can Inform Today’s Dancers Geraldine Morris 8. Dance References in the Records of Early English Drama: Alternative Sources for Non- Courtly Dancing, 1500-1650 E.F. Winerock 9. Regional Traditions in the French Basse Dance David Wilson 10.
    [Show full text]
  • ILD SS-44 2022 Fnl.Indd
    Rising to Dance in 2022 We produce events filled with a fun and respectful spirit about performing. UPDATED Rules including accepting your music digitally. th Always CURRENT — Always ORIGINAL. Our 44 Season! Ballet/Lyrical/Modern Jazz/Hip-Hop Tap/Musical Theatre Variety Arts/Acro/Ethnic Special Categories: Costume Teacher Features Forty Plus Student Choreography Production Cash Prizes for Groups at allNumbers 2022 I LOVE DANCE Competitions Plus “Best of Show” & “Best Musicality” Cash Prizes Celebrate the 44th Annivesay of Dependable - organized, on-time, and with marley fooring. Atmosphere that is professional, fair, impartial, fun and classy. Nice Dance Teachers & Nice Dance Moms ONLY. Convenient and Luxurious Hotels that everyone will enjoy. Economical. We keep our entry fees very LOW for YOU! We chose an “ Sweetheat” Encouraging Dancers of at each copetitio all Ages and Ability Levels! (No additioal fee to ty ot) SEE OUR WEBSITE for ALL DETAILS as well as © 2021 Kim McKimmie ONLINE REGISTRATION: See reverse side www.ilovedance.com for 2022 schedule! “The Quality Shos” Kim McKimmie International Director 503-253-2020 2022 - RISING to DANCE for our 44th Season! Reservations Dates City Competition Location Dates at a glance BY STATE CA Los Angeles 4/2 & 3 Saturday & Sunday Hyatt Regency on the Hudson March 19 & 20 JERSEY CITY, NJ 2 Exchange Place Jersey City, NJ 07302 201-469-1234 IA Des Moines 4/30 & 5/1 IL Chicago 4/23 & 24 Sunday DoubleTree by Hilton - Pittsburgh Cranberry PITTSBURGH, PA 724-776-6900 March 27 910 Sheraton Drive Mars,
    [Show full text]
  • Dance Champs 2021 Rules and Regulations “Where Dancers Shine Like Stars”
    Dance Champs 2021 Rules and Regulations “Where Dancers Shine Like Stars” Please read carefully! Failure to comply with our rules and regulations could result in point deductions, extra fees and possibly disqualification. SOME OF OUR RULES HAVE CHANGED FOR 2021. THESE ARE HIGHLIGHTED IN YELLOW FOR YOUR CONVENIENCE. REGISTRATION PROCESS: ENTRIES must be entered on our online registration form 30 days before the respected competition city. Entries will be accepted on a first come first serve basis. Any entries received after the deadline date will be assessed a late fee of $15 per entry. This fee will automatically be added to your total amount to be paid in full. Entries ARE NOT accepted the day of the competition. Entries are not guaranteed acceptance until payment is received. Emailed, faxed or phone entries ARE NOT accepted. Dance Champs has the right to refuse any entry at any time. Dance Champs reserves the right to change competition dates and locations due to any unforeseen circumstances. PAYMENTS can be made by credit card, cashier’s check, or studio check. Outstanding fees after the deadline date must be paid by credit card and will incur the late fee. Studio checks WILL NOT be accepted after the deadline date. RETURNED CHECKS and/or declined credit cards will be charged a $35 returned fee. REFUNDS WILL NOT be offered for any reason after the deadline date. No Exceptions. Credits for future DC Events will be given in the event of injuries. Day of scratches will result in forfeit of entry fees. If an event has reached the minimum required number of performances, and it has been confirmed, no refunds will be issued.
    [Show full text]
  • Yes, Virginia, Another Ballo Tragico: the National Library of Portugal’S Ballet D’Action Libretti from the First Half of the Nineteenth Century
    YES, VIRGINIA, ANOTHER BALLO TRAGICO: THE NATIONAL LIBRARY OF PORTUGAL’S BALLET D’ACTION LIBRETTI FROM THE FIRST HALF OF THE NINETEENTH CENTURY DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Ligia Ravenna Pinheiro, M.F.A., M.A., B.F.A. Graduate Program in Dance Studies The Ohio State University 2015 Dissertation Committee: Karen Eliot, Adviser Nena Couch Susan Petry Angelika Gerbes Copyright by Ligia Ravenna Pinheiro 2015 ABSTRACT The Real Theatro de São Carlos de Lisboa employed Italian choreographers from its inauguration in 1793 to the middle of the nineteenth century. Many libretti for the ballets produced for the S. Carlos Theater have survived and are now housed in the National Library of Portugal. This dissertation focuses on the narratives of the libretti in this collection, and their importance as documentation of ballets of the late eighteenth and early nineteenth centuries, from the inauguration of the S. Carlos Theater in 1793 to 1850. This period of dance history, which has not received much attention by dance scholars, links the earlier baroque dance era of the eighteenth century with the style of ballet of the 1830s to the 1850s. Portugal had been associated with Italian art and artists since the beginning of the eighteenth century. This artistic relationship continued through the final decades of the eighteenth and the first half of the nineteenth century. The majority of the choreographers working in Lisbon were Italian, and the works they created for the S. Carlos Theater followed the Italian style of ballet d’action.
    [Show full text]
  • MINNESOTA DANCER March 2015
    ___________________________________________________________________________________________________________ MINNESOTA DANCER March 2015 Dancing at the Mall of America! Top to bottom: Elizabeth Dickinson & Mike Jones, Bonnie Burton & Ed Soltis, Yvonne & Dan Viehman Photo by Judy Huftel 1 MD / March 2015 www.usadance-minnesota.org Official publication of USA Dance Minnesota Chapter #2011 ___________________________________________________________________________________________________________ 2 MD / March 2015 www.usadance-minnesota.org ___________________________________________________________________________________________________________ 3 MD / March 2015 www.usadance-minnesota.org ___________________________________________________________________________________________________________ DANCER’S NIGHT OUT Want to see your dance listed here? Email the details to [email protected]. Sun 3/1 USA Dance Minnesota Beginner Waltz Lesson with Shinya McHenry; 2:00 www.socialdancestudio.com Waltz Lesson with Shinya McHenry; 2:00 PM; $5 or Free to USA Dance Members! PM; $5 or Free to USA Dance Members! DanceLife Ballroom, 6015 Lyndale S., Third Sunday Dance at Tapestry, 6–9:30, $7 DanceLife Ballroom, 6015 Lyndale S., www.usadance-minnesota.org –$10, Hustle with Duayne Wincell, live mu- www.usadance-minnesota.org sic by Café Accordian Orchestra, 3748 Min- Cinema Ballroom Sunday Night Dancing nehaha Ave S, Mpls, TC Rebels Swing Dance, Social Dance with Jerry O'Hagan and His Orchestra, www.tapestryfolkdance.org Studio, 7–10:30, 3742-23rd
    [Show full text]
  • 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.
    [Show full text]