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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. -
Swan Lake Audience Guide
February 16 - 25, 2018 Benedum Center for the Performing Arts, Pittsburgh Choreography: Marius Petipa and Lev Ivanov Staging: Terrence S. Orr Music: Peter Ilyich Tchaikovsky Swan Lake Sponsors: The Benter Foundation, The Pittsburgh Foundation, Eden Hall Foundation, Anonymous Donor February 16 - 25, 2018 Benedum Center for the Performing Arts | Pittsburgh, PA PBT gratefully acknowledges the following organizations for their commitment to our education programming: Allegheny Regional Asset District Henry C. Frick Educational Fund of The Buhl Anne L. and George H. Clapp Charitable Foundation Trust BNY Mellon Foundation Highmark Foundation Claude Worthington Benedum Foundation Peoples Natural Gas Eat ‘n Park Hospitality Group Pennsylvania Council on the Arts Edith L. Trees Charitable Trust Pennsylvania Department of Community ESB Bank and Economic Development Giant Eagle Foundation PNC Bank Grow up Great The Grable Foundation PPG Industries, Inc. Hefren-Tillotson, Inc. Richard King Mellon Foundation James M. The Heinz Endowments and Lucy K. Schoonmaker Cover Photo: Duane Rieder Artist: Amanda Cochrane 1 3 The Setting and Characters 3 The Synopsis 5 About Swan Lake 6 The Origins of the Swan Lake Story 6 Swan Lake Timeline 7 The Music 8 The Choreography 9 The Dual Role of Odette + Odile 9 Acts 1 & 3 10 Spotlight on the Black Swan Pas de Deux 10 The Grand Pas Explained 11 What’s a fouette? 11 Acts 2 & 4 12 Dance of the Little Swans 13 The White Act 13 Costumes and Scenic Design 13 Costumes By the Numbers 14 The Tutus 14 A Few Costume Tidbits! 15 Did You Know? Before She was the Black Swan 16 Programs at the Theater 17 Accessibility 2 The Setting The ballet takes place in and near the European castle of Prince Siegfried, long ago. -
The Viewpointe May-June 2006 Single Pages.Indd
Volume VIII Issue I Summer, 2006 ALEXANDRA ZAHARIAS, ARTISTIC DIRECTOR Board of Directors President Notes From the Artistic Director Interim Treasurer Greg Chastain Thank you, Thank you, Thank you! Thank you, Vice President Dennis Hollenkamp everyone, for a great year. It was a grand season of performances, culminating in the beautiful Secretary production of A Midsummer Night’s Dream & Paquita Michael Baron in March, which truly was a dream! It was a perfect Frank Buckley example of the dedicated work done by our dancers, Pat Catanzaro choreographers, and artistic staff. Our contributors Keith Cole Sally Duncan and corporate sponsors have increased dramatically Brad Jones this year, due in large part to our hard-working Jo Lucas fundraising committee, a determined marketing Laurie Murphy Laura Lee Robinson and communications endeavor, a dedicated board Alexandra Zaharias of directors, and our wonderful Friends of the Ballet. Their teamwork and tireless efforts have taken this Artistic Staff company to greater heights than ever before. Artistic Director Alexandra Zaharias Many thanks to the twenty-seven talented dancers of Alexandra Ballet who performed at all our venues Company Administrator CiCi Houston this season, including the Missouri Botanical Garden, Photo: Melba McCarver Saint Louis Galleria, Blanche M. Touhill Performing Ballet Mistresses Arts Center, Edison Theatre, the University Club in Norma Gabriel CiCi Houston Clayton, Anderson University in Indiana, and our very own studios. You have performed with grace and maturity far beyond your years, and each and every one of you deserves Friends of to feel proud of your performances this season. Alexandra Ballet The Friends is a group of I am especially grateful to the Artistic Staff, whose uncompromising standards raised individuals committed to the the level of ability of the entire company. -
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. -
A Romantic Tutu Inspired by the Costumes of the Pas De Quatre Ballet of 1845
Allycia Coolidge wearing a romantic tutu inspired by the costumes of the Pas de Quatre ballet of 1845. Photograph by Joanna Lupker. MAKING HISTORY: A ROMANTIC TUTU By Allycia Coolidge & In our Making History project, we chose to analyze and recreate a Romantic Joanna Lupker tutu inspired by the Pas de Quatre ballet. This ballet was first performed in BDes Fashion Students London, England during the Romantic era on July 12, 1845 and choreographed by Jules Perrot. This ballet featured four prima ballerinas of the Romantic era: January 20, 2017 Lucile Grahn, Taglioni, Carlotta, and Fanny Cerrito. They were icons of the time and often appeared in each other’s benefit performances, but this was the first performance to showcase all four leading female dancers in a single ballet. Prior to the Romantic period, female dancers wore heavy constrictive dresses resembling court fashion that weighed them down and limited their ability to dance. The key change in ballet costuming was the rise of skirt hems, which was seen as quite scandalous at the time (Mida 37). The changes allowed ballerinas to show off their much improved and intricate footwork. This new shortened ballet skirt fell to just below the knee. The Romantic tutu endures as a classic costume of ballet that continues to be featured in performances of major dance companies around the world. Each element of the costume emphasizes the femininity of the dancer. 1 When this ballet was presented in 1845, the bodices of the costumes were constructed very similarly to those seen in regular clothing. Like the corsets of the time, they were tight (Bicat), with low cut necklines to put the dancer’s long necks on display (Victoria and Albert Museum). -
Since Ballet Terms Can Often Be Tricky to Pronounce, I Have Included the Word Translations in Brackets to Help You Say the Terms
Since ballet terms can often be tricky to pronounce, I have included the word translations in brackets to help you say the terms. A Adage, Adagio (a-DAHZH) At ease or at leisure. Adage is incorporated into ballet classes and most classical pas de deux combinations. It is a series of slow, graceful exercises during the centre practice which is generally focused on line, balance and fluidity. It takes lots of practice to gain the stability and control whilst still having a sense of fluid movement. En L'Air (ahn lehr) In the air. This ballet term is generally associated with ballet movements that are in the air. For example, tour en l'air which is a high turning jump mainly for the male dancers. It indicates that for ballet exercises like rond de jambe and adage the leg should be lifted off the floor, such as rond de jambe en l'air. Allégro ([a-lay-GROH) Bright and brisk movements. This ballet term is associated to all jumps in ballet. So, whether it is petite allégro, or grand allégro a dancer will aim to show a sense of ballon and spring in the elevation. Arabesque (a-ra-BESK) This is one of the basic poses in ballet. The position of an arabesque shows one leg as the supporting leg and the other extended behind you. The arms can be held in various positions to show a first, second, or third arabesque. An arabesque is like a tendu derriere but lifted en l'air. The aim is to lift the leg without showing too much adjustment in the body, such as pitching forward. -
Guide to Dance 2018-2019 Study Guide
GUIDE TO DANCE 2018-2019 STUDY GUIDE Learn about the art of dance and go behind-the-scenes with a professional dance company. Written and compiled by Ambre Emory-Maier, Director of Education, and other contributors l ©2018 BalletMet Columbus TABLE OF CONTENTS Behind the Scenes ............................................................................................................................................. 2 Brief History of BalletMet ................................................................................................................................. 3 BalletMet Offerings ........................................................................................................................................... 4 The Five W’s and H of Dance .......................................................................................................................... 5 Brief History of Ballet ..................................................................................................................................... 6-7 Important Tutu Facts ......................................................................................................................................... 8 Important Pointe Shoe Facts .......................................................................................................................... 9 Glossary of Dance Terms ......................................................................................................................... 10-12 Ballet Terminology.......................................................................................................................................... -
Pression and Shock, He Burned His Ballet Slippers and Fled to the Sewers, Only to Surface These Forty Years Later
Les Ballets Trockadero de Monte Carlo “The funniest night you will ever have at the ballet.” - Sunday Times “This is a company that brings its audiences pure joy.” -The Seattle Times History th Celebrating its 40 Anniversary season, Les Ballets Trockadero de Monte Carlo was founded in 1974 by a group of ballet enthusiasts for the purpose of presenting a playful, entertaining view of traditional, classical ballet in parody form and en travesti, Les Ballets Trockadero first performed in the late-late shows in Off-Off Broadway lofts. The TROCKS, as they are affectionately known, quickly garnered a major critical essay by Arlene Croce in The New Yorker, and combined with reviews in The New York Times and The Village Voice, established the Company as an artistic and popular success. By mid 1975, the TROCKS' inspired blend of their loving knowledge of dance, their comic approach, and the astounding fact that men can, indeed, dance en pointe without falling flat on their faces, was being noted beyond New York. Articles and notices in publications such as Variety, Oui, The London Daily Telegraph, as well as a Richard Avedon photo essay in Vogue, made the Company nationally and internationally known. The 1975-76 season was a year of growth and full professionalization. The Company found management, qualified for the National Endowment for the Arts Touring Program, and hired a full-time teacher and ballet mistress to oversee daily classes and rehearsals. Also in this season, they made their first extended tours of the United States and Canada. Packing, unpacking, and repacking tutus and drops, stocking giant sized toe shoes by the case; running for planes and chartered buses all became routine parts of life. -
Ballet and the Nutcracker
Ballet West for Children Presents Ballet and The Nutcracker Photo: Quinn Farley Music: Peter Ilyich Tchaikovsky Adapted from Original Choreography: Willem Christensen Costumes: David Heuvel 304 Trolley Square | Salt Lake City, UY 84102 | 801-869-6900 | www.balletwest.org Dear Principal: This letter is to confirm the arrangement we made for a performance of Ballet West for Children in your school. Please check the enclosed confirmation sheet for the correct date and performance start time. Please fill in the additional information about your school's facilities. With the current freeway construction please give directions for the best route and the open exit numbers so that the dancers can travel easily from school to school. Kindly sign and return the form immediately to me at Ballet West. I am also enclosing a letter from Adam Sklute, Artistic Director of Ballet West, which describes the program. Please duplicate his letter and all the educational materials for pre- performance student preparation and follow-up projects The Ballet West dancers will arrive 15-30 minutes before the performance. The group leader will check in with your office when the dancers arrive. They travel with their own dance floor to cover the performing area and a sound system in case the school’s equipment is limited. They will need the performing area to be clear, recently swept, and warm with electrical outlets and changing rooms as close as possible. The group leader will contact you if he/she has any questions about the directions or performance area. If you have any questions, please call me at Ballet West: 801-869-6911 Sincerely, Peter Christie Director of Educational Programs Enclosures www.balletwest.org 304 Trolley Square | Salt Lake City, UY 84102 | 801-869-6900 | www.balletwest.org Dear Teachers: It is with pleasure that I write to tell you of our Ballet West for Children program that is offered to you free of charge through the combined efforts of Ballet West and the Utah State Office of Education. -
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. -
Recital Dance Names - Tights - Shoes - Hairstyles
Recital Dance Names - Tights - Shoes - Hairstyles Class Day-Time-Type Teacher Name of Dance Tights Shoes Hairstyles MON-3:30 B/T Combo Jennifer Dig a Little Deeper Bloch Light Tan Black Tap High Curly Pony Tail - No Bangs MON-3:30 Ballet I Lori Skater's Waltz Bloch Pink Bloch Pink Ballet Bun - No Bangs MON-3:30 Jazz I-B Alexis I Do Bloch Light Tan Bloch Tan Slip-On Jazz High Culy Pony Tail - No Bangs MON-3:30 Lyrical II+ Erin City of Stars No Tights Bloch Tan Slip-On Jazz Low Pony Tail - No Bangs MON-3:45 Pre-Ballet Brandi 16 Going On 17 Bloch Pink Bloch Pink Ballet Bun - No Bangs MON-4:30 Jazz I Lori All The Way Up Bloch Light Tan Bloch Tan Slip-On Jazz High Pony Tail - No Bangs MON-4:30 Lyrical I Jennifer Echoes of Love Bloch Light Tan Bloch Tan Slip-On Jazz Bun - No Bangs MON-5:30 B/T Combo Brandi Shake Rattle and Roll Bloch Light Tan Black Tap High Pony Tail - No Bangs MON-5:30 Jazz II Erin A Little Party Bloch Light Tan Bloch Tan Slip-On Jazz Low Pony Tail - No Bangs MON-5:30 Lyrical I-B Jennifer Near Me Now Bloch Light Tan Footless Capezio Nude FootUndeez Bun - No Bangs MON-6:30 Jazz I Alexis Something To Dance For Bloch Light Tan Bloch Tan Slip-On Jazz High Curly Pony Tail - No Bangs MON-7:30 Adv Tap Erin We Will Rock You No Tights Black Tap Low Pony Tail - No Bangs MON-7:30 Beg HH Alexis Sit Still Look Pretty No Tights Converse Black High Top Sneakers 1/2 Up 1/2 Down TUES-9:00 Adult Tap Nicky No See Nicky See Nicky See Nicky TUES-10:00 B/T Combo Nicky Through Your Eyes Bloch Pink Bloch Pink Ballet Bun - No Bangs TUES-10:30 B/T -
Ballet Glossary
Ballet Glossary A A la séconde - Meaning literally, “to the side.” A la séconde refers to the placement of the working leg, in this case positioned directly to the side of the dancer, raised or touching the floor. Act - A division of a ballet that contains one or more scenes. Typically an act in any classical or romantic era ballet will average about an hour in length, though it varies between performances. Some ballets, such as Giselle, are only two acts, while Swan Lake is divided into four. AD - Stands for “Artistic Director.” The AD is the head of a ballet studio or company, and the person from whom orders are given, cast lists are made, and dreams are granted or crushed. Ballerinas can be heard ranting about their AD frequently, especially during casting season. Adagio - Meaning “slowly,” an adagio is a part of ballet comprised of slow, soft, flowing movements. In a Grand Pas de Deux, the adagio is the second portion. It follows the entrée and precedes the variations and coda. Allegro - Meaning “joyful,” an allegro is a part of ballet comprised of quick movement and many jumps. Petit (little) allegro involves small, quick jumps and lightning fast footwork, while grande (big) allegro features the enormous leaps and jumps that have become the hallmark of ballet. Allongé - Meaning “elongated.” Allongé refers to a position of the arms in which they are fully extended. Aplomb - A term to describe the central line or stability of a position. A dancer wants to maintain perfect aplomb, meaning that his/her movements are controlled and steady.