DOCSLIB.ORG

ANDREA MACIEL DE FARIA Professional Ballet Dancer Ballet Teacher

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ANDREA MACIEL DE FARIA Professional Ballet Dancer Ballet Teacher ANDREA MACIEL DE FARIA PROFESSIONAL BALLET DANCER BALLET TeacHER ABOUT ME • Place of Birth Belo Horizonte, Minas Gerais, Brazil • Immigration Status US Citizen • Height 5’4 • Weight 106 lbs • Hair Brown AUTHORIZED TO WORK IN THE • Eyes Brown US FOR ANY EMPLOYER EDUCATION • Palucca Schule, Dresden / Germany Ballet 2002 • Ballet Cristina Helena, Belo Horizonte, MG / Brazil Ballet 1987 – 2002 • Royal Academy of Dance - RAD Grade 8 Examination – Honours 1998 • Royal Academy of Dance - RAD Grade 5 Examination – Honours 1995 • Royal Academy of Dance - RAD Grade 3 Examination – Honours 1993 DANCING EXPERIENCE • La Nouba, Cirque du Soleil “The Ballerina” 2015 – 2017 • Guest Artist Guest Artist 2013 – 2017 • Dance Alive National Ballet Guest Artist 2012 – 2013 • Orlando Ballet Company Soloist Dancer 2007 – 2012 • Milwaukee Ballet Company Company Dancer 2006 – 2007 • Columbia Classical Ballet (Soloist) Soloist Dancer 2005 – 2006 • Sesiminas Company of Dance Soloist Dancer 2003 – 2005 Andrea Maciel De Faria 15516 Amberbeam Blvd [email protected] (513) 658-3661 Winter Garden, FL 34787 www.AndreaFaria.com ANDREA MACIEL DE FARIA PROFESSIONAL BALLET DANCER BALLET TeacHER TEACHING SKILLS • 14 Years of Teaching Experience • Ballet Technique • Teaching All Ages • Pointe • Female Variations • Conditioning • Ballet Fitness • Injury Prevention TEACHING EXPERIENCE • The Right Combination Dance Studio Ballet Teacher 2016 – Present • Clermont Dance Academy Ballet Teacher 2012 – Present • Rolann School of Dance Ballet Teacher 2008 – Present • Elizabeth Parsons School of Dance Ballet Teacher 2007 – Present • Edge Dance Ballet Teacher 2007 – 2008 • Milwaukee Ballet School Ballet Teacher 2006 – 2007 • Pavlovich Dance School Ballet Teacher 2005 – 2006 • Ballet Cristina Helena Ballet Teacher 2000 – 2005 • Mississippi Metropolitan Ballet Guest Teacher 2012, 2013, 2016 • A Touch of Class Guest Teacher 2008 – Present • Hammond Ballet Company Guest Teacher 2008 – Present • West Virginia Dance Festival Guest Teacher 2014 • Russian Academy of Ballet Guest Teacher 2013 • V & T Dance Guest Teacher 2010 • Greensboro ballet Guest Teacher 2006 • Sesiminas Company of Dance Guest Teacher 2000 – 2005 Andrea Maciel De Faria 15516 Amberbeam Blvd [email protected] (513) 658-3661 Winter Garden, FL 34787 www.AndreaFaria.com ANDREA MACIEL DE FARIA PROFESSIONAL BALLET DANCER BALLET TeacHER PERFOMING EXPERIENCE PRODUCTION CHOREOGRAPHER ROLE COMPANY Agon George Balanchine Four Ladies Milwaukee Ballet Beauty and the Beast Mark Diamond Beauty Sister Columbia Classical Ballet Bolero Fernando Bujones Ensemble Orlando Ballet Carmen Robert Hill Senoritas Orlando Ballet Carousel Rodgers, Hammerstein Dancers Orlando Philharmonic Orchestra Chopiniana Michael Fokine Grand Pas de Deux Guesting Cinderella Vadim Fedotov Cinderella Russian Academy of Ballet Cinderella Peter Stark Clock Fairy Orlando Ballet Cinderella Mark Diamond Step Sister Columbia Classical Ballet Common People Margo Sappington Ensemble Milwaukee Ballet Coppelia Vadim Fedotov Swanilda Russian Academy of Ballet Diana and Acteon Agrippina Vaganova Grand Pas de Deux Guesting Don Quixote Samantha Dunster Cupid, Kitri’s Friend Orlando Ballet Don Quixote Michael Pink Cupid Milwaukee Ballet Flammes de Paris Vasily Vainonen Grand Pas Des Deux Guesting Giselle Marius Petia Mirtha Guesting Giselle Robert Hill Peasant Pas De Deux, Moyna Orlando Ballet La Fille Mal Guardée Frederick Ashton Grand Pas de Deux Guesting La Nouba Franco Dragone The Ballerina Cirque du Soleil Le Corsaire Robert Hill Odalisque Orlando Ballet Le Corsaire Marius Petipa Grand Pas Des Deux Guesting Majisimo Jorge Garcia Ensemble Sesiminas Company of Dance Munhecos Alberto Mendez Pas De Deux Sesiminas Company of Dance Nutcracker Robert Hill Sugar Plum Fairy, Snow Queen Orlando Ballet Ojala Ana Cuellar Ensemble La Nouba, Cirque du Soleil Paquita Marius Petia Grand Pas de Deux Sesiminas Company of Dance Romeo & Juliet Robert Hill Entertainers, Juliet’s Friends Orlando Ballet Romeo & Juliet Michael Pink Juliet’s Friends Milwaukee Ballet Spring Waters Asaf Messerer Pas De Deux Guesting Swan Lake Robert Hill Pas De Trois, Little Swans Orlando Ballet Swan Puddle Anamarie McGinn Ensemble La Nouba, Cirque du Soleil The Sleeping Beauty Chiaki Yasukawa Aurora Orlando Ballet Triptych Rick McCullough Ensemble Columbia Classical Ballet Valse-Fantaisie George Balanchine Lead Female Orlando Ballet Who Cares George Balanchine Lead Female Orlando Ballet Andrea Maciel De Faria 15516 Amberbeam Blvd [email protected] (513) 658-3661 Winter Garden, FL 34787 www.AndreaFaria.com ANDREA MACIEL DE FARIA PROFESSIONAL BALLET DANCER BALLET TeacHER BALLET COMPETITIONS • New York International Ballet Competition, NY USA. Semi-finalist 2005 • XIX Nacional Festival CBDD, Rio de Janeiro, Brazil. Gold Medal 2000 • 17th Joinville Festival of Dance, Joinville, Brazil. Silver Medal 1999 • 16th Joinville Festival of Dance, Joinville, Brazil. Silver Medal 1998 • XVIII National Festival CBDD, Rio de Janeiro, Brazil Gold Medal 1998 • Danza Niño 97, Buenos Aires, Argentina. Gold Medal 1997 • X Concours International de la Danse Classique, Bordeaux, France. Finalist 1996 • Danza Niño 95 Competition, Buenos Aires Argentina Finalist 1995 REFERENCES • Andrey Kasatsky Ballet Teacher (513) 226-1490 Director of Marketing [email protected] Graphic/Web Designer Andrea Maciel De Faria 15516 Amberbeam Blvd [email protected] (513) 658-3661 Winter Garden, FL 34787 www.AndreaFaria.com.
Load more

Recommended publications
  • Basic Principles of Classical Ballet: Russian Ballet Technique Free Download
    BASIC PRINCIPLES OF CLASSICAL BALLET: RUSSIAN BALLET TECHNIQUE FREE DOWNLOAD Agrippina Vaganova,A. Chujoy | 175 pages | 01 Jun 1969 | Dover Publications Inc. | 9780486220369 | English | New York, United States Classical Ballet Technique Vaganova was a student at the Imperial Ballet School in Saint Petersburggraduating in Basic Principles of Classical Ballet: Russian Ballet Technique dance professionally with the school's parent company, the Imperial Russian Ballet. Vaganova —not only a great dancer but also the teacher of Galina Ulanova and many others and an unsurpassed theoretician. Balanchine Method dancers must be extremely fit and flexible. Archived from the original on The stem of aplomb is the spine. Refresh and try again. A must Basic Principles of Classical Ballet: Russian Ballet Technique for any classically trained dancer. Enlarge cover. Can I view this online? See Article History. Jocelyn Mcgregor rated it liked it May 28, No trivia or quizzes yet. Black London. The most identifiable aspect of the RAD method is the attention to detail when learning the basic steps, and the progression in difficulty is often very slow. En face is the natural direction for the 1st and 2nd positions and generally they remain so. Trivia About Basic Principles This the book that really put the Vaganova method of ballet training on the map-a brave adventure, and a truly important book. Helps a lot during my russian classes. Through the 30 years she spent teaching ballet and pedagogy, Vaganova developed a precise dance technique and system of instruction. Rather than emphasizing perfect technique, ballet dancers of the French School focus instead on fluidity and elegance.
    [Show full text]
  • The History of Russian Ballet
    Pet’ko Ludmyla, Ph.D., Associate Professor, Dragomanov National Pedagogical University Savina Kateryna Dragomanov National Pedagogical University Institute of Arts, student THE HISTORY OF RUSSIAN BALLET Петько Людмила к.пед.н., доцент НПУ имени М.П.Драгоманова (Украина, г.Киев) Савина Екатерина Национальный педагогический университет имени М.П.Драгоманова (Украина, г.Киев), Інститут искусствб студентка Annotation This article is devoted to describing of history of Russian ballet. The aim of the article is to provide the reader some materials on developing of ballet in Russia, its influence on the development of ballet schools in the world and its leading role in the world ballet art. The authors characterize the main periods of history of Russian ballet and its famous representatives. Key words: Russian ballet, choreographers, dancers, classical ballet, ballet techniques. 1. Introduction. Russian ballet is a form of ballet characteristic of or originating from Russia. In the early 19th century, the theatres were opened up to anyone who could afford a ticket. There was a seating section called a rayok, or «paradise gallery», which consisted of simple wooden benches. This allowed non- wealthy people access to the ballet, because tickets in this section were inexpensive. It is considered one of the most rigorous dance schools and it came to Russia from France. The specific cultural traits of this country allowed to this technique to evolve very fast reach his most perfect state of beauty and performing [4; 22]. II. The aim of work is to investigate theoretical material and to study ballet works on this theme. To achieve the aim we have defined such tasks: 1.
    [Show full text]
  • Ballet, Culture and Elite in the Soviet Union on Agrippina Vaganova’S Ideas, Teaching Methods, and Legacy
    Ballet, culture and elite in the Soviet Union On Agrippina Vaganova’s Ideas, Teaching Methods, and Legacy Magdalena L. Midtgaard Magdalena Midtgaard VT 2016 Examensarbete, 15 hp Master program, Idéhistoria 120 hp Balett, kultur och elit i Sovjetunionen Om Agrippina Vaganovas idéer, undervisningsmetoder och arv Magdalena Midtgaard vt. 2016 Abstract. Balettutbildning har varit auktoritär och elitistisk i århundraden. Med utgångspunkt i Agrippina Vaganova och hennes metodiska systematisering av balettundervisning diskuteras frågor om elit, lärande och tradition inom balettundervisning. Vaganova var en länk mellan tsartidens Ryssland och det nya Sovjet och bidrog aktivt till att balett som konstform, trots sin aristokratiska bakgrund, fördes vidare och blev en viktig kulturpolitiskt aktivitet i Sovjet. Med underlag i texter av Bourdieu och Said diskuteras elit, kulturellt kapital och elitutbildning för att förklara några av de politiska och samhällsmässiga mekanismer som bidragit till balettens unika position i Sovjet. För att placera Vaganova som pedagog i förhållande till balettundervisning och balett genom tiden, presenteras korta informativa kapitel om baletthistoria, och utveckling och spridning av Vaganovas metod, både i Sovjet/Ryssland och i andra länder. Key words: Classical ballet, Vaganova, ballet education, elite education, cultural politics in the Soviet Union My sincere thanks to Sharon Clark Chang for proof reading and correcting my English, and to Louise Midtgaard and Sofia Linnea Berglund for valuable thoughts on Vaganova and ballet pedagogy and education in general. 2 Contents 1. Introduction p. 5 1.1 Sources and method p. 6 1.2 Theoretical perspectives on elite culture p. 7 2. Background p. 8 2.1 A short history of ballet p.
    [Show full text]
  • Gp 3.Qxt 7/14/17 12:16 PM Page 1
    07-22 Jewels (Eve).qxp_Gp 3.qxt 7/14/17 12:16 PM Page 1 Lincoln Center Festival lead support is provided by American Express July 22 David H. Koch Theater Bolshoi Ballet Ballet Director Makhar Vaziev New York City Ballet Ballet Master in Chief Peter Martins Paris Opera Ballet Director of Dance Aurélie Dupont Jewels Choreography George Balanchine © The George Balanchine Trust Set Design Peter Harvey Lighting Design Mark Stanley New York City Ballet Orchestra Music Director Andrew Litton Approximate running time: 2 hours and 10 minutes, with two intermissions This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Made possible in part by members of the Producers Circle Major support is provided by LuEsther T. Mertz Charitable Trust. Additional support is provided by Jennie L. and Richard K. DeScherer, the Lepercq Charitable Foundation in Memory of Paul Lepercq, The Harkness Foundation for Dance, and The Joelson Foundation. Endowment support for the Lincoln Center Festival 2017 presentation of Jewels is provided by Blavatnik Family Foundation Fund for Dance. Public support for Festival 2017 is provided by the New York City Department of Cultural Affairs and New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. The Bolshoi Theatre gratefully acknowledges the support of its General Sponsor, Credit Suisse. Travelers is the Global Sponsor of New York City Ballet. 07-22 Jewels (Eve).qxp_Gp 3.qxt 7/14/17 12:16 PM Page 2 LINCOLN CENTER FESTIVAL 2017 JEWELS July 22, 2017, at 7:30 p.m.
    [Show full text]
  • Vera Krasovskaya
    Vera Krasovskaya A DANCE JOURNEY FROM PETERSBURG TO LENINGRAD Translated from the Russian by Vera Siegel UNIVERSITY PRESS OF FLORIDA Gainesville· Tallahassee· Tampa· Boca Raton Pensacola . Orlando . Miami . Jacksonville . Ft. Myers 1 A Remembrance qfVcIganova I I I am very glad that today the name Vaganova is attached to more and more schools. When I came to America fifteen years ago I heard only the name Cecchetti. Now more people know Vaganova, and she is taking the place in the world where she belongs. Introduction: Agrippina T7czganova and Her Times LYNN GARAFOLA Agrippina Vaganova lived her life in the shadow of his- tory. Great events shaped her world-from the Russian Revolution in I9I7 to the great purges of the I930S. As a newcomer to St. Petersburg's Imperial Ballet, she danced for the venerable Marius Petipa and over the years appeared in a score of his ballets, becoming a living treasury of what critics by I9IO were calling the "old ballet." She found her true calling only after the revolution, when she began to teach at the former Im- perial Ballet School. Here she formed the first gener- ation of Soviet ballerinas and successfully wed the prerevolutionary technique to postrevolutionary artis- xiv xv Introduction Agrippina vaganova and Her Times tic needs. She witnessed the outpouring of creative energy that followed the following season she danced one of the fairies in The Sleeping Beauty, the revolution and the gradual containment of that energy before political at­ next year another, and then in 1904-5 she added several roles to her reper­ tacks that climaxed in the purges of the 1930S, when she headed the former tory-the pas de trois in Paquita, Clemence in Ra},lnonda, and the lead in Imperial company, soon to be renamed the Kirov Ballet.
    [Show full text]
  • 13 Russian Ballet in the Age of Petipa Lynn Garafola
    13 Russian ballet in the age of Petipa lynn garafola On 24 May 1847 Marius Petipa, a young French-born dancer and ballet master, landed in St Petersburg.1 He was not the first dance artist to brave the long journey to Russia and the rigours of a Russian winter, nor even the only Petipa; only five months later, his own father signed a contract to teach the senior classes at the Imperial Ballet School.2 Like so many other danseurs, Petipa fils was drawn to the “Venice of the North” because of decreasing opportunities for male dancers in the West and the unusually generous terms of an imperial contract, in his case, 10,000 francs a year and “half a benefit” for the position of premier danseur.3 He accepted the offer with alacrity, little imagining that he would remain in Russia until his death in 1910, marry twice there (both times to Russian ballerinas), raise a family and rule the Imperial Ballet from 1869, when he became chief ballet master, to his retirement in 1903. Petipa’s long stewardship of the company had an incalculable effect on Russian ballet. He presided over the shift from romanticism to what is usu- ally termed ballet “classicism”, laid the foundation of the modern Russian school by marrying the new Italian bravura technique to its more lyrical French counterpart and helped transform an art dominated by foreign- ers and identified with the West into a Russian national expression. Petipa choreographed scores of ballets and innumerable dances, codifying their structure while expanding the lexicon of their movements, and created sev- eral generations of distinguished dancers.
    [Show full text]
  • THE EVOLUTION of the ROMANTIC BALLET: the LIBRETTI and ENCHANTER CHARACTERS of SELECTED ROMANTIC BALLETS from the 1830S THROUGH the 1890S
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1995 The volutE ion of the Romantic Ballet: The Libretti and Enchanter Characters of Selected Romantic Ballets From the 1830s Through the 1890s. Tamara Lee Gebelt Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Gebelt, Tamara Lee, "The vE olution of the Romantic Ballet: The Libretti and Enchanter Characters of Selected Romantic Ballets From the 1830s Through the 1890s." (1995). LSU Historical Dissertations and Theses. 6012. https://digitalcommons.lsu.edu/gradschool_disstheses/6012 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bieedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion.
    [Show full text]
  • Russian Culture
    HUMANITIES INSTITUTE Ayse Dietrich, Ph.D. RUSSIAN CULTURE Contents Religion Philosophy Science Art Literature RELIGION Overview Religion has always been an important element in the Russians’ spiritual life. From early Paganism to the powerful Christianized Kievan State and its religious plurality, and continuing with state- controlled and suppressed religious faith under the Soviets, Russian religious life provides a multifaceted picture. ANCIENT PERIOD Paganism: Centuries ago tribes in Kievan Rus’ believed in gods and spirits which they identified with the forests and meadows. Although very little information has survived about the religious customs of these tribes, we can learn about the religious beliefs and practices of one East Slavic tribe, the Rus, from priests’ manuscripts, epics and some treaties signed with princes. The pagan Russians, as mentioned in The Tale of Bygone Years, worshipped the earth, trees, stones, fire, the sun and water. The Russians conducted their ceremonies, and made their prayers and supplications in these forests and in shrines. During these ceremonies they played trumpets and rang bells in a wild, noisy fashion, and danced skipping and hopping. Sacrifices were made during these ceremonies to obtain from the gods what they had asked for. Animal and human bones, skulls, vessels, coals and ashes have been found in archaeological excavations. Human sacrifice in Russia continued up until the middle of the 16th century. POST CLASSICAL PERIOD Christianization: There was no unity among the Russian princes, and paganism was unsuitable for the unification and centralization of the unruly principalities. Vladimir wanted to unite his people under a single state religion, and adopted Christianity from Byzantium to serve this purpose.
    [Show full text]
  • Agrippina Vaganova and Choi Seung-Hee Angela Kim Binghamton University--SUNY, [email protected]
    Binghamton University The Open Repository @ Binghamton (The ORB) Graduate Dissertations and Theses Dissertations, Theses and Capstones 4-12-2018 Making of Nationalistic Dance: Agrippina Vaganova and Choi Seung-Hee Angela Kim Binghamton University--SUNY, [email protected] Follow this and additional works at: https://orb.binghamton.edu/dissertation_and_theses Part of the Dance Commons Recommended Citation Kim, Angela, "Making of Nationalistic Dance: Agrippina Vaganova and Choi Seung-Hee" (2018). Graduate Dissertations and Theses. 63. https://orb.binghamton.edu/dissertation_and_theses/63 This Thesis is brought to you for free and open access by the Dissertations, Theses and Capstones at The Open Repository @ Binghamton (The ORB). It has been accepted for inclusion in Graduate Dissertations and Theses by an authorized administrator of The Open Repository @ Binghamton (The ORB). For more information, please contact [email protected]. MAKING OF NATIONALISTIC DANCE: AGRIPPINA VAGANOVA AND CHOI SEUNG-HEE BY ANGELA KIM BA, Sang Myung University, 2000 THESIS Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Theatre in the Graduate School of Binghamton University State University of New York 2018 © Copyright by Angela Kim 2018 All Rights Reserved Accepted in partial fulfillment for the degree of Master of Arts in Theatre in the Graduate School of Binghamton University State University of New York 2018 April 12, 2018 Andrew Walkling, Graduate Director Department of Theatre, Binghamton University David Bisaha,
    [Show full text]
  • Showcase 2018
    C E L E B R AT I N G O U R 30th A N N I V E R S A RY ACADEMY OF BALLET AND JAZZ S C H O O L O F CA N A D I A N BA L L E T T H E AT R E Moscow International Ballet Competition Silver 2009 GRAND PRIX USA New York Grand Prix 2011, 2015 Gold 2009, 2017, 2018 Silver 2016, 2017, 2018 Bronze 2015, 2016, 2017 Hope 2017 Grand Prix 2011, 2013 Silver 2011 Bronze 2013, 2014 CAPE TOWN INTERNATIONAL BALLET COMPETITION Silver 2010 Helsinki International Ballet Competition Gold 2011 IBC USA International Ballet Cometition Jackson Mississippi Silver 2010 Showcase 2018 P R I X RICHMOND HILL CENTRE OF PERFORMING ARTS D E Tuesday June 5th and Wednesday June 6th 2018 L A U S A N N E 2018 Finalist at 6:30 PM 2 F O L L O W I N G T R I U M P H S I N N E W Y O R K , M O S C O W, B U C H A R E S T, PA N A M A , PA R I S , C A N N E S , T O R O N T O A N D S T. P E T E R S B U R G S TA R S O F T H E 2 1 S T C E N T U R Y G A L A H A S B E C O M E T H E M O S T P R E S T I G I O U S B A L L E T G A L A I N T H E W O R L D .
    [Show full text]
  • The Transformation of Ballet After the Russian Cultural Revolution
    1 Red Swans: The Transformation of Ballet after the Russian Cultural Revolution (1924-1937) by Kathryn LeBere Supervised by Dr. Serhy Yekelchyk A graduating Essay Submitted in Partial Fulfillment of the Requirements, in the Honours Programme. For the Degree of Bachelor of Arts In the Department Of History The University of Victoria April 26, 2019 i Table of Contents List of Figures……………………………………………………………………………………..ii Introduction………………………………………………………………………………………..1 The Cultural Revolution and the Era of Proletarian Art (1924-1932)…………………………….5 Socialist Realism and the Re-emergence of Classicalism (1932-1934)…………………………15 “Ballet Fraud” and the Death of Proletarian Ballet (1935-1937)…………………...……….......31 Conclusion……………………………………………………………………………………….43 Bibliography……………………………………………………………………………………..46 Appendix………………………………..………………………………………………………..52 ii List of Figures Figure 1: Scene from Red Whirlwind……………………………………………………………...7 Figure 2: Olga Mungalova and Pyotr Gusev in Ice Maiden (1927)…………………..…………10 Figure 3: Snowflakes in Nutcracker (1929)……………………………………………………...11 Figure 4: Rehearsal for the dance of the textile workers in Bolt (1931)………………………....14 Figure 5: Rehearsal for the dance of the Red Army Calvary in Bolt (1931)…………………….14 Figure 6: Catherine Geltzer as Tao-Hoa in Red Poppy…………………………………………..20 Figure 7: Scene from Red Poppy (1933)…………………………………………………………21 Figure 8: Galina Ulanova as Odette in Swan Lake………………………………………………26 Figure 9: Galina Ulanova as Maria in The Fountain of Bakhchisarai……………………....…...30 Figure 10: Agrippina Vaganova teaching at the Leningrad Choreographic Institute…………....38 Figure 11: Galina Ulanova coaching Ekaterina Maximova at the Bolshoi……………………...42 1 Introduction On February 6th, 1935, choreographer Fyodor Lopukhov was greeted by the Pravda article “Ballet Fraud.” Written by high party officials, the article viciously criticized Lopukhov’s latest ballet Bright Stream, simultaneously ending his career and the experimental age of proletarian ballet.
    [Show full text]
  • Is This a Petipa Dance We Are Watching
    Is it a Petipa dance we are watching? To answer this question, I focus on dance movement style in one particular Petipa ballet; but in doing so, I seek to go further and to raise a more fundamental issue, namely, how we should distinguish between classroom technique and art? Petipa dances present a specific example of the problem that arises when choreographers draw on the classroom lexicon, or danse d’école, as a basis for their choreography – something that leads dancers and rehearsal directors to conflate the values of the classroom with those of the dance. Using a dance from The Sleeping Beauty (1890) as a framework, I explore the issue of dance art and the question of what, if anything, links performance of classroom technique with performance of the art work?1 To discuss dance art in relation to Petipa, I need to identify Petipa’s dance movement style.2 The danse d’école is not art, but Petipa’s dance is considered to be so, and that means analysing the ways in which Petipa’s choice of movement, use of space and phrasing, is different from that of the classroom; and demonstrating, in consequence, that it should not be performed the same way. A difficulty is that training affects aesthetic values and encourages dancers to move in a specific way (Morris, 2003). But, when the values inherent in the training are alien to those in place when the dance was conceived, performances can reflect more contemporary concerns, potentially leading to a focus on technique rather than on the expressive elements of the dances.
    [Show full text]