Spring Performance 2021 Program New England Academy of Dance & New England Dance Theater Present Swan Lake Featuring
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2019-2020 Season Overview JULY 2020
® 2019-2020 Season Overview JULY 2020 Report Summary The following is a report on the gender distribution of choreographers whose works were presented in the 2019-2020 seasons of the fifty largest ballet companies in the United States. Dance Data Project® separates metrics into subsections based on program, length of works (full-length, mixed bill), stage (main stage, non-main stage), company type (main company, second company), and premiere (non-premiere, world premiere). The final section of the report compares gender distributions from the 2018- 2019 Season Overview to the present findings. Sources, limitations, and company are detailed at the end of the report. Introduction The report contains three sections. Section I details the total distribution of male and female choreographic works for the 2019-2020 (or equivalent) season. It also discusses gender distribution within programs, defined as productions made up of full-length or mixed bill works, and within stage and company types. Section II examines the distribution of male and female-choreographed world premieres for the 2019-2020 season, as well as main stage and non-main stage world premieres. Section III compares the present findings to findings from DDP’s 2018-2019 Season Overview. © DDP 2019 Dance DATA 2019 - 2020 Season Overview Project] Primary Findings 2018-2019 2019-2020 Male Female n/a Male Female Both Programs 70% 4% 26% 62% 8% 30% All Works 81% 17% 2% 72% 26% 2% Full-Length Works 88% 8% 4% 83% 12% 5% Mixed Bill Works 79% 19% 2% 69% 30% 1% World Premieres 65% 34% 1% 55% 44% 1% Please note: This figure appears inSection III of the report. -
Download This Composer Profile Here
Composer Profile: Pyotr Ilyich Tchaikovsky Tchaikovsky's 1812 Overture was Pyotr Ilyich Tchaikovsky composed to commemorate the Battle was born on May 7, of Borodino, fought in September 1812, F Tchaikovsky called his own work “very 1840, in Vyatka, Russia. loud and noisy and completely without THE A 4 1 artistic merit, obviously written without Tchaikovsky died in St. CTS warmth or love”. Petersburg on First performed in 1877, Swan Lake November 6, 1893. was Tchaikovsky’s first ballet score. 2 Considering its success today, it's Tchaikovsky is most celebrated hard to believe that it wasn’t an for his ballets, specifically Swan immediate hit – but the story of Lake, The Sleeping Beauty and Odette, a princess turned into a The Nutcracker. 5 swan by an evil sorcerer's curse, was 3 an initial box office failure. Notable pieces: To support his early musical 1812 Overture career, Tchaikovsky took work as a music critic. Among the The Nutcracker Ballet targets of his critical ire were Swan Lake Schumann, who he thought Piano Concerto No. 1 was a poor orchestrator, and Symphony No. 5 Brahms. “Inspiration is a guest that does not willingly visit the lazy.” –Tchaikovsky Tchaikovsky was a composer I'mPy oOtrne! during the Romantic period Tchaikovsky Tchaikovsky trained for, and became a civil servant in Russia. At Because of the unique time the time, a musical profession period in which he didn’t convey the sort of social composed, and his unique status that was acceptable to his ability to merge Western family’s respected position. Music music concepts with instructors and chamber musicians traditional Russian ones, it were looked down upon, so in 1859 was difficult for him to he embarked on his public service Throughout his career he receive unanimous praise. -
Conference Program
CORPS de Ballet International 11th Annual Teacher Conference July 22-26, 2009 Hosted by The School for Classical & Contemporary Dance Texas Christian University Fort Worth, Texas Ballet Pedagogy as Embodied Practice: The Art and Craft of Teaching Valse-Fantaisie, by George Balanchine ©The George Balanchine Trust. Dancer: Tess Bernard From DanceTCU Spring Concert: Effortless (April 2008) Photography: Marty Sohl Photograph 11th Annual Teacher Conference July 22-26, 2009 Ballet Pedagogy as Embodied Practice: The Art and Craft of Teaching Hosted by: The School for Classical & Contemporary Dance at TCU Conference Guest Presenters Kim Abel Master Teacher Jennifer Jackson Lecturer, University of Surrey Choreography teacher – Royal Ballet School Upper Division Raymond Lukens Artistic Associate, ABT/ NYU Masters Program Jacqueline Kennedy Onassis School at ABT Faculty Ben Stevenson, O.B.E. Artistic Director, Texas Ballet Theater Choreographer, Master Teacher Lifetime Achievement Award (LAA) to Sandra Noll Hammond Artist, Author, Pedagogue, Scholar Other Presenters: Distinguished Members of CORPS de Ballet International Sandra Allen, Brigham Young University David Curwen, Western Michigan University Molly Faulkner, Ph.D., Palomar College Sharon Garber, Western Michigan University Christine Knoblauch-O’Neal, Washington University St. Louis Mishele Mennett, DeSales University Sandra Noll Hammond, University of Hawaii (retired) Anuschka Roes, Canada’s National Ballet School Conference Partners: Texas Christian University School for Classical & Contemporary Dance at TCU, Ellen Shelton, Director TCU College of Fine Arts, Dr. Scott Sullivan, Dean Fort Worth Convention and Visitors Bureau The Dance Council The Dance Shop Texas Ballet Theater School, Kathy Warakomsky, Principal American Repertory Ensemble, David Justin, Artistic Director July 23, 2009 Dear CORPS de Ballet members, guests and friends, It is a great thrill to welcome each of you to the 11th Annual CORPS de Ballet International Teacher Conference at Texas Christian University. -
BSM Show Order Sheet
Show 1 Artist (If Cover, put original Costume Show Song (Full Title) Hair Tights Style/Color Shoes Order Class artist then Description performed by) Red and black Tan slip-on jazz Incredibles Mash Incredibles 2 stretchy jumpsuit 1 Production Up Soundtrack with mask and High Ponytail NA shoes with boot covers gloves Creative Black sequin High bun with Light suntan footed 2 Movement "All Shook Up" Billy Joel leotard with glitter flower bow on right tights Pink ballet shoes (Friday) dot tulle tutu side High Ponytail- Pre-Ballet 1 Pink leotard and 3 Fly to your Heart Selena Gomez shorts with pink Flowers pinned on Light suntan footed Pink ballet shoes right side by hair tights (M2) tutu elastic Girls- Tan split sole Pre-Jazz 2/3 Teal unitard with High ponytail with Light suntan footed jazz shoes 4 Shining Star Jump5 (Monday) silver skirt teal headband tights Boys- Black slip-on jazz shoes Senior Hip Hop Madame Gandhi, Pink shirt and green Black hip hop 5 Future is Female High ponytail N/A Troupe Kesha, Cardi B leggings sneakers Creative pink polka dot High Ponytail with Light suntan footed 6 Lollipop The Chordettes hair bow on right Pink ballet shoes Movement costume tights (Tuesday) side Petite The Jackson 5, Red sequin High ponytail with Light suntan Tan split sole jazz 7 I Want You Back Performed by Performance spandex unitard bun wrap convertible shoes Team TWICE Pre-Tap 1 From the Princess Girls- Mint sequin High ponytail, Light suntan footed Girls-Black buckle/ 8 Dig A Little Deeper and the Frog leotard with mint flower clip pinned (Monday -
Spring Performances Celebrate Class of 2018
Fall 2018 Spring Performances Celebrate Class of 2018 The Morris and Elfriede Stonzek Spring Performances, presented last May, served as a fitting celebration of the 2018 graduating class and a wonderful way to kick off Memorial Day weekend. In keeping with tradition, the performances opened with a presentation of the fifteen seniors who would receive their diplomas the following week—HARID’s largest-ever graduating class. Alex Srb photo © Srb photo Alex The program opened with The Fairy Doll Pas de Trois, staged by Svetlana Osiyeva and Meelis Pakri. Catherine Alex Srb © Alex Doherty sparkled as the fairy doll, in an exquisite pink tutu, while David Rathbun and Jaysan Stinnett (cast as the two A scene from the Black Swan Pas de Deux, Swan Lake, Act III pierrots competing for her attention) accomplished the challenging technical elements of the ballet while endearingly portraying their comedic characters. The next work on the program was the premiere of It Goes Without Saying, choreographed for HARID by resident choreographer Mark Godden. Set to music by Nico Muhly and rehearsed by Alexey Kulpin, this work stretched the artistic scope of the dancers by requiring them to speak on stage and move in unison to music that is not always melodically driven. The ballet featured a haunting pas de Alex Srb photo © Srb photo Alex deux, performed maturely by Anna Gonzalez and Alexis Alex Srb © Alex Valdes, and a spirited, playful duet for dancers Tiffany Chatfield and Chloe Crenshaw. The Fairy Doll Pas de Trois The second half of the program featured Excerpts from Swan Lake, Acts I and III. -
SWAN LAKE Dear Educators in the Winter Show of Oregon Ballet Theatre’S Student Performance Series (SPS) Students Will Be Treated to an Excerpt from Swan Lake
STUDENT PERFORMANCE SERIES STUDY GUIDE / Feburary 21, 2013 / Keller Auditorium / Noon - 1:00 pm, doors open at 11:30am SWAN LAKE Dear Educators In the winter show of Oregon Ballet Theatre’s Student Performance Series (SPS) students will be treated to an excerpt from Swan Lake. It is a quintessential ballet based on a heart-wrenching fable of true love heroically won and tragically Photo by Joni Kabana by Photo squandered. With virtuoso solos and an achingly beautiful score, it is emblematic of the opulent grandeur of the greatest of all 19th-Century story ballets. This study guide is designed to help teachers prepare students for their trip to the theatre where they will see Swan Lake Act III. In this Study Guide we will: • Provide the entire synopsis for Christopher Stowell’sSwan Lake, consider some of the stories that inspired the ballet, Principal Dancer Yuka Iino and Guest Artist Ruben Martin in Christopher and touch on its history Stowell’s Swan Lake. Photo by Blaine Truitt Covert. • Look closely at Act III • Learn some facts about the music for Swan Lake • Consider the way great dances are passed on to future generations and compare that to how students come to know other great works of art or literature • Describe some ballet vocabulary, steps and choreographic elements seen in Swan Lake • Include internet links to articles and video that will enhance learning At the theatre: • While seating takes place, the audience will enjoy a “behind the scenes” look at the scenic transformation of the stage • Oregon Ballet Theatre will perform Act III from Christopher Stowell’s Swan Lake where Odile’s evil double tricks the Prince into breaking his vow of love for the Swan Queen. -
Ballet Terms Definition
Fundamentals of Ballet, Dance 10AB, Professor Sheree King BALLET TERMS DEFINITION A la seconde One of eight directions of the body, in which the foot is placed in second position and the arms are outstretched to second position. (ah la suh-GAWND) A Terre Literally the Earth. The leg is in contact with the floor. Arabesque One of the basic poses in ballet. It is a position of the body, in profile, supported on one leg, with the other leg extended behind and at right angles to it, and the arms held in various harmonious positions creating the longest possible line along the body. Attitude A pose on one leg with the other lifted in back, the knee bent at an angle of ninety degrees and well turned out so that the knee is higher than the foot. The arm on the side of the raised leg is held over the held in a curved position while the other arm is extended to the side (ah-tee-TEWD) Adagio A French word meaning at ease or leisure. In dancing, its main meaning is series of exercises following the center practice, consisting of a succession of slow and graceful movements. (ah-DAHZ-EO) Allegro Fast or quick. Center floor allegro variations incorporate small and large jumps. Allonge´ Extended, outstretched. As for example, in arabesque allongé. Assemble´ Assembled or joined together. A step in which the working foot slides well along the ground before being swept into the air. As the foot goes into the air the dancer pushes off the floor with the supporting leg, extending the toes. -
Chicago Symphony Orchestra Riccardo Muti Zell Music Director
PROGRAM ONE HUNDRED TWENTY-FOURTH SEASON Chicago Symphony Orchestra Riccardo Muti Zell Music Director Pierre Boulez Helen Regenstein Conductor Emeritus Yo-Yo Ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Thursday, October 2, 2014, at 8:00 Friday, October 3, 2014, at 1:30 Saturday, October 4, 2014, at 8:30 Riccardo Muti Conductor Christopher Martin Trumpet Panufnik Concerto in modo antico (In one movement) CHRISTOPHER MARTIN First Chicago Symphony Orchestra performances Performed in honor of the centennial of Panufnik’s birth Stravinsky Suite from The Firebird Introduction and Dance of the Firebird Dance of the Princesses Infernal Dance of King Kashchei Berceuse— Finale INTERMISSION Tchaikovsky Symphony No. 3 in D Major, Op. 29 (Polish) Introduction and Allegro—Moderato assai (Tempo marcia funebre) Alla tedesca: Allegro moderato e semplice Andante elegiaco Scherzo: Allegro vivo Finale: Allegro con fuoco (Tempo di polacca) The performance of Panufnik’s Concerto in modo antico is generously supported by the Adam Mickiewicz Institute as part of the Polska Music program. This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. COMMENTS by Phillip Huscher Andrzej Panufnik Born September 24, 1914, Warsaw, Poland. Died October 27, 1991, London, England. Concerto in modo antico This music grew out of opus 1.” After graduation from the conserva- Andrzej Panufnik’s tory in 1936, Panufnik continued his studies in response to the rebirth of Vienna—he was eager to hear the works of the Warsaw, his birthplace, Second Viennese School there, but found to his which had been devas- dismay that not one work by Schoenberg, Berg, tated during the uprising or Webern was played during his first year in at the end of the Second the city—and then in Paris and London. -
QCF Examinations Information, Rules & Regulations
Specifications for qualifications regulated in England, Wales and Northern Ireland incorporating information, rules and regulations about examinations, class awards, solo performance awards, presentation classes and demonstration classes This document is valid from 1 July 2018 1 The Royal Academy of Dance (RAD) is an international teacher education and awarding organisation for dance. Established in 1920 as the Association of Operatic Dancing of Great Britain, it was granted a Royal Charter in 1936 and renamed the Royal Academy of Dancing. In 1999 it became the Royal Academy of Dance. Vision Leading the world in dance education and training, the Royal Academy of Dance is recognised internationally for the highest standards of teaching and learning. As the professional membership body for dance teachers it inspires and empowers dance teachers and students, members, and staff to make innovative, artistic and lasting contributions to dance and dance education throughout the world. Mission To promote and enhance knowledge, understanding and practice of dance internationally by educating and training teachers and students and by providing examinations to reward achievement, so preserving the rich, artistic and educational value of dance for future generations. We will: communicate openly collaborate within and beyond the organisation act with integrity and professionalism deliver quality and excellence celebrate diversity and work inclusively act as advocates for dance. Examinations Department Royal Academy of Dance 36 Battersea Square London SW11 3RA Tel +44 (0)20 7326 8000 [email protected] www.rad/org.uk/examinations © Royal Academy of Dance 2017 ROYAL ACADEMY OF DANCE, RAD, and SILVER SWANS are registered trademarks® of the Royal Academy of Dance in a number of jurisdictions. -
RUSSIAN NATIONAL BALLET SWAN LAKE: Wednesday, January 22, 2020; 7:30 Pm the SLEEPING BEAUTY: Thursday, January 23, 2020; 2 & 7:30 Pm Media Sponsor
RUSSIAN NATIONAL BALLET SWAN LAKE: Wednesday, January 22, 2020; 7:30 pm Media Sponsor THE SLEEPING BEAUTY: Thursday, January 23, 2020; 2 & 7:30 pm A Columbia Artists Production Direct from Moscow, Russia RUSSIAN NATIONAL BALLET COMPANY OF 50 Artistic Director: Elena Radchenko Company Biography The Russian National Ballet Theatre was founded in Moscow during the transitional period of Perestroika in the late 1980s, when many of the great dancers and choreographers of the Soviet Union’s ballet institutions were exercising their new- found creative freedom by starting new, vibrant companies dedicated not only to the timeless tradition of classical Russian Ballet but to invigorate this tradition as the Russians began to accept new developments in the dance from around the world. The company, then titled the Soviet National Ballet, was founded by and incorporated graduates from the great Russian choreographic schools of Moscow, St. Petersburg and Perm. The principal dancers SWAN LAKE Photo: Alexander Daev of the company came from the upper ranks of the great ballet companies and academies of Russia, and the companies of Riga, Kiev and even Warsaw. Today, the Russian National Ballet Theatre SWAN LAKE is its own institution, with over 50 dancers of singular instruction and vast experience, many of whom have been with the company Full-length Ballet in Four Acts since its inception. Music by Pyotr Ilyich Tchaikovsky Choreography by Marius Petipa, Lev Ivanov and Yuri Grigorovich In 1994, the legendary Bolshoi principal dancer Elena Radchenko Restaging by Elena Radchenko, assistant Alexander Daev was selected by Presidential decree to assume the first permanent Synopsis by Vladimir Begichev and Vasily Geltser artistic directorship of the company. -
Dance Theatre of Harlem
François Rousseau François DANCE THEATRE OF HARLEM Founders Arthur Mitchell and Karel Shook Artistic Director Virginia Johnson Executive Director Anna Glass Ballet Master Kellye A. Saunders Interim General Manager Melinda Bloom Dance Artists Lindsey Croop, Yinet Fernandez, Alicia Mae Holloway, Alexandra Hutchinson, Daphne Lee, Crystal Serrano, Ingrid Silva, Amanda Smith, Stephanie Rae Williams, Derek Brockington, Da’Von Doane, Dustin James, Choong Hoon Lee, Christopher Charles McDaniel, Anthony Santos, Dylan Santos, Anthony V. Spaulding II Artistic Director Emeritus Arthur Mitchell PROGRAM There will be two intermissions. Friday, March 1 @ 8 PM Saturday, March 2 @ 2 PM Saturday, March 2 @ 8 PM Zellerbach Theatre The 18/19 dance series is presented by Annenberg Center Live and NextMove Dance. Support for Dance Theatre of Harlem’s 2018/2019 professional Company and National Tour activities made possible in part by: Anonymous; The Arnhold Foundation; Bloomberg Philanthropies; The Dauray Fund; Doris Duke Charitable Foundation; Elephant Rock Foundation; Ford Foundation; Ann & Gordon Getty Foundation; Harkness Foundation for Dance; Howard Gilman Foundation; The Dubose & Dorothy Heyward Memorial Fund; The Klein Family Foundation; John L. McHugh Foundation; Margaret T. Morris Foundation; National Endowment for the Arts; New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature; New England Foundation for the Arts, National Dance Project; Tatiana Piankova Foundation; May and Samuel Rudin -
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.