Character Dance

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Alla Nikitina was born in Ukraine and began her early training at the Donetsk School of Ballet. She was invited to attend St. Petersburg State Academy of the Arts in Russia where she studied the Vaganova method of classical ballet, and was extensively trained in all methods of character dance. Nikitina graduated from the Academy with honors in 1979. She then embarked on a successful career with a number of Russian dance companies. Soon, she was performing as a soloist at the prestigious State Academic Ensemble of Dance in Russia. In 1985, Nikitina founded the Rovesnik Dance Company in Kiev, Ukraine. Her company’s numerous appearances received high awards for excellence and mastership at national and international dance competitions and festivals. This includes the first prize at the First National Choreographer’s competition in Ukraine in 1985. Nikitina was also honored with the much sought after N. Livitsky National Award for her work as a choreographer. In 1997, Nikitina moved to the United States and began working as a full time member of the faculty at Hartford Ballet, Hartt School, and BFA Dance Division of the University of Hartford. She has also Character Dance Masterclass been a guest teacher at a number of professional dance schools including Brass City Ballet and School of Rochester Ballet. with Alla Nikitina Nikitina was invited to join Boston Ballet School as a full time faculty member in 2008. For Boston Ballet School, Nikitina Where: Mount Holyoke College, Kendall has choreographed many original works including Dance of the Sports and Dance Complex, Studio 3 Girls and Lesginka for Next Generation in 2012, Demonstration D’Etudiants and Alice in Wonderland for Spring Showcase, and East Meets West for Summer Dance Program in When: Monday, October 26th, 11:30-1pm 2012. She staged several works for Summer Dance Program students, including Character Dancesfrom the Flames of All Five College students welcome! Paris in 2009, Gypsy Dance in 2010, and Aragon Jota in 2011. Whether you’re trying character dance for the 1st time or returning to it, this is a class you don’t want to miss! Email me if you have any questions: Nora Buonagurio, [email protected] .

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Ballet and Folkdance Modern
BALLET AND FOLKDANCE י MODERN DAN ~ CE Giora Manor interviews Jiri Kylian. Jiri Kylian, artistic director of the Nederlands Dans Theatre, master, you should know more about these things. First of was asked in the course of his company's third visit to all, of course, one has to study classical dancing and folk Israel, in the spring of 1980, to lecture on the relationship dancing but real folk dance, no character dance. Character between modem dance, ballet and folk dance. It seemed dance is something that's been taken from ethnic dances, that this topic, fundamental to the understanding of perverted in a way and made into a brilliant kind of insert modem stage dance, was especially well suited to Kylian's for classical ballets. No, we didn't study that, we studied choreographic style, as he often uses elements which derive real folk dances. We wouldn't study, for instance, the from folk traditions. Instead of a lecture he chose to show czardas in general but would leam a specific Szekely some video-films of his work and asked me to discuss the Czardas, which is a Czardas from a certain part ofHungary. topic with him in public. We wouldn't study just the polka but a very specific Polka that comes from a ce.rtain part of Czechoslovakia, Poland or The Bat-Dor Dance Company, who were the hosts of the Russia. This is what 1 really think is important and 1 would Nederlands Dans Theatre during their tour, made their hall advise schools to follow this example because character available, and about three hundred dancers, folk dance dances are only a perversion of real folk dancing.
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Stage Dance A
NOVATEUR PUBLICATIONS INTERNATIONAL JOURNAL OF INNOVATIONS IN ENGINEERING RESEARCH AND TECHNOLOGY [IJIERT] ISSN: 2394-3696 Website: ijiert.org VOLUME 7, ISSUE 8, Aug.-2020 THE E0ERGE1CE A1D F2R0AT,21 2F THE S8B-ECT 2F F2/.- STAGE DA1CE A. I. YESHIMBETOVA, Teacher at the National Academy of Choreography of Uzbekistan E-mail address: [email protected] ABSTRACT: This article is a historical excursus into the formation and role of folk-stage dance from its origins to the present. It outlines the contribution of the enthusiastic reformers of character dance - A.F. Bekefi, F.I. Kshesinki, A.V. Shiryaeva, A.I. Bocharova and A.V. Lapukhov. Outstanding dancers, and later teachers, they stood at the origins of the creation of a system for teaching character dance, brought up more than one generation of dancers who continued the formation of folk stage dance as one of the main subjects of a cycle of special disciplines in the vocational training system in ballet schools. KEYWORDS: History of Russian ballet, F. Bekefi / character dance F.I. Kshesinskaya, "mazurist" A.V. Shiryaev, Mariinsky Theatre A.V. Lopukhov, Leningrad Choreographic College Fundamentals of character dance, A.V. Shiryaev, A.V. Lopukhov, A.I. Bocharov Folk stage dance, Folk dance ensemble. INTRODUCTION From its very origins folk stage dance has become of the main subjects in the cycle of special disciplines and an important part of the system of professional ballet dance training. Having gone through a certain path of formation and historical development, folk stage dance has become an academic discipline, an important and integral part of classical ballet education.
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