Ballet Technique Demi Pointe- High on the Balls of the Feet

Total Page：16

File Type：pdf, Size：1020Kb

Intermediate Dance Ballet Unit Guide Name:____________ Pd. __ Ballet Technique Demi Pointe- High on the balls of the feet. Demi Plie- Half bend of the knees. Port de Bras- Carriage of the arms. Tendu- Stretched, to point. En Bas- Low (arms). Degage- To disengage. En Haut- High (arms). Devant- Front. Rond de Jambe- Round of the leg, circular movement. A la Seconde- To the second (side). Derriere- Behind, back. Fondu- To melt. En Croix- In a cross (front, side, back, side). Developpe- To develop, developing movement. Reverence- Curtsey. Grand Battement- Large beat. Passe- To pass, passed. Releve- To rise to the balls of the feet from plie. Pirouette- Spin or whirl. Cou de pied- “Neck” of the foot, wrapped. ● En dedans- Inside. Sous Sous- Over, under. ● En dehors- Outside. Saute- to jump, jumped. Chaines- Series of rapid turns, chain, link. Attitude- Position on one leg, other lifted in Chasse- Chased. back, the knee bent at an angle of 90 degrees Tombe- To fall, falling down. so that the knee is higher than the foot. Pas de Bourre- Back, side, front. Bourre step. Arabesque- The position of the body supported Grand Jete- Large throw. on one leg with the opposite leg extended (straight) behind the body. Pas de Chat- Step of the cat. Saut de Chat- Jump of the cat. A series of slow, fluid exercises to develop the dancer’s balance, strength and grace. *Adagio- Dynamic Alignment- Support of the skeletal system. Moving in a safe and healthy way for your body. Romantic Ballet From Italian roots, ballets in France and Russia developed their own stylistic character. By 1850 Russia had become a leading creative center of the dance world, and as ballet continued to evolve, certain new looks and theatrical illusions caught on and became quite fashionable. Dancing on pointe became popular during the early part of the nineteenth century, with women often performing in white, bell-like skirts that ended at the calf. Pointe dancing was reserved for women only, and this exclusive taste for female dancers and characters inspired a certain type of recognizable Romantic heroine whose pristine goodness and purity inevitably triumphs over evil or injustice In 1832 the production of La Sylphide was performed. The Sylph- a mystical fairy like creature captured the audience. This is also when the “tutu” was born when the women were dressed in lengthy, elegant skirts. Such a costume was originally called a “romantic tutu” due to the willowy look it gave the ballerinas. Today it can take as long as ninety hours to create one professional tutu. The Russian Classics The Russian Classics occurred during the late 1800’s. Petipa composed full length productions that introduced the pas de deux or dance for two. Tutu’s became rigid and fashionable. It was during this Russian Classics time that we were given such greats as Swan Lake, The Sleeping Beauty, and The Nutcracker. By the end of the 1800’s, Russia had pulled into the lead as artistic heart of the ballet. .

Copy Link

Recommended publications

Theophile Gautier Vs. La Sylphide
UCLA Paroles gelées Title Discordant Locations for the Me-ospheric Void: Theophile Gautier vs. La Sylphide Permalink https://escholarship.org/uc/item/3bm3g63t Journal Paroles gelées, 15(2) ISSN 1094-7264 Author Sadono, Regina Fletcher Publication Date 1997 DOI 10.5070/PG7152003072 Peer reviewed eScholarship.org Powered by the California Digital Library University of California Discordant Locations for the Me-ospheric Void: Theophile Gautier vs. La Sylphide Regina Fletcher Sadono The art and literature of a dominant culture continually define, refine, and reinforce the rewards of "correct" sexual orientation. Whatever the determinants are for normative gendering, women have paid and still pay the greatest price for their maintenance. Despite many impressive scientific advances, humanity has not made great strides in the technology of selfhood, and we have hardly begun to examine the many cultural entities that perpetu- ate destructive attitudes towards women. Some of these, such as ballet, include so much of what is good and beautiful that it is hard to imagine dissecting them to isolate the misogyny from other narrative elements, or to conceive of what would remain after such an operation was complete. Ballet has played and still plays a role in sustaining prescriptions for normative gendering that we have inherited from the Romantic Era. Ballet is also a special case in regard to the female body in literature both then and now. Theophile Gautier was one of the first writers to recognize ballet as literature, and as one of the first dance critics, established the way that ballet is talked about. The argument for dance as literature is based on the concept of language as a system of signs, and literature as an enactment of those signs in a context of meaning.
[Show full text]
18Th Century Dance
18TH CENTURY DANCE THE 1700’S BEGAN THE ERA WHEN PROFESSIONAL DANCERS DEDICATED THEIR LIFE TO THEIR ART. THEY COMPETED WITH EACH OTHER FOR THE PUBLIC’S APPROVAL. COMING FROM THE LOWER AND MIDDLE CLASSES THEY WORKED HARD TO ESTABLISH POSITIONS FOR THEMSELVES IN SOCIETY. THINGS HAPPENING IN THE WORLD IN 1700’S A. FRENCH AND AMERICAN REVOLUTIONS ABOUT TO HAPPEN B. INDUSTRIALIZATION ON THE WAY C. LITERACY WAS INCREASING DANCERS STROVE FOR POPULARITY. JOURNALISTS PROMOTED RIVALRIES. CAMARGO VS. SALLE MARIE ANNE DE CUPIS DE CAMARGO 1710 TO 1770 SPANISH AND ITALIAN BALLERINA BORN IN BRUSSELS. SHE HAD EXCEPTIONAL SPEED AND WAS A BRILLIANT TECHNICIAN. SHE WAS THE FIRST TO EXECUTE ENTRECHAT QUATRE. NOTEWORTHY BECAUSE SHE SHORTENED HER SKIRT TO SEE HER EXCEPTIONAL FOOTWORK. THIS SHOCKED 18TH CENTURY STANDARDS. SHE POSSESSED A FINE MUSICAL SENSE. MARIE CAMARGO MARIE SALLE 1707-1756 SHE WAS BORN INTO SHOW BUSINESS. JOINED THE PARIS OPERA SALLE WAS INTERESTED IN DANCE EXPRESSING FEELINGS AND PORTRAYING SITUATIONS. SHE MOVED TO LONDON TO PUT HER THEORIES INTO PRACTICE. PYGMALION IS HER BEST KNOWN WORK 1734. A, CREATED HER OWN CHOREOGRAPHY B. PERFORMED AS A DRAMATIC DANCER C. DESIGNED DANCE COSTUMES THAT SUITED THE DANCE IDEA AND ALLOWED FREEDOM OF MOVEMENT MARIE SALLE JEAN-GEORGES NOVERRE 1727-1820; MOST FAMOUS PERSON OF 18TH CENTURY DANCE. IN 1760 WROTE LETTERS ON DANCING AND BALLETS, A SERIES OF ESSAYS ATTACKING CHOREOGRAPHY AND COSTUMING OF THE DANCE ESTABLISHMENT ESPECIALLY AT PARIS OPERA. HE EMPHASIZED THAT DANCE WAS AN ART FORM OF COMMUNICATION: OF SPEECH WITHOUT WORDS. HE PROVED HIS THEORIES BY CREATING SUCCESSFUL BALLETS AS BALLET MASTER AT THE COURT OF STUTTGART.
[Show full text]
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.
[Show full text]
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].
[Show full text]
Reviving Ballet in the Nineteenth Century: Music, Narrative, and Dance in Delibes's Coppélia by Arthur E. Lafex Submitted To
Reviving Ballet in the Nineteenth Century: Music, Narrative, and Dance in Delibes’s Coppélia By Copyright 2013 Arthur E. Lafex Submitted to the graduate degree program in Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Music. ________________________________ Chairperson Alicia Levin ________________________________ Paul R. Laird ________________________________ David Alan Street Date Defended: April 15, 2013 The Thesis Committee for Author (Arthur E. Lafex) certifies that this is the approved version of the following thesis: Reviving Ballet in the Nineteenth Century: Music, Narrative, and Dance in Delibes’s Coppélia ________________________________ Chairperson Alicia Levin Date approved: April 15, 2013 ii Abstract Léo Delibes (1836-1891) wrote ballet scores that have inspired composers and have entertained generations of ballet lovers. His scores have been cited for their tunefulness, appropriateness for their narrative, and for their danceability. However, Delibes remains an obscure figure in music history, outside the musical canon of the nineteenth century. Likewise, his ballet music, whose harmonic resources are conventional and whose forms are variants of basic structures, has not received much scholarly and theoretical attention. This thesis addresses Delibes’s music by examining his ballet score for Coppélia, its support of narrative and also its support of dance. Chapter 1 begins with a historical view of ballet and ballet music up to the time of Delibes. Following a biographical sketch of the composer, a review of aspects of the score for Giselle by his mentor, Adolphe Adam (1803-1856) establishes a background upon which Delibes’s ballets can be considered.
[Show full text]
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.
[Show full text]
Guide to Dance 2018-2019 Study Guide
GUIDE TO DANCE 2018-2019 STUDY GUIDE Learn about the art of dance and go behind-the-scenes with a professional dance company. Written and compiled by Ambre Emory-Maier, Director of Education, and other contributors l ©2018 BalletMet Columbus TABLE OF CONTENTS Behind the Scenes ............................................................................................................................................. 2 Brief History of BalletMet ................................................................................................................................. 3 BalletMet Offerings ........................................................................................................................................... 4 The Five W’s and H of Dance .......................................................................................................................... 5 Brief History of Ballet ..................................................................................................................................... 6-7 Important Tutu Facts ......................................................................................................................................... 8 Important Pointe Shoe Facts .......................................................................................................................... 9 Glossary of Dance Terms ......................................................................................................................... 10-12 Ballet Terminology..........................................................................................................................................
[Show full text]
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.
[Show full text]
Ballet and the Nutcracker
Ballet West for Children Presents Ballet and The Nutcracker Photo: Quinn Farley Music: Peter Ilyich Tchaikovsky Adapted from Original Choreography: Willem Christensen Costumes: David Heuvel 304 Trolley Square | Salt Lake City, UY 84102 | 801-869-6900 | www.balletwest.org Dear Principal: This letter is to confirm the arrangement we made for a performance of Ballet West for Children in your school. Please check the enclosed confirmation sheet for the correct date and performance start time. Please fill in the additional information about your school's facilities. With the current freeway construction please give directions for the best route and the open exit numbers so that the dancers can travel easily from school to school. Kindly sign and return the form immediately to me at Ballet West. I am also enclosing a letter from Adam Sklute, Artistic Director of Ballet West, which describes the program. Please duplicate his letter and all the educational materials for pre- performance student preparation and follow-up projects The Ballet West dancers will arrive 15-30 minutes before the performance. The group leader will check in with your office when the dancers arrive. They travel with their own dance floor to cover the performing area and a sound system in case the school’s equipment is limited. They will need the performing area to be clear, recently swept, and warm with electrical outlets and changing rooms as close as possible. The group leader will contact you if he/she has any questions about the directions or performance area. If you have any questions, please call me at Ballet West: 801-869-6911 Sincerely, Peter Christie Director of Educational Programs Enclosures www.balletwest.org 304 Trolley Square | Salt Lake City, UY 84102 | 801-869-6900 | www.balletwest.org Dear Teachers: It is with pleasure that I write to tell you of our Ballet West for Children program that is offered to you free of charge through the combined efforts of Ballet West and the Utah State Office of Education.
[Show full text]
Ballet West Student In-Theater Presentations Presents Fairy Tale Theatre
Ballet West Student In-Theater Presentations Presents Fairy Tale Theatre Photo: Beau Pearson Dancers: Janae Korte and David Huffmire Aladdina Dear Dance enthusiast, Ballet West is pleased that you are viewing a Ballet West’s Student In-Theatre 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]. Sincerely, Peter Christie Director of Educational Programs Enclosures Dear Teachers and Administrators, It is with pleasure that I write to tell you of Ballet West’s Student In-Theatre Presentations which are offered to you free of charge through the combined efforts of Ballet West and your State Board of Education through the POPS program.
[Show full text]
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.
[Show full text]
Dance History Session 2 Ballet
BALLET HISTORY Ballet history is commonly divided by historians in chronological periods. Each one of them is recognized because some of the dance features or values prevail over others. Sometimes we get information about aesthetic or choreographic values but it is common to find all kind of related facts mixed within the data. That’s why the ballet general history we find in most books is a mixture of biographies, institutional records, different functions that dancing has accomplished for society: political, social, ritual, ornamental, and other kind of odds and ends… The following is a synthesized, rough list of those chronological periods from the XV century (AD) till the present time: XV - XVI centuries : court dances or pre-classical dance. XVI - XVII centuries : court ballet and baroque dance. XVIII century : ballet of action. End of XVIII century - XIX century : romantic ballet. Second half of XIX century : classical, academic and/or imperial ballet. XX century - present time : modern, neoclassical and/or contemporary ballet. XV-XVI centuries : court dances or pre-classical dance. This story occurs in the city of Florence (Italy), at the time called the Renaissance (or beginning of the ‘western modern era’). Society reacts to important political and cosmological changes. From a ‘dark era’ called the ‘Middle Age’, humans are reborn to a bright period, illuminated by science and knowledge. Scientific experiments prove that the earth turns around the sun, opposing to what was commonly thought for centuries. People start believing that they are responsible for their lives and that they can improve their existence by their own means (instead of expecting God to do it).
[Show full text]