Cecchetti International Classical Ballet Annual Newsletter No
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Noreen Londregan School of Dance
WHY CHOOSE 2019-2020 FALL SCHEDULE NOREEN LONDREGAN Noreen Londregan AWARDS MONDAY SCHOOL OF DANCE School of Dance Achievement awards are presented on the final lesson in 11:00 - 11:45 Terrific 2’s Offering the Best in Dance Techniques 12:00 - 1:00 Preschool 3-5 Yrs. Combo I June for students who have attended the required classes - 3 Spacious Dance rooms and are paid in full. 4:00 - 5:15 7-9 Yrs. Combo II 4:30 - 5:30 6-8 Yrs. Combo II - Limited Class Size 2019-2020 DANCE SEASON 5:15 - 6:15 Preschool 3-5 Yrs. Combo I - Friendly Atmosphere COMPETITION 5:30 - 6:30 Preschool 4-6 Yrs. Combo II - Age appropriate Music, Terrific 2’s • Creative Movement Noreen and Colleen’s dance company has won many 5:30 - 7:30 9-11 Yrs. Combo III Choreography and Costumes Classical Ballet • Combo Classes • Tap • Jazz awards during the past year. Students are accepted into the 6:15 - 7:30 6-8 Yrs. Combo II - Members of Dance Masters of Hip Hop • Street Jazz • Lyrical • Contemporary Dance Company by invitation/audition and are required to 6:30 - 9:00 Advanced B-T-J America, and Ohio be enrolled in ballet, tap and jazz classes. Minimum age is TUESDAY - Students placed by age & ability Adult Ballet & Tap 7 years old. Rehearsals are in addition to their normal class 4:00 - 5:00 5-7 Yrs. Combo I - Many levels of classes - time. Additional fees are charged. 4:30 - 5:30 5 & 6 Yrs. Combo I 2 years to adult 5:00 - 6:00 5-7 Yrs. -
Teachers Handbook July 2020
TEACHERS’ HANDBOOK July 2020 PO Box 425, Clifton Hill, VIC 3068 www.cecchettiballet.org email: [email protected] Ph: 03 9489 5682 Previous Versions 2019 2016 Following the ratification of the new Rules for Cecchetti Ballet Australia Inc. at the July 12th 2014 AGM, these Regulations and Procedures have been collated from previous rules issued by the National Council on behalf of Cecchetti Ballet Australia Inc. Should any alterations or amendments become necessary, these should be submitted in writing to the National Council. After consideration by National Council, any necessary alterations or amendments will be incorporated into the Rules in due course. Some sections of these Rules appear more than once in this Book. The information has been collected into sections and some information is relevant to more than one section. July 2014 CONTENTS EXAMINATION INFORMATION ........................................................................................................................................... 1 PRE-PRIMARY AND PRIMARY .......................................................................................................................................... 1 GRADE EXAMINATIONS .................................................................................................................................................. 1 ASSESSMENTS ................................................................................................................................................................. 3 DANCE SPECTRUM ONE (DS1) -
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. -
Miami City Ballet 37
Miami City Ballet 37 MIAMI CITY BALLET Charleston Gaillard Center May 26, 2:00pm and 8:00pm; Martha and John M. Rivers May 27, 2:00pm Performance Hall Artistic Director Lourdes Lopez Conductor Gary Sheldon Piano Ciro Fodere and Francisco Rennó Spoleto Festival USA Orchestra 2 hours | Performed with two intermissions Walpurgisnacht Ballet (1980) Choreography George Balanchine © The George Balanchine Trust Music Charles Gounod Staging Ben Huys Costume Design Karinska Lighting Design John Hall Dancers Katia Carranza, Renato Penteado, Nathalia Arja Emily Bromberg, Ashley Knox Maya Collins, Samantha Hope Galler, Jordan-Elizabeth Long, Nicole Stalker Alaina Andersen, Julia Cinquemani, Mayumi Enokibara, Ellen Grocki, Petra Love, Suzette Logue, Grace Mullins, Lexie Overholt, Leanna Rinaldi, Helen Ruiz, Alyssa Schroeder, Christie Sciturro, Raechel Sparreo, Christina Spigner, Ella Titus, Ao Wang Pause Carousel Pas de Deux (1994) Choreography Sir Kenneth MacMillan Music Richard Rodgers, Arranged and Orchestrated by Martin Yates Staging Stacy Caddell Costume Design Bob Crowley Lighting Design John Hall Dancers Jennifer Lauren, Chase Swatosh Intermission Program continues on next page 38 Miami City Ballet Concerto DSCH (2008) Choreography Alexei Ratmansky Music Dmitri Shostakovich Staging Tatiana and Alexei Ratmansky Costume Design Holly Hynes Lighting Design Mark Stanley Dancers Simone Messmer, Nathalia Arja, Renan Cerdeiro, Chase Swatosh, Kleber Rebello Emily Bromberg and Didier Bramaz Lauren Fadeley and Shimon Ito Ashley Knox and Ariel Rose Samantha -
Support the Cecchetti Society Trust
CECCHETTI classical ballet Support The Cecchetti Society Trust The Cecchetti Society founded in 1922 to promote the teaching of the Cecchetti Method www.cecchetti.co.uk The Cecchetti Society Trust Cecchetti Classical Ballet The Cecchetti Society Trust was created to Cecchetti classical ballet is one of the most promote and support the art of classical ballet and respected training methods for young dancers, in particular the Cecchetti Method of training in teachers and professionals both in the UK and classical ballet. The Trust which is a Registered worldwide. The great virtuoso dancer and teacher Charity achieves this aim in a variety of ways - Enrico Cecchetti (1850 – 1928 ) was one of the including offering support to individual young most important influences on the foundation of ballet dancers and teachers to train, and also modern Classical Ballet training. He evolved a through publicising and promoting the Cecchetti method of training that is as relevant today as it was when first created - producing outstanding Method of training and producing educational artistic and technically accomplished dancers able resources. to work with today’s directors across the spectrum of classical and contemporary companies. His The Trust was established through a legacy from influence on British Ballet has been far reaching Cyril Beaumont, the renowned dance historian and resulted in the creation of The Cecchetti and writer, and was formed by a Declaration of Society in 1922. Trust on 20th March 1978 with the object of: Patrons of The Cecchetti Society include Dame “The advancement of the education of the public Monica Mason DBE, David Bintley CBE, Darcey in the art of classical ballet and in particular that art Bussell CBE, Lesley Collier CBE and Kevin as perpetuated by the Cecchetti Method to O’Hare. -
WRAP Thesis Ruben 1998.Pdf
University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/59558 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. 1 GRACE UNDER PRESSURE: RE-READING GISELLE. Mel Ruben Thesis submitted for the degree of Doctor of Philosophy in English Literature University of Warwick Department of English and Comparative Literary Studies September, 1998 2 For Peter, Alice, Audrey and Theda Ruben 3 Table of Contents Acknowledgements 6 Summary 7 Terminology 8 Preface 1. Introduction 9 2. My Personal Aims for this Thesis 11 3. My Own Mythology 16 4. Ballet Writing and Ballet Going in the 1990s 20 5. The Shape of Love 35 Notes to the Preface 38 ChaQter One: The Ballet Called Giselle 1. Jntroductton 42 2. Giselle: a Romantic Ballet 42 3. The Plot of Giselle 51 4~The First Giselle 60 5. Twentieth Century Giselles 64 6. The Birmingham Royal Ballet's 1992 Giselle 74 7. Locating Ballet in Dance Studies 86 8. Using Ballet as a Text 91 9. Methodology 98 Notes to Chapter One 107 ChaQter Two Plot: Blade Runner and Giselle 1. Introduction 111 2. The Two Blade Runners 113 3. The Plot of Blade Runner 117 4. Matching the Myths 129 5. Endings and Closures 159 6. -
Class Descriptions & Required Attire
SHORT DANCE STUDIOS CLASS DESCRIPTIONS, PREREQUISITES & REQUIRED ATTIRE There are required shoes for each class. *Starred classes will also require specific attire. Mommy/Daddy & Me – Movement to music. A great experience to share with your 18mos.-2 yr. old. Creative Dance 1 (CD 1) – Ages 3-4 is an introduction to dance. The primary goal is to foster a love of movement. Although the creative component is quite large, basic fundamentals in Tap, Jazz and Ballet will be covered in this class. Several fun or special activities, many times with props, facilitates expression. It is a means of communicating feelings and actions. The skills covered in Creative Dance 1are all steps which a 3 year old can master as they build self-confidence. Dancers become aware of fast/slow, rhythm, space, directions, right/left, size, and levels. The vocabulary is also set up to prepare students for Creative Dance 2. (CD II) RECITAL= This class will perform one dance in our annual recital. ATTIRE = White Leather Ballet shoes (261W), Tights and Leotard (any color) – Ballet skirts are acceptable at this age. Creative Dance 2 (CD II) – Ages 4-5 (students still in Pre-K) covers a basis of movement found in all dance forms. This class will spend time in both Ballet and Tap shoes working on basic fundamentals in Ballet, Tap and Jazz. The goals of CD II are to foster creativity, freedom and expression in movement, and a love for dance. The class includes concepts that are found in older child’s dance class. This class will prepare the students for the following year when they graduate to Tap/Ballet I. -
Chapter 9 Ballet Edited.Ppt.Pdf
C H A P T E R 9 Ballet Chapter ?? Chapter 9 Ballet Enduring understanding: Ballet is a classic, Western dance genre and a performing art. Essential question: How does ballet help me express myself as a dancer? Learning Objectives •Recognize major ballet works, styles, and ballet artists in history. •Execute basic ballet technique, use ballet vocabulary, and perform barre exercises and center combinations. •Apply ballet etiquette and dance safety while dancing. •Evaluate and respond to classical and contemporary ballet performances. Introduction Ballet began as a Western classical dance genre 400 years ago and has evolved into an international performing art form. The word ballet comes from the Italian term ballare, meaning to dance. Chapter 9 Vocabulary Terms adagio allegro à la seconde à terre ballet ballet technique barre center derrière stage directions Devant turnout en l’air Ballet Beginnings Ballet moved from Italy to France when Catherine de’ Medici married the heir to the French throne, King Henry II. She produced what has become known as the first ballet, La Comique de la Reine, in 1588. Ballet at the French Court Louis XIV performed as a dancer and gained the title The Sun King after one of his most famous dancing roles. A patron of the arts, Louis XIV established the Academy of Music and Dance. In the next century the Academy would become the Paris Opéra. Court Ballets • During the 17th century, court ballets were dance interludes between dramatic or vocal performances or entire performances. • Sometimes ballets were part of themed balls such as pastoral or masquerade balls. -
The Firebird, a Story About a Magical Bird of in 1949 George Balanchine Created a New Firebird Russian Folktales
The a study guide FirebirdNew York Theatre Ballet After a very successful first season in Paris, A famous Firebird was Margot Fonteyn (1954). Serge Diaghilev, the director of the Ballet Russes, Tamara Karsavina, the first Firebird, taught began to prepare the repertoire of new ballets for Margot Fonteyn the role. You can still see her the 1910 season. Diaghilev decided to commission performance on video. a work drawn from Russian Folklore. He decided on The Firebird, a story about a magical bird of In 1949 George Balanchine created a new Firebird Russian folktales. After Anatol Liadov, a famous ballet for Maria Tallchief. composer turned him down, he asked a talented student composer, Igor Stravinsky, to In 1970 George Balanchine returned write the new score. Stravinsky had to The Firebird in collaboration with never before created music for Jerome Robbins. New sets were a ballet. created by Marc Chagall. The role of the Firebird was danced by Gelsey The ballet had its world premiere on Kirkland. June 25, 1910 at the Paris Opera. Diaghilev also commissioned costumes designed by the painter Leon Bakst Other famous birds in ballet and sets were created by Alexandre Golovine. On the opening night, Michel The Swan Queen in Swan Lake Fokine, the choreographer of The Fire- The Bluebird in Sleeping Beauty bird, danced the role of Prince Ivan with Tamara Karsavina as the Firebird. Can you make up a dance about birds? The ballet and its music were an immense success! What steps will you use? How will you move your arms so they look like wings? Are you a big or small bird? Are you a crow, a sparrow, an ostrich, NYTB’s The Firebird a pigeon, a duck? Choreography by Richard Holden The Characters (after Michel Fokine) The Firebird Music by Igor Stravinsky Ivan Tsarevitch Costumes By Sylvia Taalsohn Nolan The Beautiful Tsarevna Set Design by Gillian Bradshaw-Smith The Immortal Kostchei The Bolibotshki Monster The Enchanted Princesses The Story New Words In the dark garden of the Immortal Kostchei, a tree Adage Slow sustained movements in ballet. -
Cecchetti Council of America Examiners Meeting Fall 2016…….…
Cecchetti International Classical Ballet Annual Newsletter No. 22, 2016 Inside this issue Contacts…………………………...…..….2 Where Are they Now?……………….......2 Cecchetti Ballet Australia Inc.………….5 Memories of Clive Mckeller………..…...5 Cecchetti Society of Canada From Studio to Stage……...…….…...….6 Amy Hoffman………..…………………..8 Cecchetti Council of America Examiners Meeting Fall 2016…….…......9 Enhanced Men’s Training Program……9 Cecchetti USA………...………………...11 Cecchetti Society Classical Ballet, UK.............................................................12 Cecchetti Society I.S.T.D. Events……...13 Danzare Cecchetti CICB Competition & Summer Courses Florence, Italy 2017…………...………..14 Competition Scholarships………..….…15 Cecchetti Students of Ateneo Danza Italy………………………..…………….16 Riccardo Mambelli ~ Cecchetti Advanced 2 Cecchetti Society of South Africa Events………………………...……...….16 Diploma Holders…………………….....17 CONTACTS Where Are They Now? Previous CICB Competitors CICB Officers Chairman: Betty Seibert, [email protected] South Africa Vice Chairman: Gail Myburgh, [email protected] Alexandra Potgieter (2008) Secretary: Susan Booker, [email protected] South African Dancer trained in The Cecchetti Method by Lynne Fouché has Treasurer: Joyce Shietze, [email protected] returned after 5 years in commerce to successfully undertake her Associate CICB Delegates and Society contact Examination, duly being awarded the Dorothea McNair Trophy for the most Australia: Carole Hall, Anne Butler, [email protected] outstanding qualifying examination in the Canada: -
A Study on the Gender Imbalance Among Professional Choreographers Working in the Fields of Classical Ballet and Contemporary Dance
Where are the female choreographers? A study on the gender imbalance among professional choreographers working in the fields of classical ballet and contemporary dance. Jessica Teague August 2016 This Dissertation is submitted to City University as part of the requirements for the award of MA Culture, Policy and Management 1 Abstract The dissertation investigates the lack of women working as professional choreographers in both the UK and the wider international dance sector. Although dance as an art form within western cultures is often perceived as ‘the art of women,’ it is predominately men who are conceptualising the works and choreographing the movement. This study focuses on understanding the phenomenon that leads female choreographers to be less likely to produce works for leading dance companies and venues than their male counterparts. The research investigates the current scope of the gender imbalance in the professional choreographic field, the reasons for the imbalance and provides theories as to why the imbalance is more pronounced in the classical ballet sector compared to the contemporary dance field. The research draws together experiences and statistical evidence from two significant branches of the artistic process; the choreographers involved in creating dance and the Gatekeepers and organisations that commission them. Key issues surrounding the problem are identified and assessed through qualitative data drawn from interviews with nine professional female choreographers. A statistical analysis of the repertoire choices of 32 leading international dance companies quantifies and compares the severity of the gender imbalance at the highest professional level. The data indicates that the scope of the phenomenon affects not only the UK but also the majority of the Western world. -
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.