Multiple Embodiment in Classical Ballet Educating the Dancer As an Agent of Change in the Cultural Evolution of Ballet
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2020 World Championships Information
UC IRVINE, BREN EVENTS CENTER HILTON COSTA MESA 100 Mesa Rd. Irvine, CA 92697 3050 Bristol St. Costa Mesa, CA 92626 Miss Dance Drill Team International Welcome To World Championships The 39th annual Miss Dance Drill Team International Prepare to compete against the best teams in the U.S. & the competition continues the legacy of Dr. Kay Teer Crawford, world! Events begin at the host hotel on Thursday 3/26, with a who founded the first “drill team” in Edinburg, TX (1928), and welcome orientation luncheon for solo title contestants (solo created MDDTUSA as the first national and international title competition begins that afternoon with adjudicated championship competition for dance teams & drill teams in preliminary interviews, modeling, and some routines). This is 1968. As the original & most prestigious dance competition in followed by a master class workshop with some of the dance the world since 1981, Miss Dance Drill Team International industry's most renowned instructors & choreographers! On World Championships is open to all international school dance Friday 3/27, competition resumes at the host hotel in the teams, dance studios, and community dance/drill teams with morning with soloists, duet/trios, and officer routines, and youth dancers age 19 and under (This event is held moves to the Bren Center in the afternoon with some small simultaneously with U.S. Nationals). Highlights consist of team team divisions & solo title finalists. Saturday 3/28 consists of competition, U.S. national & world championship awards, and team competition, national & world championship awards, the crowning of our national/international solo title champions! special guests, and the coronation of the MDDTUSA national/ MDDT INTERNATIONAL is the original “grandmother” dance international champion solo title winners. -
Types of Dance Styles
Types of Dance Styles International Standard Ballroom Dances Ballroom Dance: Ballroom dancing is one of the most entertaining and elite styles of dancing. In the earlier days, ballroom dancewas only for the privileged class of people, the socialites if you must. This style of dancing with a partner, originated in Germany, but is now a popular act followed in varied dance styles. Today, the popularity of ballroom dance is evident, given the innumerable shows and competitions worldwide that revere dance, in all its form. This dance includes many other styles sub-categorized under this. There are many dance techniques that have been developed especially in America. The International Standard recognizes around 10 styles that belong to the category of ballroom dancing, whereas the American style has few forms that are different from those included under the International Standard. Tango: It definitely does take two to tango and this dance also belongs to the American Style category. Like all ballroom dancers, the male has to lead the female partner. The choreography of this dance is what sets it apart from other styles, varying between the International Standard, and that which is American. Waltz: The waltz is danced to melodic, slow music and is an equally beautiful dance form. The waltz is a graceful form of dance, that requires fluidity and delicate movement. When danced by the International Standard norms, this dance is performed more closely towards each other as compared to the American Style. Foxtrot: Foxtrot, as a dance style, gives a dancer flexibility to combine slow and fast dance steps together. -
Paul Taylor Dance Company’S Engagement at Jacob’S Pillow Is Supported, in Part, by a Leadership Contribution from Carole and Dan Burack
PILLOWNOTES JACOB’S PILLOW EXTENDS SPECIAL THANKS by Suzanne Carbonneau TO OUR VISIONARY LEADERS The PillowNotes comprises essays commissioned from our Scholars-in-Residence to provide audiences with a broader context for viewing dance. VISIONARY LEADERS form an important foundation of support and demonstrate their passion for and commitment to Jacob’s Pillow through It is said that the body doesn’t lie, but this is wishful thinking. All earthly creatures do it, only some more artfully than others. annual gifts of $10,000 and above. —Paul Taylor, Private Domain Their deep affiliation ensures the success and longevity of the It was Martha Graham, materfamilias of American modern dance, who coined that aphorism about the inevitability of truth Pillow’s annual offerings, including educational initiatives, free public emerging from movement. Considered oracular since its first utterance, over time the idea has only gained in currency as one of programs, The School, the Archives, and more. those things that must be accurate because it sounds so true. But in gently, decisively pronouncing Graham’s idea hokum, choreographer Paul Taylor drew on first-hand experience— $25,000+ observations about the world he had been making since early childhood. To wit: Everyone lies. And, characteristically, in his 1987 autobiography Private Domain, Taylor took delight in the whole business: “I eventually appreciated the artistry of a movement Carole* & Dan Burack Christopher Jones* & Deb McAlister PRESENTS lie,” he wrote, “the guilty tail wagging, the overly steady gaze, the phony humility of drooping shoulders and caved-in chest, the PAUL TAYLOR The Barrington Foundation Wendy McCain decorative-looking little shuffles of pretended pain, the heavy, monumental dances of mock happiness.” Frank & Monique Cordasco Fred Moses* DANCE COMPANY Hon. -
Finding Aid for Bolender Collection
KANSAS CITY BALLET ARCHIVES BOLENDER COLLECTION Bolender, Todd (1914-2006) Personal Collection, 1924-2006 44 linear feet 32 document boxes 9 oversize boxes (15”x19”x3”) 2 oversize boxes (17”x21”x3”) 1 oversize box (32”x19”x4”) 1 oversize box (32”x19”x6”) 8 storage boxes 2 storage tubes; 1 trunk lid; 1 garment bag Scope and Contents The Bolender Collection contains personal papers and artifacts of Todd Bolender, dancer, choreographer, teacher and ballet director. Bolender spent the final third of his 70-year career in Kansas City, as Artistic Director of the Kansas City Ballet 1981-1995 (Missouri State Ballet 1986- 2000) and Director Emeritus, 1996-2006. Bolender’s records constitute the first processed collection of the Kansas City Ballet Archives. The collection spans Bolender’s lifetime with the bulk of records dating after 1960. The Bolender material consists of the following: Artifacts and memorabilia Artwork Books Choreography Correspondence General files Kansas City Ballet (KCB) / State Ballet of Missouri (SBM) files Music scores Notebooks, calendars, address books Photographs Postcard collection Press clippings and articles Publications – dance journals, art catalogs, publicity materials Programs – dance and theatre Video and audio tapes LK/January 2018 Bolender Collection, KCB Archives (continued) Chronology 1914 Born February 27 in Canton, Ohio, son of Charles and Hazel Humphries Bolender 1931 Studied theatrical dance in New York City 1933 Moved to New York City 1936-44 Performed with American Ballet, founded by -
Information to Users
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 bleedthrough, 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. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI University Microfilms international A Bell & Howell Information Company 300 Nortfi Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313/761-4700 800,521-0600 Order Number 9238175 The teaching of modern dance: What two experienced teachers know, value and do Fortin, Sylvie, Ph.D. The Ohio State University, 1992 UMI 300 N. -
Lar Lubovitch to Create a Full‐Length Narrative Dance, Inspired By
01/29/16 EMBARGOED FOR RELEASE UNTIL FEBRUARY 2, 2016 Lar Lubovitch to create a full‐length narrative dance, inspired by Alexander Pushkin’s “The Bronze Horseman,” which will receive its world premiere on May 25, 2016 at the Mikhailovsky Theater in St. Petersburg, Russia New York, NY, January 29, 2016 – The internationally renowned choreographer Lar Lubovitch is creating a full‐length narrative ballet inspired by Alexander Pushkin’s beloved poem The Bronze Horseman: A Petersburg Tale. The world premiere will take place on May 25, 2016 at the renowned Mikhailovsky Theater in St. Petersburg, Russia. The Russian title of the new dance (“Lublu tebia, Petra tvorenie…”) is a well‐known line from the poem that translates inadequately into English as “I love you, Peter’s great creation…” The poem, written in 1833, is a story of love and loss in which the equestrian statue of Peter the Great in Saint Petersburg plays a major role. It is widely considered to be Pushkin’s most successful narrative poem and has had a lasting impact on Russian literature. The statue (sculpted by Étienne Maurice Falconet and completed in 1782) became known as The Bronze Horseman due to the great influence of the poem. Regarded as the greatest Russian poet and the founder of modern Russian literature, Pushkin’s works have served as the inspiration for many ballets and operas, among them Eugene Onegin, Boris Godunov, Rusalka and the Golden Cockerel. The poem is especially resonant for the Mikhailovsky Theater, one of Russia’s oldest and most venerated theaters, because the theater’s curtain rose for the very first time in 1833 – in the same year and in the same city the poem was created. -
Mini Page: Beautiful Ballet
© 2013 Universal Uclick Stay on Your Toes from The Mini Page © 2013 Universal Uclick Beautiful Ballet Think of all the different ways there are to tell a story. We can sing a song, The French King Louis XIV loved dance. In the mid-1600s, he started such as “Itsy Bitsy Spider.” An author a dance academy in Paris and often can relate a tale in a book. Actors can danced in its ballets. tell a story through a movie or play. This week, The Mini Page leaps into the world of ballet. When it first began, ballet, like many other types of dance, Ballerinas was another way to tell a story. In the 1700s and Ballet’s beginnings 1800s, ballerinas began to dance on pointe — The first ballet was believed to have up on their toes in taken place in 1581 — more than 400 special shoes called years ago! At that time, kings and pointe shoes. Famous queens kept huge courts of people ballerinas became known to serve and entertain them. Court for their special talents Pointe shoes entertainers wore fancy costumes and — jumps, turns or beautiful arms. performed speaking and singing roles, along with dancing and music. Europe and Russia The first ballet, the Ballet Comique Ballet became popular in Italy, de la Reine, was Royal influences France and Russia. In the early 20th performed in Ballet de cour, or court dance, called century, an arts promoter named Paris during for specific movements — pointed Sergei Diaghilev started a ballet a three-day feet and turned-out legs, for example. -
The Dancing Imagination: How Does Imaginative Imagery Facilitate Movement Qualities in Dance Training and Performance?
Edith Cowan University Research Online Theses : Honours Theses 2010 The Dancing Imagination: How Does Imaginative Imagery Facilitate Movement Qualities in Dance Training and Performance? Rachel Perica Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses_hons Part of the Dance Commons Recommended Citation Perica, R. (2010). The Dancing Imagination: How Does Imaginative Imagery Facilitate Movement Qualities in Dance Training and Performance?. https://ro.ecu.edu.au/theses_hons/1407 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses_hons/1407 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Use of Thesis This copy is the property ofEdith Cowan University. However the literary rights of the author must also be respected. Ifany passage from this thesis is quoted or closely paraphrased in a paper or written work prepared by the user, the source ofthe passage must be acknowledged in the work. -
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. -
Narrative Variants and Theatrical Constants: Towards a Dramaturgy O F Theballet Fantastique (1830- 1860 )
University of Surrey Department of Dance Studies School of Arts Narrative Variants and Theatrical Constants: Towards a Dramaturgy o f theBallet Fantastique (1830- 1860 ) by MgA. Astrid Bemkopf September 2005 Thesis submitted in fulfilment of the requirement of the degree of Doctor of Philosophy © Astrid Bemkopf 2005 ProQuest Number: 27557546 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 27557546 Published by ProQuest LLO (2019). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLO. ProQuest LLO. 789 East Eisenhower Parkway P.Q. Box 1346 Ann Arbor, Ml 48106- 1346 Abstract Ballet is often perceived as a danced fairy tale and, therefore, considered to be like the fairy tale. In this research, the literary form of the fairy tale is compared with the narrative of the ballet fantastique in two acts. The analytical method of Vladimir Propp’s Morphologie des Màrchens (1975) serves as starting point for an investigation into storytelling and the narrative of the ballet scenario. Until now, narrative analyses have been overlooked by dance analysis. Therefore, the task of this study is to propose the first dramaturgy of the ballet fantastique and, thus, a first independent model of narrative analysis for dance. -
Between Stage and Literature
European Narratology Network Working with stories: Narrative as a Meeting Place for Theory Analysis and Practice 10 – 11 March 2011 Denmark Between Stage and Literature: Romantic Ballet’s Narrative Strategies. Astrid Bernkopf Middlesex University London, UK Present-day dance research allows analytical investigations into various features and elements of the performance. However, a dogmatic and ideological attitude towards research topics and their treatment can be observed. Movement and choreography are the most prominent themes of research, followed by the body and issues relating to the performer. Such selective view has catered for one essential feature of theatre performances to be overlooked: namely, the stories that are told onstage. Hence, although dance analysis has developed research tools to study various elements, there is a lack of dance specific theory relating to danced narratives. Through this theoretical vacuum, the commonly accepted and traditionally upheld focus on movement and choreographic analysis has been further cemented in the discipline. The aim of this article is to introduce a method to investigate the narrative of the Romantic two-act ballet fantastique. This model of analysis may stand alone or may work in co-operation with other analytical tools. Theories on fairy tales and modes of Astrid Bernkopf storytelling in literature and theatre form the theoretical basis for the construction of this dance-orientated method of narrative analysis. Such approach stems from the erroneous perception/notion of the nineteenth-century ballet plot as a danced fairy tale. Moreover, the constant repetition of stories, and therefore actions, suggests that it may be treated in similar ways as the fairy tale. -
March 6-7, 2021
Nutcracker2020 March 6-7, 2021 Lincoln Midwest Ballet Company Shari True, Artistic Director Artistic Director Shari True presents The Nutcracker Music by Peter Ilyich Tchaikovsky Saturday, March 6, 2021 2 p.m. and 7 p.m. & Sunday, March 7, 2021 1 p.m. and 5 p.m. Technical Director: Daniel Anderson, Stratum Productions Stage Manager: Melanie Rudy Assistant Stage Managers: Eric Himmelberger, Kayci Johnston Stage Crew: Jamie Stephens, Paul Watson, Jaylin Wiese Props Coordinator: Tonia O’Hare Head Costumer and Costume Builder: Maralee Maldavs Hair & Makeup Designer & Assistant Costumer: Donna Himmelberger Assistant to the Costumer: Emily Maldavs Lighting Designer: John Himmelberger Sound Technician: Marlan Hohnstein Rehearsal Assistants: Betsy Andersen, Ashley Rutt Executive Director: Kelly Duncan Due to Covid-19 guidelines, we regret that drinking fountains and refreshment booths are not open. Restrooms are available as needed. 3 Lincoln Midwest Ballet Company EXECUTIVE OFFICERS Marcia Kirk, President Debby Erickson, Vice President Kenton Sullivan, President-elect Christine Mann, Vice President Renee Yost, Treasurer Vicki Schulenberg, Vice President Lana Peterson-Pressler, Secretary DIRECTORS Cori Amend Toni Montanez DIRECTORS EMERITI Jim Beitel Joyce Latrom Joan Chopp Angie Muhleisen Michael Dowd J. Michael Rierden Nancy Ingham Susan Steinegger Linda Laird Lyn Wineman LMBC MISSION The Mission of the Lincoln Midwest Ballet Company is to promote excellence in the art of ballet through performances, education, and community outreach. LMBC extends our appreciation to all of the area dance studios. The success of The Nutcracker depends upon your passion for dance and the support and guidance you provide to the talented youth of our community. LMBC thanks the following individuals who gave their time and skills to staff our first aid site: Stacey Bergantzel, RN .