Class Attire 2018-19

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CLASS ATTIRE 2018-19 TO ORDER CLASS ATTIRE FROM WWW.DISCOUNTDANCE.COM , USE THIS CODE: TP70439 You will see a Virginia National Ballet Dress Code List with items to choose from, and you can also check the colors if you prefer to shop locally at Heather’s or The Dance Shoppe. YOUNG CHILDREN’S DANCE CLASSES Any style light pink leotard, light pink footed tights, pink leather ballet slippers. Attached skirts are optional. HAIRIN A BUN! PRE-PROFESSIONAL BALLET CLASSES Level 1 Light blue short sleeved leotard, recommended: Capezio or Bloch short sleeve—Styles CC400C or CL5602 at Dis- countDance.com, light pink footed tights, pink leather ballet slippers. Hair in a neat bun. Level 2 Hot pink leotard, recommended: Theatricals Child Tank Cotton Dance Leotard - Mulberry, Style No: N5501C at DiscountDance.com, light pink footed tights, pink leather ballet slippers. Hair in a neat bun. Level 3 Forest Green leotard, recommended: Theatricals Child Tank Cotton Dance Leotard - Forest , Style No: N5501C at DiscountDance.com. Light pink tights, pink leather ballet slippers. Hair in a neat bun. Level 4 Royal blue leotard, recommended: Theatricals Adult Pinch Front Tank Cotton Dance Leotard - Royal , Style No: N5501, or N5501C for girls, at DiscountDance.com), light pink tights, pink canvas ballet slippers. Hair in a neat bun. Level 5 Dark purple leotard, recommended: Theatricals Adult Pinch Front Tank Cotton Dance Leotard - Eggplant , Style No: N5501 at DiscountDance.com), light pink tights, pink canvas ballet slippers. Hair in a neat bun. Level 6 Black camisole leotard, light pink tights, pink canvas ballet slippers. Hair in a neat bun. Variations and pas de deux Black camisole leotard, light pink tights, pink canvas ballet slippers. Hair in a neat bun. Boys Class White t shirt, black tights, white socks, white ballet slippers. MODERN, JAZZ, TAP, HIP HOP, ETC. CLASSES Jazz/Tap Any color leotard, black jazz pants, black jazz shoes, black tap shoes. Hip Hop Loose fitting clothing with black jazz sneakers. Modern Any color leotard, convertible tights, bare feet. Character Same attire as corresponding ballet class, with black character skirts and black character shoes. Jazz Leotard, convertible tights, jazz shoes. Ballet/Tap Pink leotard, pink tights, black tap shoes. Ballet/jazz/tap Any color leotard, black jazz pants, black jazz shoes, black tap shoes, pink ballet slippers ADULT CLASSES Adults may wear any color leotard, pink or black tights or leggings, pink or black ballet slippers (leather or canvas) for ballet and modern classes. For jazz/tap, add black jazz pants, black jazz shoes & black tap shoes. .

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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.
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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.
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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.
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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.
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Dictionary of Classical Ballet Terminology Free
FREE DICTIONARY OF CLASSICAL BALLET TERMINOLOGY PDF Rhonda Ryman | 100 pages | 14 Jun 2007 | Royal Academy of Dance | 9781904386872 | English | London, United Kingdom Ballet Terms A To Z - Dictionary of basic Ballet moves In ballet, there are several terms that are used. Dictionary of Classical Ballet Terminology can be easy for a beginner to feel lost with all of the terminology! These movements are typically done after warmup and closer toward the last part of class to avoid injury, and to maximize a dancers range while warmed up. Abstract ballet are ballets without a plot unlike the Nutcracker, Swan Lake, etc. Most often, contemporary ballets are considered abstract ballets. Arabesque is a position in ballet where the body is supported on a single leg, while the other leg is extended directly behind the body with a straight knee. There are several different versions of arabesque such as first, second, and third arabesque. They can also be done at different heights or with a straight leg or in plie. The basics being that the two legs join together in the air. An attitude is a position where the dancers stands on one leg with the other lifted, either in the front, or back. The leg that is in the air is usually slightly bent at the knee, creating an approximate degree angle. En avant refers to moving towards the front. En avant is not an actual step or position in ballet, but is used in conjunction with other terms, such as tendu en Dictionary of Classical Ballet Terminology. Adagio refers to slow movements in ballet.
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Jeffrey Stanton Release
MEDIA RELEASE OBT to round out its artistic team with a second ballet master, Jeffrey Stanton. July 15, 2013 - Portland, OR Jeffrey Stanton, former principal dancer with Pacific Northwest Ballet (1994-2011) and currently a faculty memBer at the PNB School will Be joining Oregon Ballet Theatre as Ballet master, alongside Rehearsal Director Lisa Kipp. He will arrive in August. “I think Jeffrey and Lisa’s skills complement each other well and I am excited for the dancers to have a chance to work with both of them in the studio” shared Artistic Director Kevin Irving. About Jeffrey Stanton Mr. Stanton trained at San Francisco Ballet School and the School of American Ballet. In addition to classical Ballet, he also studied Ballroom, jazz, and tap dancing. He joined San Francisco Ballet in 1989 and left to join Pacific Northwest Ballet as a memBer of the corps de Ballet in 1994. He was promoted to soloist in 1995 and was made a principal in 1996. “Jeff has Been a Brilliant dancer, great colleague and stalwart Company memBer for seventeen years – a lifetime in dance and a gift to his artistic directors. It is our hope that, when he retires from performing, he will pass on everything he knows to future generations of young dancers,” shared PNB Founding Artistic Directors Kent Stowell and Francia Russell, (who hired Mr. Stanton in 1994) upon his retirement in 2011. He originated leading roles in Susan Stroman’s TAKE FIVE…More or Less; Stephen Baynes' El Tango; Donald Byrd's Seven Deadly Sins; Val Caniparoli's The Bridge; Nicolo Fonte's Almost Tango and Within/Without; Kevin O'Day's Aract and [soundaroun(d)ance]; Kent Stowell's Carmen, Palacios Dances, and Silver Lining; and Christopher Stowell's Zaïs.
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Introduction: Music and the Story
Copyrighted Material CHAPTER ONE Introduction: Music and the Story If music doesn’t express the feelings of players, what else is there to express them? Big arm movements are a poor language. Le Siècle, 23 Sept. 1836 Several of the arguments in this book depend on my reading of ballet- pantomime music composed at the Opéra during the July Monarchy. Before set ting out, then, I would like to offer a brief general description of this music, since it is for the most part unknown today. Most important of all is the fact that for each new ballet-pantomime created at the Paris Opéra during the July Monarchy, a new score was produced. The reason for this is simple: these ballet-pantomimes told stories—elaborate ones—and music was considered an indispensable tool in getting them across to the audience. Therefore, music had to be newly created to ﬁt each story. Music tailor-made for each new ballet-pantomime, however, was only one weapon in the Opéra’s explanatory arsenal. Another was the ballet-pantomime libretto, a printed booklet of ﬁfteen to forty pages in length, which was sold in the Opéra’s lobby (like the opera libretto), and which laid out the plot in painstaking detail, scene by scene. Critics also took it upon themselves to re count the plots (of both ballet-pantomimes and operas) in their reviews of pre mières. So did the publishers of souvenir albums, which also featured pictures of famous performers and of scenes from favorite ballet-pantomimes and operas. Why were these stories made available to the public in so many ways? The mere fact that elaborate ballet-pantomimes were created at breakneck pace at the Opéra (about two new ones per year) is one reason: audiences had to learn a lot of stories if they were to understand what they were seeing (unlike today’s ballet-goers, who are usually offered a rich variety of plotless ballets, and a handful of familiar old “story ballets” like Romeo and Juliet and Sleeping Beauty, but very few new highly detailed “story ballets”).
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Gainesville Ballet Class Attire
GAINESVILLE BALLET CLASS ATTIRE. TO ORDER CLASS ATTIRE WITH A DISCOUNT FROM WWW.DISCOUNTDANCE.COM , USE THIS CODE: TP70439 Dancewear can be purchased locally at Heather’s Dancewear Boutique in Manassas: http://hdbdancewear.com/ The Dance Shoppe in Centreville: http://www.mydanceshoppe.com/ Old Town Dancewear in Warrenton: https://www.facebook.com/oldtowndancewear/ YOUNG CHILDREN’S DANCE CLASSES Pink leotard, light pink footed tights, pink leather ballet slippers. Attached skirts are optional. PRE-PROFESSIONAL BALLET CLASSES Level 1 Lavendar short sleeved leotard, light pink footed tights, pink leather ballet slippers Level 2 Red short sleeve leotard, light pink footed tights, pink leather ballet slippers Level 3 Royal blue tank leotard. Light pink tights, pink leather ballet slippers Level 4 Forest green tank leotard, light pink tights, pink canvas ballet slippers. Level 5 Black camisole leotard, light pink tights, pink canvas ballet slippers Variations and pas de deux Black camisole leotard, light pink tights, pink canvas ballet slippers Boys Class White t shirt, black tights, white socks, white ballet slippers NON BALLET CLASSES Jazz/Tap Any color leotard, black jazz pants, black jazz shoes, black tap shoes. Hip Hop Loose fitting clothing with black jazz sneakers. Modern Any color leotard, convertible tights, bare feet. Character Same attire as Level 4 ballet with black character skirts and black character shoes. Jazz Leotard, convertible tights, jazz shoes. Jazz/Hip Hop Leotard, jazz pants, black jazz shoes. Baby Tap Pink leotard, pink tights, black tap shoes. Hip Hop /Tap Loose fitting clothes, jazz sneakers, tap shoes. ADULT BALLET CLASSES Adults may wear any color leotard, pink or black tights or leggings, pink or black ballet slippers (leather or canvas.) .
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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.
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Storytelling in Contemporary Ballet Abbey Lutts Western Kentucky University, [email protected]
Western Kentucky University TopSCHOLAR® Honors College Capstone Experience/Thesis Honors College at WKU Projects Spring 2019 Storytelling in Contemporary Ballet Abbey Lutts Western Kentucky University, [email protected] Follow this and additional works at: https://digitalcommons.wku.edu/stu_hon_theses Part of the Dance Commons Recommended Citation Lutts, Abbey, "Storytelling in Contemporary Ballet" (2019). Honors College Capstone Experience/Thesis Projects. Paper 789. https://digitalcommons.wku.edu/stu_hon_theses/789 This Thesis is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Honors College Capstone Experience/ Thesis Projects by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. STORYTELLING IN CONTEMPORARY BALLET A Capstone Project Presented in Partial Fulfillment of the Requirements for the Degree Bachelor of Dance with Honors College Graduate Distinction at Western Kentucky University By Abbey N. Lutts May 2019 ***** CE/T Committee: Professor Anna Patsfall, Chair Professor Amanda Clark Professor Dr. Christopher Keller Copyright by Abbey N. Lutts 2019 ACKNOWLEDGEMENTS I would like to thank my CE/T advisor Anna Patsfall for supporting me and always giving me insightful and helpful critiques and advice throughout the entire research process. I am also grateful to my committee, Amanda Clark and Dr. Christopher Keller for giving me their time and effort to see this research process through. I would also like to thank FUSE for the grant that I received to start this research. The FUSE grant provided me with the opportunity to travel and conduct my research, which allowed me to gather the research material to complete my thesis.
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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.
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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.
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