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Pre Competitve Classical Top 15
PRE COMPETITVE CLASSICAL TOP 15 1. BRADY FARRAR VARIATION FROM SATANELLA - Stars Dance Company 2. CATHERINE ROWLAND DULCINEA VARIATION DON QUIXOTE - Magda Aunon School of Classical Ballet 3. ASHLEY VALLEJO KITRI VARIATION FROM DON QUIXOTE - Stars Dance Company 4. SCARLETT BARONE BLACK SWAN VARIATION - Impac Youth Ensemble 5. ROMI BRITTON VARIATION FROM LA ESMERALDA - Meg Segreto's Dance Center 6. ERICA AVILA VARIATION FROM LA ESMERALDA - Meg Segreto's Dance Center 7. PABLO MANZO THE NUTCRACKER MALE VARIATION - Vladimir Issaev School of Classical Ballet 8. DESTANYE DIAZ VARIATION FROM GRADUATION BALL - Stars Dance Company 9. MONIQUE MADURO LA FILLE MAL GARDEE – Pointe Centro de Danzas 10. MADISON BROWN PRINCESS FLORINE VARIATION SLEEPING BEAUTY – Lents Dance Company 11. VERONICA MERINO LA FILLE MAL GARDEE - Pointe Centro de Danzas 12. KACI WILKINSON SILVER FAIRY VARIATION SLEEPING BEAUTY – Backstage Dance Academy 13. KAITLYN SILOT DON QUIXOTE VARIATION - Artistic Dance Center 14. SORA TERAMOTO BLUE BIRD VARIATION - Baller Elite Dance Studio 15. RACHEL LEON LA FILLE MAL GARDEE - Stars Dance Company PRE COMPETITVE CONTEMPORARY TOP 15 1. DIANA POMBO BECOMING - TPS (The Pombo Sisters) 2. BRADY FARRAR RESILIENT - Stars Dance Company 3. DESTANYE DIAZ IMPACT - Stars Dance Company 4. ASHLEY VALLEJO TAKE ME - Stars Dance Company 5. RACHEL LEON MOONLIGHT SONATA - Stars Dance Company 6. MADISON BROWN NOUVEAU TANGO - Lents Dance Company 7. ERICA AVILA MIND HEIST - Meg Segreto's Dance Center 8. SCARLETT BARONE HAND IN HAND - Impac Youth Center 9. MONIQUE MADURO CONFUSED - Pointe Centro de Danzas 10. CATHERINE ROWLAND THE GENIE - Magda Aunon School of Classical Ballet 11. ANGELINA SIERRA EVERYTHING MUST CHANGE - Ballet East 12. -
Dance Studies
CONVERSATIONS ACROSS THE FIELD OF DANCE STUDIES e Talking Point s . Society of Dance History Scholars Newsletter Illustrations: © Bibliothèque nationale Rethinking de France 19th Century Dance2011 | VolumeXXXI www.sdhs.org PAGE 1 A Word from the Guest Editors | Sarah Davies Cordova & Stephanie Schroedter ................. 3 Remembering The socio-political Fault-lines While Dancing at Quebec’s Winter Carnival | Charles R. Batson ............................................................... 4 Giselle at Mabille: Romantic Ballet and the Urban Dance Cultures of Paris | Stephanie Schroedter ........ 6 At Work on the Body: 1860s Parisian Tutus and Crinolines Or Women’s Silhouettes on Stage, at Fashionable Gatherings and in the Streets | Judith Chazin-Bennahum .................................................... 8 Why bother with Nineteenth-Century Ballet Libretti? | Debra H. Sowell ............................................ 12 CLOWNS , EL E PHANTS , AND BALL E RINAS . Joseph Cornell’s Vision of 19th Century Ballet in Dance Index (as collage) | Eike Wittrock ................. 14 From the Romantic to the Virtual | Norma Sue Fisher-Stitt ...................................................... 24 Notes & Pointεs from the field ................................ 26 Contributors .................................................................. 30 News SDHS Awards ............................................................................. 31 SDHS Publications. ..................................................................... 33 Forthcoming -
Flávio Sampaio
2 Flávio Sampaio Paracuru 2013 3 Copyright, 2013, Flávio Sampaio Título original – Balé Passo a Passo Contatos do autor: [email protected] Rua Raimundo Moreira Lima 72 – Centro 62680-000 - Paracuru-Ce Produção Editorial - Flávio Sampaio Projeto da Capa - Alexandro Santiago Traduções - Meg Lia Lima Revisão - Daniele Oliveira 4 Aos Meninos e Meninas de Paracuru que não sabiam como era a dança, mas a quiseram dançar 5 Agradecimentos Á Heloisa Sampaio pelo título desse livro Thaís Gonçalves pela leitura e pelos conselhos 6 Á Jane Blauth Querida mestra Toinha Xavier Uma amizade iluminada Dennis Gray A memória de um grande artista Tatiana Leskova Muitas coisas preciosasvocêmeensinou Cássia Navas Cujo trabalho pela dança admiro a duas décadas David Linhares E seu empenho em trazer mais visibilidade a dança cearense Dalal Achcar Proporcionou a muitos bailarinos brasileiros a oportunidade de aprender 7 Agradecimentos Á José do ValeFeitosa e Tereza Feitosa pelas conversas inspiradoras Helder Gurgel pelas palavras amigas em momentos precisos 8 “Não há coisa tão necessária aos homens quanto à dança. Todos os desastres da espécie humana e as desgraças fatais de que está cheia a história, as torpezas dos políticos, os erros dos grandes capitães, tudo isso vem da falta de habilidade na dança”. Molière 9 Á Paracuru, berço e referência de tantos dos valores que carrego pela vida, omeu amor incontestável 10 INTRODUÇÃO O trabalho do bailarino não é somente o trabalho atlético, exige a cada dia outros conhecimentos do campo do saber para resolver dificuldades sempre maiores. É um trabalho que se inicia quando ele ainda é muito jovem e que, exatamente por causa do treinamento longo e rigoroso, provoca com frequência o sacrifício de uma formação intelectual pessoal. -
Notre Dame De Paris, by Victor Marie Hugo
Notre Dame de Paris Victor Marie Hugo The Harvard Classics Shelf of Fiction, Vol. XII. Selected by Charles William Eliot Copyright © 2001 Bartleby.com, Inc. Bibliographic Record Contents . Biographical Note Criticisms and Interpretations I. By Frank T. Marzials II. By Andrew Lang III. By G. L. Strachey List of Characters Author’s Preface to the Edition of 1831 Book I I. The Great Hall II. Pierre Gringoire III. The Cardinal IV. Master Jacques Coppenole V. Quasimodo VI. Esmeralda Book II I. From Scylla to Charybdis II. The Place de Grève III. Besos Para Golpes IV. The Mishaps Consequent on Following a Pretty Woman through the Streets at Night V. Sequel of the Mishap VI. The Broken Pitcher VII. A Wedding Night Book III I. Notre Dame II. A Bird’s-Eye View of Paris Book IV I. Charitable Souls II. Claude Frollo III. Immanis Pecoris Custos, Immanior Ipse IV. The Dog and His Master V. Further Particulars of Claude Frollo VI. Unpopularity Book V I. The Abbot of St.-Martin’s II. This Will Destroy That Book VI I. An Impartial Glance at the Ancient Magistracy II. The Rat-Hole III. The Story of a Wheaten Cake IV. A Tear for a Drop of Water V. End of the Wheaten Cake Book VII I. Showing the Danger of Confiding One’s Secret to a Goat II. Showing That a Priest and a Philosopher Are Not the Same III. The Bells IV. Fate V. The Two Men in Black VI. Of the Result of Launching a String of Seven Oaths in a Public Square VII. -
Adaptations of Notre-Dame De Paris
ADAPTATIONS OF NOTRE-DAME DE PARIS The immense and continuing popularity of Victor Hugo’s novel has inspired adaptations across many media for nearly two centuries. Below is a sampling to assist in your production research. Opera and Musical Theater La Esmeralda (1836) – opera by Louise Bertin, libretto by Victor Hugo Esmeralda (1847) – opera by Alexander Dargomyzhsky Esmeralda (1883) – opera by Arthur Goring Thomas Notre Dame (1902-1904) – opera in two acts by Franz Schmidt, text by Schmidt and Leopold Wilk The Hunchback of Notre Dame (1993) – an Off-Broadway musical with music by Byron Janis, lyrics by Hal Hackady, and book by Anthony Scully The Hunchback of Notre Dame (1993) – a sung-through musical with book and lyrics by Gary Sullivan and music by John Trent Wallace. In 2010, it was re-written as a conventional musical, with the new title Notre Dame. Notre-Dame de Paris (1998) – an operetta with music by Riccardo Cocciante and libretto by Luc Plamondon. The show has been successful with productions in France, Las Vegas, Canada, U.K., Spain, Italy, Russia, South Korea, and Belgium. Der Glöckner von Notre Dame (1999-2002) – music by Alan Menken, lyrics by Stephen Schwartz, book and direction by James Lapine, and translated by Michael Kunze; based on the 1996 Disney film Hunchback (1998) – a rock musical by C. Rainey Lewis; presented in Seattle, Washington Les Enfants de Paris (2011) – music and lyrics by David Levinson and book by Stacey Weingarten. It re-sets the action to 1954 at the beginning of the French-Algerian conflict. The Hunchback of Notre Dame (2014) – music by Alan Menken, lyrics by Stephen Schwartz, book by Peter Parnell, direction by Scott Schwartz. -
YAGP 2021 Japan.Xlsx [Group]
Senior Finalists YAGP 2021 Japan (Osaka) Oct. 22-25, 2020 ##### # Name Age School CL Title 501 Serena Nakao 14 Y Dance Company La Esmeralda 505 Kairi Watanabe 14 MIMI ballet studio The Cavalry Halt Ballet Studio 22 Classic & 507 Tsubaki Wada 14 Contemporary Don Quixote 508 Riko Higurashi 14 BALLET LE COEUR Paquita Swan International Ballet 513 Ayumi Kobayashi 15 School Paquita Tchaikovsky Memorial Kyoto 514 Kanon Tanaka 15 Main Ballet Paquita 518 Airi Kobayashi 15 de-parc Ballet School Swan Lake 521 Niko Adachi 15 Symphony Ballet Studio Giselle Ballet Studio 22 Classic & 524 Suzu Higashi 15 Contemporary Walpurgis Nacht 525 Shiyu Takao 15 Endo Ballet The Sleeping Beauty 527 Suimu Kanai 15 Aristo BALLET STUDIO La Esmeralda Mayumi Kinouchi Ballet 529 Yuua Tanaka 15 Studio Grand Pas Classique 537 Ami Haitani 15 sAtsukiBallet La Esmeralda Seiko Kuramoto Ballet 539 Ayaka Tokumasu 15 School La Esmeralda Kei Nakano Classic Ballet 540 Kirara Ishikura 15 Academy La Esmeralda 550 Rin Yamada 15 Independent Harlequinade 552 Hizuki Sakai 15 Soda Ballet School Paquita 554 Mako Yoshikawa 15 Rei Mika Dance Studio Satanella 555 Iyo Hataishi 15 Park Side Ballet Studio Don Quixote 561 Sera Komori 16 Yuki Ballet Studio The Sleeping Beauty 563 Ako Sago 16 L'espoir de ballet The Awakening of Flora 565 Sora Nishida 16 MAICO Ballet Studio Walpurgis Nacht 570 Chizuru Kikuchi 16 Ballet studio Concerto Le Corsaire Senior Finalists YAGP 2021 Japan (Osaka) Oct. 22-25, 2020 ##### # Name Age School CL Title 574 Manaka Ueno 16 BALLET LE COEUR Paquita 575 Yurina Terayama -
Agrippina Vaganova and Choi Seung-Hee Angela Kim Binghamton University--SUNY, [email protected]
Binghamton University The Open Repository @ Binghamton (The ORB) Graduate Dissertations and Theses Dissertations, Theses and Capstones 4-12-2018 Making of Nationalistic Dance: Agrippina Vaganova and Choi Seung-Hee Angela Kim Binghamton University--SUNY, [email protected] Follow this and additional works at: https://orb.binghamton.edu/dissertation_and_theses Part of the Dance Commons Recommended Citation Kim, Angela, "Making of Nationalistic Dance: Agrippina Vaganova and Choi Seung-Hee" (2018). Graduate Dissertations and Theses. 63. https://orb.binghamton.edu/dissertation_and_theses/63 This Thesis is brought to you for free and open access by the Dissertations, Theses and Capstones at The Open Repository @ Binghamton (The ORB). It has been accepted for inclusion in Graduate Dissertations and Theses by an authorized administrator of The Open Repository @ Binghamton (The ORB). For more information, please contact [email protected]. MAKING OF NATIONALISTIC DANCE: AGRIPPINA VAGANOVA AND CHOI SEUNG-HEE BY ANGELA KIM BA, Sang Myung University, 2000 THESIS Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Theatre in the Graduate School of Binghamton University State University of New York 2018 © Copyright by Angela Kim 2018 All Rights Reserved Accepted in partial fulfillment for the degree of Master of Arts in Theatre in the Graduate School of Binghamton University State University of New York 2018 April 12, 2018 Andrew Walkling, Graduate Director Department of Theatre, Binghamton University David Bisaha, -
Female and Male Variations from Pas De Trois. Act 2 – Variation of Odette from Grand White Adagio Act 3 – Variation of Odile and Siegfried
Examples of Classical Ballet Variations: Swan Lake: Act 1 – Female and male variations from Pas de Trois. Act 2 – Variation of Odette from Grand White Adagio Act 3 – Variation of Odile and Siegfried Sleeping Beauty: Prologue – Variation of Lilac Fairy Act 1 – Variation of Aurora Act 3 – Pas de Deux of the Blue Bird (variation of Florina and the Blue Bird) Pas de Deux of Aurora and Prince Desire (variation of Aurora and Prince Desire) Nutcracker Act 2 – Variation of Sugar Plum Fairy and the Prince Don Quixote Act 1 – Variation of Kitri, Basilio Act 2 – Variation of Kitri, Cupid, the Mistress of the Dryades Act 3- Variation of Kitri and Basilo, variation of the Bridesmaid La Bayadere Act 2 – Variation of Gamzatti, Solor Act 3 – Variation of Nikia and Solor, three variations of the shades Paquita Act 2 - Variation of Paquita and Lucien d’Hervilly Any female variations Giselle Act 1 – Female and male variation Variation peasant Pas de Deux Variation Giselle Act 2 – Variation Giselle and Albrecht Le Corsaire Act 1 – Variation of Medora Act 2 – Variation of Gulnare and the Merchant Variation of Medora and the Slave Act 3 – 1st, 2nd and 3rd variation from pas de trois des odalisques Variation Grand Pas De Deux and Odalisques Raymonda Any female variations from Act 1 and Act 2 Act 3 - Variation of Raymonda and Jean de Brienne La Esmeralda Variation of Esmeralda and Phoebus Variations of Diana and Acteon Grand Pas Classique Female and male variation La Vivandiere (Markitenka) Female and male variation Santanella (The Carnival in Venice) Female and male variation La Fille Mal Gardee Coppelia Act 1 – Variation of Swanilda Act 2 – Variation Franz La Sylphide Act 1 – Variation James Act 2 – Variation Sylphide and James Chopiniana (Les Sylphides) The Flower Festival at Genzano Female and male variations from Pas de Deux The Flames of Paris Act 4 – Variation of Jeanne and Phillippe Rast Der Kavallerie Female and male variations from Pas de Deux Les Millions D’Arlequin (Harlequinade) . -
Repertoire List, Time Limits & Props
Repertoire List, Time Limits & Props Classical Repertoire List To participate in YAGP’s Classical Ballet category, participants strongly encouraged to select a variation from the Classical Repertoire List below. List is approved by majority of YAGP Judges. If you choose the variation not from the list, it will be up to each Judge to decide if it’s age and skills appropriate. If participant passed to NY Finals with variation not from the list – Judges can request to change the current variation and replace it with one from the list. Please note: Gamzatti Temple Variation (Choreography: N. Makarova) - is NOT accepted (or judges can lower your score). YAGP rules allow for Pre-Competitive participants’ teachers to make slight changes to the original, classical choreography in order to accommodate a student’s specific technical level. If significant changes are made to a classical variation, or if an original work is choreographed for the student, that piece will be considered as a Contemporary/Open category entry. PRE-COMPETITIVE AGE CATEGORY Ballet (Choreographer) • Coppelia (A. St. Leon) 1st Act Variation • Don Quixote (M. Petipa) Cupid Variation • Fairy Doll (S. Legat) • Flower Festival at Genzano (A. Bournonville) Pas de Deux Variations • Giselle (J. Perrot, J. Coralli) Peasant Pas de Deux Variations • Harlequinade (M. Petipa) Pas De Deux Variations • La Bayadere (M. Petipa) Three Shade Variations • La Fille Mal Gardee (B. Nijinska, D. Romanoff) Pas de Deux Variations • Le Corsaire (M. Petipa) Odalisque Variations • Paquita (M. Petipa) All Variations (except Principal Variations) • Raymonda (M. Petipa) All Variations (except Principal Variations) • Swan Lake (M. Petipa, L. -
YAGP 2021 Japan (Osaka) Oct. 22 - 25, 2020 Junior Finalists
YAGP 2021 Japan (Osaka) Oct. 22 - 25, 2020 Junior Finalists # Name Age School CL Title 202 Anastasia Takami 12 Soda Ballet School Coppelia 208 Towako Mizukami 12 MES AMIS BALLET STUDIO Swan Lake 209 Riko Sugiura 12 Okuno Keiko Ballet Studio Don Quixote 213 Natsumi Sato 12 YARITA YU BALLET STUDIO Paquita 214 Yuzuki Yamatani 12 Ballet Studio Assemble Paquita 218 Maria Yoshimoto 12 Y Dance Company Paquita 219 Nene Terashima 12 MES AMIS BALLET STUDIO The Nutcracker Suite 222 Misa Nakajima 12 Yuki Tokunaga Ballet School Paquita 223 Chewon Kim 12 Ariake New City Ballet School La Bayadere 226 Kotone Kishi 12 HAGA Ballet Academy The Sleeping Beauty 228 Ena Kitami 12 Park Side Ballet Studio Raymonda 229 Alice Kobayashi 12 Yuki Tokunaga Ballet School Raymonda 230 Miku Ooka 12 Wakui ballet school The Sleeping Beauty 233 Yuno Watarai 12 MES AMIS BALLET STUDIO The Sleeping Beauty 236 Miyu Araki 12 Symphony Ballet Studio The Awakening of Flora 238 Saho Kawana 12 BALLET LE COEUR Fairy Doll 242 Hinata Tomoi 12 YARITA YU BALLET STUDIO The Talisman 243 Aoi Kakiuchi 12 Wakui ballet school La Bayadere 249 Sakura Kimura 12 Morinaka Maki Ballet Studio La Esmeralda 251 Mona Flora Kokuryu 12 BALLET LE COEUR Giselle 253 Nanami Akai 12 HARU Ange Ballet La Esmeralda 261 Sari Mae 12 Wakui ballet school Le Corsaire 262 Shiori Yamashita 12 Symphony Ballet Studio The Sleeping Beauty 264 Oto Tanaka 12 Rei Mika Dance Studio The Cavalry Halt 269 Kokone Fukui 12 Etoile Ballet School Don Quixote 271 Tsugumi Takita 12 Sugai Risa Classic Ballet Studio The Awakening of Flora -
Information to Users
INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript 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 corner 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. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 1S40316 The role of Nicolas Legat in twentieth century ballet Miller, Alison, M.A. -
The Thirty-Six Dramatic Situations
1 "Gozzi maintained that there can he hut thirty-six tragic situations. Schiller took great pains to find more, but he was unable to find even so many as Gozzi." — Goethe. The Thirty-Six Dramatic Situations GEORGES POLTI Translated by Lucile Ray Franklin) ohin JAMES KNAIT REEVE COPYRIGHT, 1916, 1917 THE EDITOR COMPANY COPYRIGHT, 1921 JAMES KNAPP REEVE 52g36& Theatre Arts library PMm 11 aj THE THIRTY-SIX DRAMATIC SITUATIONS INTRODUCTION "Gozzi maintained that there can be but thirty-six tragic situations. Schiller took great pains to find more, but he was unable to rind even so many as Gozzi." Thirty-six situations only! There is, to me, some- thing tantalizing about the assertion, unaccompanied as it is by any explanation either from Gozzi, or from Goethe or Schiller, and presenting a problem which it does not solve. For I remembered that he who declared by this limited number so strongly synthetic a law, had himself the most fantastic of imaginations. He was the author, this Gozzi, of "Turandot," and of the "Roi Cerf," two works almost without .analogue, the one upon the situation of the "Enigma, ' the other upon phases of metempsychosis; he was the creator of a dra- matic system, and the Arabesque spirit, through him transfused, has given us the work of Hoffmann, Jean- Paul Richter and Poe. The Venetian's exuberance would have mack' me doubtful of him, since, having once launched at us this number 36, he kept silence. Put Schiller, rigid and ardent Kantian, prince of modern aest het icians, master of true historic drama, had he not in