Basic Principles of Classical Ballet: Russian Ballet Technique Free Download
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Class Descriptions
The Academy of Dance Arts 1524 Centre Circle Downers Grove, Illinois 60515 (630) 495-4940 Email: [email protected] Web Site: www.theacademyofdanceartshome.com DESCRIPTION OF CLASSES All Class Days and Times can be found on the Academy Class Schedule ______________________________________________________________________________________________________________________________________________________________________________________________________________________________ BALLET PROGRAM AND TECHNIQUE CLASSES Ballet is the oldest formal and structured form of dance given the reverence of being the foundation of ALL The Dance Arts. Dancers build proper technical skills, core strength and aplomb, correct posture and usage of arms, head and foremost understand the basics in technique. Students studying Ballet progress in technique for body alignment, pirouettes, jumps, co-ordination skills, and core strength. Weekly classes are held at each level with recommendations for proper advancement and development of skills for each level. Pre-Ballet Beginning at age 5 to 6 years. Students begin the rudiments of basic Ballet Barre work. Focus is on the positions of the feet, basic Port de bras (carriage of the arms), body alignment, and simple basic steps to develop coordination skills and musicality. All this is accomplished in a fun and nurturing environment. Level A Beginning at age 6 to 8 years. Slowly the demanding and regimented nature of true classical Ballet is introduced at this level with ballet barre exercises and age/skill level appropriate center work per Academy Syllabus. When Students are ready to advance to the next level, another Level-A Ballet or B-Ballet class will be recommended per instructor. Level B Two weekly classes are required as the technical skills increase and further steps at the Barre and Center Work and introduced. -
Dance Etiquette Sheet 15
With the exception of dance shoes, many of the required code items and hair supplies are available for sale in our Pro Shop. Welcome! We are so happy to have you in our dance program. Together, we will work to instill a love of dance that can last a lifetime. Please review the following guidelines, and let us know if you have any questions. PROPER ATTIRE: HAIR: For ALL Ballet classes (Dance Tots, PreBallet, Ballet), hair must be pulled away from the face and pinned securely into a ballet bun (no bangs for ages 6 and up). For ALL other classes, hair must be in a ponytail, secured off the shoulders and away from the face. ALL CLASSES: NO LOOSE CLOTHES OVER LEOTARDS! TINY DANCERS: Female – Non-baggy athletic shorts & t-shirt. Dance attire (leotard, tights, ballet slippers**) may be worn if desired. Bare feet. Hair must be pulled away from face into a ponytail. Male – Non-baggy athletic shorts & t-shirt. Bare feet. Parents – Comfortable clothes that you can move in! Bare feet. DANCE TOTS: Female – Light pink leotard*, light pink footed tights**, pink leather ballet slippers*** Male – White t-shirt, black bike shorts or tights, white socks, black ballet slippers PREBALLET: Female – Light blue leotard*, light pink footed tights**, pink leather ballet slippers*** Male - White t-shirt, black bike shorts or tights, white socks, black ballet slippers CLASSICAL BALLET: Female – Black leotard*, light pink footed tights, pink leather ballet slippers** Male – White t-shirt, black bike shorts or tights, white socks, black ballet slippers *All leotards for Dance Tots, PreBallet, and Classical Ballet must be simple in style – preferably tank, cap, or short sleeve. -
Proper Attire
2021-2022 Welcome! We are so happy to have you in our dance program. Together, we With the exception of dance shoes, will work to instill a love of dance that can last a lifetime. Please review the many of the required dancewear following guidelines and let us know if you have any questions. items and hair supplies are available for sale in our Pro Shop. PROPER ATTIRE: HAIR: For ALL Ballet classes (Dance Tots, Fairytale Ballerinas, PreBallet, Ballet), hair must be pulled away from the face and pinned securely into a ballet bun (no bangs for ages 6 and up). For ALL other classes, hair must be in a ponytail, secured off the shoulders and away from the face. ------------------------------------------ ------ TEENY DANCERS: Female – Non-baggy athletic/bike shorts & t-shirt. Bare Feet. Dance attire (leotard, tights, ballet slippers**) may be worn if desired. Male – Non-baggy athletic/bike shorts & t-shirt. Bare feet. Parents – Comfortable clothes that you can move in! Bare feet. DANCE TOTS: Female – Light pink leotard*, light pink footed tights**, pink leather ballet slippers*** Male – White t-shirt, black bike shorts or tights, white socks, black ballet slippers PREBALLET: Female – Light blue leotard*, light pink footed tights**, pink leather ballet slippers*** Male - White t-shirt, black bike shorts or tights, white socks, black ballet slippers PRE-TAP/HIP-HOP: Female – Light blue leotard, light pink OR light suntan footed tights**. Tan Tap Shoes / Tan Slip-on Jazz Shoes. • Optional – Girls may also wear light blue or black dance skirt or dance shorts over their leotard & tights. Male - White t-shirt, black bike shorts, Black crew socks. -
Strive Level 1-3 Ballet Audition Study Guide
Strive Level 1-3 Ballet Audition Study Guide General Questions Level 1-3 1. Name and explain the basic 5 focuses, in the correct order for every level. Posture, Placement, Positions, Preparations, and Transitions. 2. In what ways is ballet class “progressive” (i.e. building on itself)? • We begin working in small positions and gradually make them bigger. • We balance on two legs before we balance on one. • We start with the leg low and then as we warm up, we begin to lift higher. • While transitioning, we move through the five levels in order (don’t skip). • In the lower levels, we work slowly and increase speed as we get stronger in our technique. • In the beginning of the barre, we work slowly and gradually increase our speed. • In the lower levels, we work facing the barre and at the higher levels we work with one hand on the barre. As we progress we add the arms (Port de bra), and head and shoulders (Eppaulment) to the movement of the legs. 3. What are the basic ways of moving in ballet? Rise, Fall, Turn, Jump, Turning while jumping, Gliding, Floor Work. 4. What are the five “progressive” levels we travel through? Plie, Straight legs, Demi-pointe, Full pointe, and Release or Jump 5. What five ways do we learn (Hint: Use your five senses)? Watching, Listening, Feeling, Smelling, and Tasting. 6. How do these ways of learning constitute a 100% effort? Watching = 25%, Listening = 25%, Doing = 25%, and our energy = 25% 7. Name, in order, the seven points of isolation to think about when working on posture. -
Dossier De Presse
DOSSIER DE PRESSE ÉDITO Depuis 1974, le Sporting Monte-Carlo accueille les Il y a des artistes incontournables qui sont liés à notre plus grandes stars, c’est sa marque de fabrique. Ses histoire musicale. C’est pourquoi nous nous devions soirées exceptionnelles autour d’un dîner-spectacle de recevoir JOHNNY HALLYDAY pour deux concerts. ont marqué des générations. Chaque année, il nous Cette année, nous créerons un nouveau spectacle : faut maintenir cette tradition, mais aussi la JAKE AND ELWOOD – THE BLUES BROTHERS STORY. renouveler, la faire évoluer pour rester dans l’air du C’est un bel hommage à la musique afro-américaine temps et regarder l’avenir. que nous rendrons à travers ce show spécialement imaginé pour cette saison d’été. Pour cette édition 2015, nous avons voulu présenter un plateau artistique qui nous amènera vers d’autres Programmer le Monte-Carlo Sporting Summer Festival sons, d’autres styles, d’autres tendances de la dans ce lieu mythique qu’est la Salle des Étoiles est un musique et de la performance. Une large place sera travail de longue haleine, et le travail de toute une ainsi faite aux concerts debout, qui nous permettent équipe, celle de la Direction Artistique du groupe d’accueillir un nouveau public, et de rajeunir l’image Monte-Carlo Société des Bains de Mer. Nous sommes du Festival. très fiers de pouvoir vous présenter le plus beau des festivals d’été et participer ainsi à l’animation estivale Un concert exceptionnel de TONY BENNETT & de cette belle Principauté de Monaco. LADY GAGA ouvrira cette saison le 4 juillet, une rencontre entre deux grandes voix du jazz et de la pop, un duo que nous ne pouvions imaginer tant il semble à l’opposé, et qui se retrouve sur un répertoire intemporel, symbole de l’histoire du Sporting Monte-Carlo. -
How Cuba Produces Some of the Best Ballet Dancers in the World by Noël Duan December 14, 2015 9:01 PM
http://news.yahoo.com/how-cuba-produces-some-of-the-best-ballet-dancers-020100947.html How Cuba Produces Some of the Best Ballet Dancers in the World By Noël Duan December 14, 2015 9:01 PM Recent graduates of the Ballet Nacional de Cuba School performing at the National Theater of Cuba in Havana in February 2015. (Photo: Getty Images) This story is part of a weeklong Yahoo series marking one year since the opening of relations between the United States and Cuba. Cuba is well known for many forms of dance, from the mambo and the tango to salsa, the cha- cha and the rumba. But only ballet enthusiasts know that the dance form is one of the country’s biggest cultural exports. In Cuba, ballet is just as popular as baseball, a sport where players from the Cuban national team regularly defect to the major leagues in the United States. Unlike in the United States, where ballet is generally considered highbrow art and Misty Copeland is the only ballerina with a household name, the Cuban government funds ballet training and subsidizes tickets to ballet performances. “Taxi drivers know who the principal dancers are,” Lester Tomé, a dance professor at Smith College and former dance critic in Cuba and Chile, tells Yahoo Beauty. Like Cuban baseball players, Cuban ballet dancers have made international marks around the world, from Xiomara Reyes, the recently retired principal dancer at New York City’s American Ballet Theatre to London’s English National Ballet ballet master Loipa Araújo, regarded as one of the “four jewels of Cuban ballet.” In September 2005, Erika Kinetz wrote in the New York Times that “training, especially Cuban training, has been a key driver of the Latinization of ballet,” an important note, considering that European ballet companies dominated the dance world for decades. -
Winter Performances Delivered an Exciting and Varied Program
Spring 2014 Winter Performances Delivered an Exciting and Varied Program Those who attended HARID’s Winter Performances last December 14 and 15 were treated to a varied program that included classical ballet, character dance, and modern dance. Classical Divertissements showcased Alex Srb © Alex the students’ classical ballet technique in a series of variations from The Fairy Doll, Don Quixote, and Paquita. Faculty member Svetlana Osiyeva choreographed the opening adagio and finale, which seamlessly tied the various solo dances together with beautiful ensemble work. Srb Alex © Classical Divertissements HARID’s premiere of Krakowiak, a Polish character dance from the opera ‘A Life For the Tsar’, was immaculately staged by Bertha Valentin. Seven couples paraded and danced elegantly in striking, burgundy costumes on loan from Canada’s Royal Winnipeg Ballet. Modern-dance teacher Danielle Armstrong created another engaging new work for the performances. Alex Srb © Alex Silver Lining, set to Bach’s ‘Goldberg Variations’ featured several of HARID’s advanced students, along with an ensemble of younger dancers. Their movements created a mood of simple pleasure and happiness, which was enhanced by Paul Safran’s stage lighting. HARID’s holiday tradition, Divertissements from The Nutracker, Act II, once again served as the program finale. Impressive new choreography by faculty member Donald Tolj added much excitement to Arabian Coffee, Chinese Tea, and the Russian Trepak. Waltz of the Flowers was— as always—beautifully staged by Victoria Schneider, and Svetlana Osiyeva’s staging Alex Srb © Alex of the Grand Pas de Deux demonstrated the elegance and purity that is unique to IN THIS ISSUE classical ballet. -
Guide to Dance 2019-2020 Study Guide
Dancers: Grace-Anne Powers and Leiland Charles | Photo: Jennifer Zmuda GUIDE TO DANCE 2019-2020 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 ©2019 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 ........................................................................................................................ -
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. -
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. -
Ballet West Student In-Theater Presentations
Ballet West for Children Presents Ballet and The Sleeping Beauty Dancers: Soloist Katie Critchlow, First Soloist Sayaka Ohtaki, Principal Artist Emily Adams, First Soloist Katlyn Addison, Demi-Soloist Lindsay Bond Photo by Beau Pearson Music: Peter Ilyich Tchaikovsky Adapted from Original Choreography: Marius Petipa Photo: Quinn Farley Costumes: David Heuvel Dear Dance enthusiast, Ballet West is pleased that you are viewing a Ballet West for Children Presentation as a virtual learning experience. Enclosed you will find the following information concerning this performance: 1. Letter from Artistic Director, Adam Sklute. 2. Letter to the parent/guardian of the students who will be viewing. 3. Specific Information on this Performance, including information on the ballet, music, choreography, follow-up projects and other pertinent material has also been compiled for the teacher's information. 4. We report to the Utah State Board of Education each year on our educational programs, and need your help. Usually, we gather information from teachers as to how the student reacted and what they may have learned from their experience. We’d love to hear from you by filling out our short Survey Monkey listed on our virtual learning page. We don’t have a way to track who and how many people are taking advantage of this opportunity and this will help us to know how we’re doing. You can always email me directly. Thank you very much for your interest in the educational programs of Ballet West. Please call if I may provide any additional information or assistance to you and your school. I can be reached at 801-869-6911 or by email at [email protected]. -
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.