D.O.A Full Result List - 2020
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Historie a Vývoj Baletní Scény Mariinského Divadla
Univerzita Hradec Králové Pedagogická fakulta Katedra ruského jazyka a literatury Historie a vývoj baletní scény Mariinského divadla Diplomová práce Autor: Bc. Andrea Plecháčová Studijní program: N7504 – Učitelství pro střední školy Studijní obor: Učitelství pro střední školy – základy společenských věd Učitelství pro střední školy – ruský jazyk a literatura Vedoucí práce: Mgr. Jaroslav Sommer Oponent práce: prof. PhDr. Ivo Pospíšil, DrSc. Hradec Králové 2020 Prohlášení Prohlašuji, že jsem tuto diplomovou práci vypracovala (pod vedením vedoucího diplomové práce) samostatně a uvedla jsem všechny použité prameny a literaturu. V Hradci Králové dne … ………………………… Bc. Andrea Plecháčová Poděkování Ráda bych poděkovala svému vedoucímu panu Mgr. Jaroslavu Sommerovi za odborné vedení a cenné rady při vypracovávání diplomové práce. Dále děkuji paní Mgr. Jarmile Havlové za pomoc při korektuře gramatické stránky práce. Anotace PLECHÁČOVÁ, Andrea. Historie a vývoj baletní scény Mariinského divadla. Hradec Králové: Pedagogická fakulta Univerzity Hradec Králové, 2020. 66 s. Diplomová práce. Práce se zaměřuje na historii a vývoj baletní scény Mariinského divadla po současnost. Věnuje se také nejslavnějším osobnostem a inscenacím baletní scény Mariinského divadla v Petrohradě. Klíčová slova: balet, divadlo, Petrohrad, umění, Leningrad, Kirovovo divadlo opery a baletu, Mariinské divadlo. Annotation PLECHÁČOVÁ, Andrea. History and Development of the Mariinsky Ballet. Hradec Králové: Faculty of Education, University of Hradec Králové, 2020. 66 pp. Diploma Dissertation Degree Thesis. The thesis focuses on the history and development of the ballet stage of the Mariinsky Theatre up to the present. It is also dedicated to the most outstanding personalities and stagings of the Mariinsky Theatre in Petersburg. Keywords: ballet, theatre, Saint Petersburg, art, Leningrad, Kirov Theatre, The Mariinsky Theatre. -
JUNE 3-13 Baumgartner Center for Dance on Demand Milwaukeeballet.Org
JUNE 3-13 Baumgartner Center for Dance On Demand milwaukeeballet.org THE 2020-21 SEASON IS SPONSORED BY DONNA & DONALD BAUMGARTNER Lahna Vanderbush. Photo Timothy O’Donnell This program was supported in part by a grant from Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts. LETTER FROM THE ARTISTIC DIRECTOR Dear friends, Welcome to Encore, which we proudly present in our lovely home, Baumgartner Center for Dance. I’ve curated cherished works from our archives to celebrate all we have accomplished together this season, despite the challenges. Thank you for joining our celebration. The classical variations in this program span the most beloved scenes in the ballet world: Don Quixote, Raymonda, Giselle. You will also enjoy excerpts from both a luminary and a rising star in contemporary dance: Trey McIntyre returns with A Day in the Life and Aleix Mañé shares his ExiliO, which won our international Genesis competition. In this program, we also celebrate our friend Jimmy Gamonet, who passed earlier this year from COVID-19. Jimmy is most notable for his longtime tenure as Miami City Ballet’s founding resident choreographer and ballet master. He staged three of his works here, the most well-known being Nous Sommes, which we warmly present as an affectionate tribute to his memory. On behalf of the entire organization, I would like to thank our season sponsors, Donna and Donald Baumgartner, as well as United Performing Arts Fund, for their unwavering support. We will announce our upcoming season in only a few short weeks and hope you will join us at Marcus Performing Arts Center this fall. -
Boston Ballet School Presents Annual Next
MEDIA CONTACT: Jill Goddard, 617.456.6236, [email protected] BOSTON BALLET SCHOOL PRESENTS ANNUAL NEXT GENERATION PERFORMANCE FEATURING CHRISTOPHER WHEELDON’S THE AMERICAN, MARIUS PETIPA’S RAYMONDA, AND A NEW WORK BY IGOR BURLAK May 2, 2018 (BOSTON, MA) – Boston Ballet School (BBS) proudly presents its ninth annual Next Generation performance featuring Christopher Wheeldon’s The American, Act III of Raymonda by Marius Petipa with additional choreography by Boston Ballet Artistic Director Mikko Nissinen, and a new work by BBS faculty member Igor Burlak. The program opens with Les Passages, which features dancers of all levels of the Pre-Professional program in pieces choreographed by BBS faculty members. This one-night-only performance takes place June 6 at the Boston Opera House. “Next Generation shines a spotlight on the incredible young talent that we have the pleasure of developing,” said Boston Ballet Artistic Director Mikko Nissinen. “Boston Ballet School is dedicated to providing the highest quality of training of dancers to ensure the success of our students who will contribute their many gifts to this living art form.” Boston Ballet School’s Pre-Professional program is committed to training top talent who aspire to professional careers with Boston Ballet and other major companies. Currently, over 20 percent of Boston Ballet’s dancers are graduates of the Pre-Professional program, and 95 percent of Trainee graduates secure jobs with professional ballet companies, a percentage that has increased annually. “This program showcases the next generation of talented and dedicated dancers. Each piece was specifically selected to highlight the individual strengths of our students and emphasize our rigorous curriculum,” said Boston Ballet School Director Margaret Tracey. -
Giselle Center for Performing Arts
Governors State University OPUS Open Portal to University Scholarship Center for Performing Arts Memorabilia Center for Performing Arts 1-20-2001 Giselle Center for Performing Arts Follow this and additional works at: http://opus.govst.edu/cpa_memorabilia Recommended Citation Center for Performing Arts, "Giselle" (2001, 2008). Center for Performing Arts Memorabilia. Book 168. http://opus.govst.edu/ cpa_memorabilia/168 This Book is brought to you for free and open access by the Center for Performing Arts at OPUS Open Portal to University Scholarship. It has been accepted for inclusion in Center for Performing Arts Memorabilia by an authorized administrator of OPUS Open Portal to University Scholarship. For more information, please contact [email protected]. fOR PffiFORMINC HRT5 Governors State University Presents Moscow Festival Ballet GISELLE SATURDAY, JANUARY 20,2001 8:00 PM 2000/2001 Season sponsored in part by a grant from the: I MOSCOW FESTIVAL BALLET GISELLE Sergei Radchenko, Artistic Director Act I: A Rhineland Village PRINCIPAL DANCERS Giselle, a peasant girl, has fallen in love with Count Albrecht, who has led her to believe that he is a villager named Loys. Her superstitious Natalia Arkiphova mother, Berthe, hoping that Giselle will marry the forester Hilarion, Mikhail Bessmertnov Marina Rzhannikova warns her against Loys, to whom she has taken an instinctive dislike. Dmitry Dmitriev Natalia Kungurtseva Yuri Vetrov Tatiana Andreyeva In order to discourage Giselle's love for 'Loys', Berthe further recounts Vyacheslav Aksenov the legend of the Wilis - ghosts of young girls who have been jilted Irina Kovaleva Valery Shumilov and die before their wedding day: to avenge themselves, they dance to Renata Petrova Alexander Rupyshev death any man who crosses their paths between midnight and dawn. -
Swan-Lake-Study-Guide-2017-18.Pdf
Swan Lake Study Guide 2017---18-18 Presented By the Department of Community Engagement Table of Contents The Quintessential Ballet 3 Milwaukee Ballet’s Swan Lake 4 Choreographic Birds of a Feather – Petipa, Ivanov & Pink 5 Did You Know? – Matthew Bourne 14 Behind the Music – Pyotr Tchaikovsky 15 Appendix A: Being A Good Audience Member 16 Sources and Special Thanks 17 2 The Quintessential Ballet Welcome to the Study Guide for Swan Lake , perhaps the world’s most widely recognized ballet aside from The Nutcracker . It has been called the “quintessential ballet” (quintessential means the purest and most perfect or the embodiment of, in this case, ballet!) and is often the show that pops into people’s minds when the word ballet is mentioned. Since its premiere in Moscow, Russia, it has been presented in over 150 versions by more than 100 companies in at least 25 different countries. That’s a lot of swans! Swan Lake didn’t start out successfully – which is surprising, considering its fame today. It premiered on February 20, 1877, and although Tchaikovsky’s spectacular music was used from the beginning, the choreography, originally done by Julius Reisinger, was less than stellar. A critic who was at the performance wrote, "Mr. Reisinger’s dances are weak in the extreme.... Incoherent waving of the legs that continued through the course of four hours - is this not torture? The corps de ballet stamp up and down in the same place, waving their arms like a windmill’s vanes - and the soloists jump about the stage in gymnastic steps." Ouch! Unfortunately Reisinger failed to mesh his choreography with the psychological, beautiful music Tchaikovsky created. -
Kirov Ballet & Orchestra of the Mariinsky Theatre
Cal Performances Presents Tuesday, October 14–Sunday, October 19, 2008 Zellerbach Hall Kirov Ballet & Orchestra of the Mariinsky Theatre (St. Petersburg, Russia) Valery Gergiev, Artistic & General Director The Company Diana Vishneva, Irma Nioradze, Viktoria Tereshkina Alina Somova, Yulia Kasenkova, Tatiana Tkachenko Andrian Fadeev, Leonid Sarafanov, Yevgeny Ivanchenko, Anton Korsakov Elena Bazhenova, Olga Akmatova, Daria Vasnetsova, Evgenia Berdichevskaya, Vera Garbuz, Tatiana Gorunova, Grigorieva Daria, Natalia Dzevulskaya, Nadezhda Demakova, Evgenia Emelianova, Darina Zarubskaya, Lidia Karpukhina, Anastassia Kiru, Maria Lebedeva, Valeria Martynyuk, Mariana Pavlova, Daria Pavlova, Irina Prokofieva, Oksana Skoryk, Yulia Smirnova, Diana Smirnova, Yana Selina, Alisa Sokolova, Ksenia Tagunova, Yana Tikhonova, Lira Khuslamova, Elena Chmil, Maria Chugay, Elizaveta Cheprasova, Maria Shirinkina, Elena Yushkovskaya Vladimir Ponomarev, Mikhail Berdichevsky, Stanislav Burov, Andrey Ermakov, Boris Zhurilov, Konstantin Zverev, Karen Ioanessian, Alexander Klimov, Sergey Kononenko, Valery Konkov, Soslan Kulaev, Maxim Lynda, Anatoly Marchenko, Nikolay Naumov, Alexander Neff, Sergey Popov, Dmitry Pykhachev, Sergey Salikov, Egor Safin, Andrey Solovyov, Philip Stepin, Denis Firsov, Maxim Khrebtov, Dmitry Sharapov, Vasily Sherbakov, Alexey Timofeev, Kamil Yangurazov Kirov Ballet of the Mariinsky Theatre U.S. Management: Ardani Artists Management, Inc. Sergei Danilian, President & CEO Made possible, in part, by The Bernard Osher Foundation, in honor of Robert -
Aleksandra Balashova Papers 1912-1975
AMHERST CENTER FOR RUSSIAN CULTURE Aleksandra Balashova Papers 1912-1975 Summary: The Aleksandra Balashova Papers reflect a short period of life of a well known Russian ballerina. They consist of photographs and letters mostly from her life in exile. Quantity: 0.25 linear feet Containers: 1 document manuscript box Processed: August 2012 By: Tanya Chebotarev Listed: September 2012 By: Tanya Chebotarev Finding Aid: September 2012 Prepared by: Tanya Chebotarev Edited by: Stanley Rabinowitz, Director, Center for Russian Culture Access: There is no restriction on access to the Aleksandra Balashova Papers for research use. Particularly fragile items may be restricted for preservation purposes. Copyright: Requests for permission to publish material from the Aleksandra Balashova Papers should be sent to the Director of the Amherst Center for Russian Culture. It is the responsibility of the researcher to identify and satisfy the holders of all copyrights. © 2012 Amherst Center for Russian Culture Page 1 Aleksandra Balashova Papers INTRODUCTION Historical Note Alexandra Balashova was born in Moscow in 1887. She graduated from the Bolshoi Ballet School in 1905. She was a beautiful and dramatically expressive dancer and made her debut at the age of 19 as Tsar-Maiden in Humpbacked Horse. She soon became a principal dancer in such roles like Aurora (Sleeping Beauty), Medora (Le Corsaire), Kitri (Don Quixote), Swanilda (Coppelia), Raymonda (Raymonda), Nikia (La Bayadere) and Odette-Odile (Swan Lake). Her partner in many performances was Mikhail Mordkin. She was married to a wealthy Moscow capitalist A.K. Ushkov and left Russia in 1921. Their mansion at Prechistenka 20 in Moscow soon became home of the Isadora Duncan Dance School. -
Check out Our Website
Poway Center for the Performing Arts November 25 – 27, 2016 Come join us for ballet instruction – all levels, all ages Check out our website: www.newwestballet.com Fostering a love of dance since 1979. Come join us for ballet instruction. First class is free! Mark Your Calendar for These Upcoming Events Youth American Grand Prix (YAGP): Feb. 10th-12th, 2017 Coppélia: Spring 2017 Annual School Recital: Summer 2017 For more information regarding these exciting events, please visit our website at www.newwestballet.com or call us at (760) 525-6738 [email protected] ~ www.newwestballet.com ~ (760) 525-6738 1215 Linda Vista Dr. STE B, San Marcos, CA 92078 New West Ballet Theatre Presents Music by Pyotr Ilyich Tchaikovsky Based on original choreography by Eugenia M. Keefer Artistic Directors: Coral M. Burni Christina Wurz Choreography & Staging: Stage Managers: Coral M. Bruni Leslie Kerr Christina Wurz Holly Meserve Heather LaForge Brook Gunn Sohaila Studio Director: Volunteer Coordinator: Jennifer Crumrine Kathy McAdoo New West Ballet Theatre is a 501c(3) non-profit educational corporation. All donations are tax deductible. Financial assistance is available. The Story of The Nutcracker The Nutcracker is undoubtedly the most popular ballet in the United States. Each year it is performed by hundreds of ballet schools and companies. The ballet was first performed in 1892 by the Maryinsky Theatre in St. Petersburg, Russia. The ballet is based on a story by E.T.A Hoffman called “The Nutcracker and the Mouse King” and P. Tchaikovsky composed the music which is now so famous. This first Nutcracker Ballet was choreographed by Lev Ivanov following a libretto by Marius Petipa. -
The Nutcracker an Introduction
The Nutcracker An Introduction A Royal Opera House Education Resource 1 Contents Introduction 3 The Characters 4 Setting the Scene 5 The Story 6 Petipa and Ivanov 14 The Nutcracker past and present 15 What was expected of a ballet composer? 18 Dance: look for ... 20 Listen to ... Introducing the music 26 The Overture 27 Design: look for ... 35 Things to do and discuss 38 Formations and patterns 44 2 Introduction This pack is prepared for pupils from Key Stage 2 upwards, and most of the material is aimed at Key Stages 2 and 3. However, he approach adopted is equally appropriate to older students and the list of ‘Things to do and discuss’ contains tasks to challenge all, including 'A' level students. The teacher is invited to select and/or adapt according to the needs of the situation. Pupils attending a live performance of the ballet should be familiar with the story and, ideally, should be introduced to a number of 'anchor points' - features to notice and moments to listen for. For convenience, tasks and activities are often grouped around a specific art form, but it is important to stress that ballet involves several art forms. Listening without the visual dimension, or focusing on design elements independently of the music and the dance, are valuable approaches in raising pupils' awareness but they should be regarded as means to an end. In ballet the whole is much more than the sum of the parts. To make most effective use of this pack it may well be necessary to copy and disseminate the material among specialist or other teacher colleagues. -
Soirée Petipa Vignette De Couverture Marins Petipa
Soirée Petipa Vignette de couverture Marins Petipa. Opéra de Bordeaux DE/J_ BORDEAUX SOIREE PETIPA Ballet de l'Opéra de Bordeaux Paquita (grand pas) Huit danseuses : Nathalie Anglard, Silvie Daverat, Sophie Guyomard, Stefania Sandrin, Barbara Vignaud, Carole Dion, Corba Mathieu, Maud Rivière Couples : Céline Da Costa, Petulia Chirpaz Hélène Ballon, Celia Millan Viviana Franciosi, Sandrine Gouny Première Variation : Emmanuelle Grizot Deuxième Variation : Aline Bellardi Troisième Variation : Christelle Lara Quatrième Variation : Sandra Macé Raymonda (J*™ acte) Czardas Solistes : Viviana Franciosi Giuseppe Delia Monica (24, 25, 29 avril), Gilles Martin (27, 28 avril) Couples : Petulia Chirpaz, Céline Da Costa, Maud Rivière (24, 25, 29 avril), Corba Mathieu (27, 28 avril), Carole Dion, Sandrine Gouny, Chantai Perpignan, Stefania Sandrin, Sophie Guyomard Gilles Martin ou Giuseppe Delia Monica, Salvatore Gagliardi, Johannes Haider, Alexis Malovik, Christophe Nicita, Omar Taïebi, Sébastien Riou, Emiliano Piccoli Première Variation (variation d'Henriette) : Christelle Lara Deuxième Variation (variation de Clémence) : (24, 25, 29 avril) : Emmanuelle Grizot, Silvie Daverat, Barbara Vignaud (27, 28 avril) : Sandra Macé, Celia Millan, Hélène Ballon Pas de dix Nathalie Anglard, Hélène Ballon, Aline Bellardi, Barbara Vignaud Brice Bardot, Jean-Jacques Herment, Konstantin Inozemtzev, Gregory Milan Opéra de Bordeaux Ballet de l'Opéra de Bordeaux Directeur artistique : Charles Jude Soirée Petipa Paquita (grand pas) Don Quichotte (pas de deux du 3ème acte) -
DOSSIER DE PRESSE #Montpellierdanse #SMD1819 Montpellierdanse @Montpellierdans Montpellier.Danse Vimeo.Com/Montpellierdanse
DOSSIER DE PRESSE #montpellierdanse #SMD1819 MontpellierDanse @MontpellierDans montpellier.danse vimeo.com/montpellierdanse CONTACT PRESSE Maïwenn Rebours T : 04 67 60 06 12 [email protected] LA DANSE CONTEMPORAINE FAIT PARTIE DE NOTRE IDENTITÉ “La danse n’a plus rien à raconter : elle a beaucoup à dire !” disait Maurice Béjart. Les possibilités du corps sont insoupçonnées et, en allant vers l’insoupçonné du corps, le danseur actualise sa liberté créatrice. Il cherche “du nouveau”. Et lorsqu’il voyage, l’artiste approche les étoiles car son art ouvre la voie à l’échange le plus sensible, le plus harmonieux, et le plus généreux qui soit. Elément fondateur de la politique culturelle de la Ville et de la Métropole de Montpellier, la danse a fortement contribué à installer notre image de capitale culturelle, bien au-delà de nos frontières. Régulièrement, nous accueillons ici les grandes signatures mondiales et des créations qui ont fait date ont été présentées dans le cadre du Festival ou de la Saison Montpellier Danse. La danse contemporaine fait aussi partie de notre identité. Comme s’il existait un “made in Montpellier”. De novembre 2018 à mars 2019, la Saison Montpellier Danse propose des spectacles époustouflants qui feront assurément battre nos cœurs. Toute l’année, sont proposés à l’Agora, cité internationale de la danse, des événements ouverts à tous en lien avec les spectacles : projections, conférences, répétitions publiques avec les artistes en résidence mais aussi des ateliers qui permettent aux amoureux de la danse de pouvoir pratiquer simplement leur passion aux côtés des artistes programmés. Et bien… dansons maintenant ! Philippe Saurel Président de Montpellier Méditerranée Métropole Maire de la Ville de Montpellier Bernard Travier Vice-président de Montpellier Méditerranée Métropole, Délégué à la Culture © DR © 1 ENTREZ DANS LA DANSE… La 38e édition du Festival Montpellier Danse a connu une nouvelle fois le succès. -
Concerto Enigma Variations Raymonda Act III Press Release
August 2019 The Royal Ballet presents Concerto, Enigma Variations and Raymonda Act III 22 October – 20 December 2019 | #ROHconcertomixed | Tickets £3 - £75 Concerto. Artists of The Royal Ballet. ©ROH, 2012. Ph. Bill Cooper. The first mixed programme of the 2019/20 Season highlights the versatility of The Royal Ballet Works by Kenneth MacMillan, Frederick Ashton and Rudolf Nureyev ROH Live Cinema Tuesday 5 November This October, The Royal Ballet showcases the work of leading 20th-century choreographers Kenneth MacMillan and Frederick Ashton alongside Rudolf Nureyev’s production of an Imperial classic in a mixed programme that celebrates the versatility of the Company. For all Royal Opera House press releases visit www.roh.org.uk/for/press-and-media Concerto, created by Kenneth MacMillan in 1966 for Berlin’s Deutsche Oper Ballet, is set to Shostakovich’s Piano Concerto no.2 in F and includes energetic corps de ballet sections as well as lyrical pas de deux that perfectly reflect the contrasting mood of the music. Bright, vivid designs by Jürgen Rose encapsulate the work’s warmth and energy and Concerto remains one of MacMillan’s most celebrated lyrical creations. Frederick Ashton’s Enigma Variations is also presented as part of this programme. It received its premiere at the Royal Opera House more than fifty years ago, and last performed at Covent Garden in 2011, the ballet features period designs by Julia Trevelyan Oman and Edward Elgar’s eponymous score, illustrating an imagined gathering of the composer and his companions. This revival will feature debuts from Royal Ballet Principals Laura Morera, Francesca Hayward and Matthew Ball.